There are things I photograph because I'm interested in those things.

You use the vertical edge as the point of reference, instead of the horizontal edge. I have a picture of a beggar, where there's an arm coming into the frame from the side. And the arm is parallel to the horizontal edge and it makes it work. It's all games, you know. But it keeps it interesting to do, to play.

I never saw a pyramid, but I've seen photographs; I know what a pyramid or a sphinx looks like. There are pictures that do that, but they satisfy a different kind of interest.

You've got a number of things that take place that are peculiar to still photography. One: how a picture looks - what you photograph is responsible for how a photograph looks. In other words, it's responsible for the form.

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 enjoy photographing. It's always interesting, so I can't say one thing is more fun than another. Everything has it's own difficulties.

I don't think anything happens without the press, one way or the other. I think it's all done for it. You saw it start, really, with Martin Luther King in Birmingham. He did the bus thing. And I don't think anything that followed would have happened if the press hadn't paid attention.