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.

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 believe that the medium of photography prevails entirely as an act of faith in the souls of those who love and practice it. And so every photograph becomes another subtle variation on the theme of the medium itself.

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.

I have been a photographer all my life....and have made photographs of many things and for many reasons. But one thing that becomes more and more apparent is that I am simply only as good as my next photograph. That's the one that counts the most....For this reason I find it a delight to face a new day, and to develop that new roll of film. It's a great way to live.

I'm too impatient to use a tripod.

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.