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.

Above all, it's hard learning to live with vivid mental images of scenes I cared for and failed to photograph. It is the edgy existence within me of these unmade images that is the only assurance that the best photographs are yet to be made.

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.

Teaching has never been far from my life. It's the most natural thing I do. Apparently, as I said, I cannot not do it.

My least favorite photographer to have would be myself. Someone who wanted a career at National Geographic. Because it's almost mathematically impossible to achieve that.

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.

As I have practiced it, photography produces pleasure by simplicity. I see something special and show it to the camera. A picture is produced. The moment is held until someone sees it. Then it is theirs.