[In the late 80's] that's the first time I heard about that astonishing idea [that most photographs would be taken on telephones]. And now I've been watching the tsunami of images.

My dad had been an ardent amateur photographer, and he taught me to compose a photograph from the back to the front, and then populate the picture.

I was known as a 35-mm photographer with a view-camera mentality.

That's who comes to my workshops. I jokingly tell my students that the class could be called "Your photographs: Better."

[In the late 80's] that's the first time I heard about that astonishing idea [that most photographs would be taken on telephones]. And now I've been watching the tsunami of images.

There are things that I teach, about building photographs, and that's why people come to my workshops. When people come to the workshops, they're consumed with seeking the subject, and I teach seeking the setting.

It's a little bit like talking about the life of writing. The life of writing may be about many things, but it always begins with the writer. With the kernel of an idea, or a character, or an idea or a theme, or even an outcome. But for documentary photographers, photographs begin at that intersection of the real world and the imaginative inner world.