Think about the photo you want to make beforehand. Then do it, but also don't be blind to better options that present themselves at the location. Be flexible, and be patient. Leave ego at home. Get the photo before you yell at the asshole, not after.

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.

With the Internet, you can get lots of info in advance, but a local person who knows how to work the system is invaluable.

Think about the photo you want to make beforehand. Then do it, but also don't be blind to better options that present themselves at the location. Be flexible, and be patient. Leave ego at home. Get the photo before you yell at the asshole, not after.

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.

RAW is very forgiving. I was photographing a farm woman in Ecuador cooking over a small fire and my fill flash didn't go off a few times. I was about to delete the RAW files but decided to play with the curves first because I like the composition. It turned out that the image, although underexposed by two stops, was better than the fill-flashed images because the fire was the only source of illumination and it looked more real.

Before digital, I spent thirty years shooting color transparencies, which are very unforgiving of exposure. A half stop can make or break a good photo on slide film.