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. But you do, from your experience, surmise something. You do give a photograph symbolic content, narrative content... But it's nothing to worry about!

As far as my end of it, photographing, goes, all I'm interested in is pictures, frankly. I went to events, and it would have been very easy to just illustrate that idea about the relationships between the press and the event, you know.

The primary problem is to learn to be your own toughest critic. You have to pay attention to intelligent work, and to work at the same time. You see. I mean, you’ve got to bounce off better work. It’s matter of working.

There is no special way a photograph should look.

Aside from women, I don't know. My work doesn't function the way Robert Frank's did.

I get totally out of myself. It's the closest I come to not existing, I think, which is the best - which is to me attractive.