One man's fantasy is another man's job.

I always prefer to work in the studio. It isolates people from their environment. They become in a sense... symbolic of themselves. I often feel that people come to me to be photographed as they would go to a doctor or a fortune teller - to find out how they are.

A portrait photographer depends upon another person to complete his picture. The subject imagined, which in a sense is me, must be discovered in someone else willing to take part in a fiction he cannot possibly know about.

I've photographed just about everyone in the world. But what I hope to do is photograph people of accomplishment, not celebrity, and help define the difference once again.

I am, and forever will be, devastated by the gift of Audrey Hepburn before my camera. I cannot lift her to greater heights. She is already there. I can only record. I cannot interpret her. There is no going further than who she is. She has achieved in herself her ultimate portrait.

I can see myself as a very old man in a terrific wheelchair. Only, I won't be photographing the tree outside my window, the way Steichen did. I'll be photographing other old people.

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.