It is so much better to get the right exposure than to have to mess around later with Photoshop.

The fact that a thirteen-year-old project still resonates and can still have a large exhibit with lots of newspaper, magazine and TV press shows the timelessness of the project.

Freelancing in Somalia during their civil war and in Kuwait right after the first Bush War, I had some rather intense experiences that made life in the U.S. seem rather shallow and superfluous.

We live in an idiotic capitalist self-indulgent society where the sex life of a pop star is more important than impending starvation, land mines and child soldiers in Africa, or more interesting than the world's biggest man-made natural disaster in oil fields of the Middle East.

Everyone thinks it would be great to work for National Geographic. So did I.

It's important to get a translator who will ask the questions in a sensitive and thoughtful way. Knowing the ethnicity issues, the tribal issues in some places...who your translator is can mean a lot.

I like to move as much as possible and look at reflections, weird angles, subjects from airplanes and cranes. I feel sorry for the Jabba the Hut types who can't do this. Once an obese student told me that he wanted to be a war photographer. I said, "Really?" and then I shot him.