Marilyn Monroe gave more to the still camera than any actress, any woman I've ever photographed; infinitely more patient, more demanding of herself and more comfortable in front of the camera than away from it.

The way someone who's being photographed presents himself to the camera, and the effect of the photographer's response on that presence, is what the making of a portrait is all about.

There's always been a separation between fashion and what I call my 'deeper' work. Fashion is where I make my living. I'm not knocking it. It's a pleasure to make a living that way. It's pleasure and then there's the deeper pleasure of doing my portraits. It's not important what I consider myself to be, but I consider myself to be a portrait photographer.

And if a day goes by without my doing something related to photography, it's as though I've neglected something essential to my existence, as though I had forgotten to wake up. I know that the accident of my being a photographer has made my life possible.

The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion.

Real people move, they bear with them the element of time. It is this fourth dimension of people that I try to capture in a photograph.

I am always stimulated by people. Almost never by ideas.