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.

There is a transformation, you see, when you just put four edges around it. That changes it. A new world is created.

I was able to work with two heads. If anything, doing ads and other commercial work were at least exercises in discipline.

If you take a good look at the book [ Stock Photographs], it's largely a portrait gallery of faces - faces that I found dramatic. And some of those turned out to be reasonably dramatic photographs. But that's all it is, I think.

If you ever watch children play - what do you observe when you watch children play? You know, they're dead serious. They're not on vacation.

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.

I like to think of photographing as a two-way act of respect. Respect for the medium, by letting it do what it does best, describe. And respect for the subject, by describing it as it is. A photograph must be responsible to both.