I don't really remember the day when I stood behind my camera with Henry Kissinger on the other side. I am sure he doesn't remember it either. But this photograph is here now to prove that no amount of kindness on my part could make this photograph mean exactly what he.. or even I.. wanted it to mean. It's a reminder of the wonder and terror that is a photograph.

I always prefer to work in the studio. It isolates people from their environment

Just advertising departments with legs and high heels.

You can't get at the thing itself, the real nature of the sitter, by stripping away the surface. You can only get beyond the surface by working with the surface. All that you can do is manipulate that surface - gesture, costume, expression - radically and correctly.

If each photograph steals a bit of the soul, isn't it possible that I give up pieces of mine every time I take a picture?

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.

When I was a boy, my family took great care with our snapshots. We really planned them. We made compositions. We posed in front of expensive cars, homes, that werent ours. We borrowed dogs. Almost every family picture taken of us when I was young had a different borrowed dog in it.