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

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 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.

One night I was on my [Navy] ship... on my first cruise crossing the North Atlantic in a horrible storm, chained to the rails so I wouldn't fall overboard. In this lightning and thunder and hail, in this misery, I shouted at the heavens with my little squeaky voice and said, Someday I'm going to be a photographer! It was as big an epiphany as any man ever had.

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.

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.