First of all, I appropriate photographs.In presenting the Richard Prince photograph I tried to be as neutral as I could be. I put down the fact of it. I wanted it to be the same thing he wanted it to be, an open ended invitation to think about authorship, and who owns a created work. So I pair it with my appropriated picture.

We know that photographs inform people. We also know that photographs move people. The photograph that does both is the one we want to see and make.

...just like some people's instinct to photograph is triggered by vacation... assignments might be that to me and that's why I've built my life around assignments. That was the way to live the photographic life.

The neatest part of this book I'm working on - to me - are the pictures that show the process... Because photographers... think things through and... it isn't luck, and it isn't random and it isn't accidental. It isn't.

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

I had luck, but I worked hard and I suffered. It's not just photography I'm talking about. It's about whatever dream you want it to be.

The class that I teach is called "The Life of a Photograph." It takes up the question, of the billion photographs that were taken today, how many will have a life, and why? So the new reality has made the question more pertinent, not less pertinent.