I don't see many artists who are not trying to bring their work to the public - -to the contrary I see artists nearly desperate to get attention for their art and, failing that, often for themselves.

I like to make people a little uncomfortable. It encourages them to examine who they are and why they think the way they do.

Like all photographers, I depend on serendipity, and when you're photographing children there's often an abundance of it. I would have an idea of what a photograph would look like and then something would happen - a dog might lumber in and become a critical element. I pray for what might be referred to as the angel of chance.

I struggle with enormous discrepancies: between the reality of motherhood and the image of it, between my love for my home and the need to travel, between the varied and seductive paths of the heart. The lessons of impermanance, the occasional despair and the muse, so tenuously moored, all visit their needs upon me and I dig deeply for the spiritual utilities that restore me: my love for the place, for the one man left, for my children and friends and the great green pulse of spring.

When the good pictures come, we hope they tell truths, but truths 'told slant,' just as Emily Dickinson commanded.

One of the things my career as an artist might say to young artists is: The things that are close to you are the things you can photograph the best. And unless you photograph what you love, you are not going to make good art.

It is easier for me to take ten good pictures in an airplane bathroom than in the gardens at Versailles.