It occurs to me that at the beginning one works passionately to learn photography. This takes years, and the craft is usually formed during this period. Then as time passes one finds oneself more in the role of serving the medium... Then, as in the example of several masters that I have been privileged to know personally, it appears that by having devoted oneself totally to the medium, one becomes photography.

I embrace the abstract in photography and exist on a few bits of order extracted from the chaos of reality.

When I was working with Robert Frank, he told me that there was absolutely no relationship between cinema and photography. I challenge that. Surely what you know as a photographer must impact how you set up your shots.

The French have a different take on photography than Americans do. They consider photography to be absolutely parallel to literature. That often makes for a deeper perception of the work.

I'm interested in producing truncated shapes in proportion to the frame and composition, shapes that are preferably luminous. I'm not interested in the full-figure. I want to abstract forms.

My enthusiasm for joining the New York Film Academy is predicated on my personal explorations into video as well as a sense of responsibility to share my extended experience of photography with committed students in both mediums.

I'm too impatient to use a tripod.