I think beauty is the splendor of truth, so if the people I portray think they're beautiful, they're beautiful. I don't make them that way.

It's interesting because the Thai king says there's no prostitution in Thailand, it doesn't exist, so the prostitutes don't pay taxes. They can work other jobs if they want and put away money, maybe leave when they're 40.

I don't aestheticize anything. I don't even use lights. The working girls do one thing all day: They make themselves pretty. That's their job and their money. In a way, I had the best makeup artists, hairdressers, and art designers in the world.

I had to first convince them [prostitutes] that I wasn't a journalist who would yet again put out a notion about them they wouldn't necessarily care for or who would victimize them. You know, journalists come and go. If they come twice, it's a lot. But I come 10 times and hang out with them and share stuff. If you connect with someone just once, that's something. But if you can connect twice, that's something else.

A young man in Bangladesh can't even hold hands with a young woman. Without marriage there is no kissing, no holding hands, no going anywhere. So young boys can only go to the brothels for sex before marriage.

There's always this problem in society where people know they need these places for social peace, but the fundamentalists want to shut them down. Sometimes that's for economic reasons, because they want to build a supermarket there. The imam will hold a prayer and say let's get rid of the girls, but on the other hand they're all going there.

Mostly I take photographs in times of research. Whores' Glory was shot in 30 days, 10 days for each segment, but the research for each part lasted a couple of months.