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.

My best work is often almost unconscious and occurs ahead of my ability to understand it.

I'm very involved in photographing America now, so I don't think of faraway places, as I did when I was young.

Exotic novelty. My statement to [people] is always, well, set this picture in your home town, is it still an interesting picture? Or is it just exotic? Would I care about this same picture minus its exoticism?

A mad, keen photographer needs to get out into the world and work and make mistakes.

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.

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