The context in which a photograph is seen affects the meaning the viewer draws from it.

Back in the 70s it cost 15-20$ a shot for the film, the processing, and the contact sheet, now it’s twice that.

I know that people think of my work from the '70s as American, but I've been going to other places for a long time.

To see something spectacular and recognise it as a photographic possibility is not making a very big leap. But to see something ordinary, something you’d see every day, and recognize it as a photographic possibility - that is what I am interested in.

I'm always interested in finding new aesthetic problems to deal with and challenge myself, even if the aesthetic problem is one of content.

I was photographing every meal I ate, every person I met, every waiter or waitress who served me, every bed I slept in, every toilet I used.

I had a creative hot streak in the 1940s and since then I’ve been pot boiling.