I don't work off lights and angles; I work off emotions. A mood that I create.

I didn't want to be a photographer. I wanted to play music and be a rock star. I didn't have a mentor telling me to take pictures and encouraging me. But when the music thing didn't work out, I became a photographer's assistant. And then I caught the bug.

At the beginning, people laughed at me because I was using snappies. Sometimes, a celebrity would look at my camera and go, Oh, I've got one of those. I'd feel like handing it to them and saying, Well, you take the pictures then. But I like using snapshot cameras because they're idiot-proof. I have bad eyesight, and I'm no good at focusing big cameras.

People go, 'What do you want to do?' What do you want to do? What are you feeling? Going into a shoot not fully knowing what I want to do—that excitement, that thing that happens, is just so powerful and makes such great pictures.

I don't work off lights and angles; I work off emotions. A mood that I create.

I like using snapshot cameras because they're idiot-proof. I have bad eyesight, and I'm no good at focusing big cameras.

I want my photos to be fresh and urgent. A good photograph should be a call to arms.