Editorial photography has to be energetic and visually competitive.

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

[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.

Editorial photography has to be energetic and visually competitive.

Even though I teach with 35mm, my method takes people by surprise, because it isn't fast, and it isn't about hardware or software, or even great results. It's about great process.

There are a lot of ways to talk about the life of a photograph. You can talk about the afterlife of a photograph, and in the end I talk about that, with the Richard Prince picture. But mainly, what I dedicated the book to being about was how photographs begin their life, and where they begin it. And they begin it with the photographer's imagination and instinct and experience.

It matters little how much equipment we use; it matters much that we be masters of all we do use.