For me the true business of photography is to capture a bit of reality (whatever that is) on film...if, later, the reality means something to someone else, so much the better.

There are people who like photography; there are people who are worrying about what's going to happen with the dollar. They want to get anything that seems hard. I don't know, but I think it's got to do with economics. Now and then you get somebody who buys a picture because he likes it.

The camera's dumb, it don't [sic] care who's pushing the button. It doesn't know.

I had an agent. When [Edward] Steichen was doing "The Family of Man", I went up to the office one day. I think Wayne Miller, who assisted Steichen with "The Family of Man," was up there and pulled out a bunch of pictures. So I got a message: "Take these pictures, call Steichen, make an appointment and take these pictures up there." And that's how I met him.

Los Angeles has interested me for a long time. I was in Texas for five years, for the same reason. I wanted to photograph there.

There are things I back off from trying to talk about, you know. Particularly my own work. Also, there may be things better left unsaid. At times I'd much rather talk about other (people's) work.

Teaching is only interesting because you struggle with trying to talk about photographs, photographs that work, you see.