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 am afraid that there are more people than I can imagine who can go no further than appreciating a picture that is a rectangle with an object in the middle of it, which they can identify.

Whether a photo or music, or a drawing or anything else I might do—it’s ultimately all an abstraction of my peculiar experience.

I don't think about what camera I should use that much. I just pick up the one that looks nicest on the day.

Half voluntarily, half Winston's older brother [William] would take me in, saying, "Daddy, I think you oughta do this." And I'd say, "I think you're right, maybe I do need it." Sometimes a week later I'd leave the place; sometimes I'd stick it out for a month.

Black-and-white photography, which I was doing in the very early days, was essentially called art photography and usually consisted of landscapes by people like Ansel Adams and Edward Weston. But photographs by people like Adams didn't interest me.

I only ever take one picture of one thing. Literally. Never two. So then that picture is taken and then the next one is waiting somewhere else.