It's got to do with the contention between content and form. Invariably that's what's responsible for its energies, its tensions, its being interesting or not.

My intention is to make interesting photographs. That's it, in the end. I don't make it up. Let's say it's a world I never made. That's what was there to deal with.

Of course, you have politics, the Vietnam war and all that monkey business. There are all kinds of reasons. At every one of those demonstrations in the late Sixties about the Vietnam war, you could guarantee there'd be a series of speeches. The ostensible purpose was to protest the war. But then somebody came up and gave a black power speech, usually Black Muslims, then. And then you'd have a women's rights speech. It was terrible to listen to these things.

I don't have anything to say in any picture. My only interest in photography is to see what something looks like as a photograph. I have no preconceptions.

Sometimes I feel like . . . the world is a place I bought a ticket to. It’s a big show for me, as if it wouldn’t happen if I wasn’t there with a camera.

If I photograph you I don't have you, I have a photograph of you. It's got its own thing. That's really what photography, still photography, is about.

Frame in terms of what you want to have in the picture, not about making a nice picture, that anybody can do.