Unfortunately they're practically all dead. And many were my closest associates: friends, co-directors, whatever you want to say - my partners in crime.

I would go there quite frequently. I met and became close with John Szarkowski of the Museum of Modern Art. He was incredibly supportive about me working in color.

I think with being blind the one thing you would have going is that you could still feel things, see your way around so to speak. And if you had had the experience of seeing at one time in your life, then you would know what it was like and be able to function. I've said this before, I think I could really photograph blind if I had to.

I had this notion of what I called a democratic way of looking around, that nothing was more or less important.

Photography just gets us out of the house.

There are a lot of unseen projects. When a project is finished, I often physically, and in my mind, set it aside, intending something to happen with it, something that does or does not always happen. Now, a lot of these are being resurrected for the public.

And what we called photojournalism, the photos seen in places like Life magazine, didn't interest me either. They were just not good-there was no art there. The first person who I respected immensely was Henri Cartier-Bresson. I still do.