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.

Often people ask what I'm photographing, which is a hard question to answer. And the best what I've come up with is I just say: Life today.

Whatever it is about pictures, photographs, it's just about impossible to follow up with words. They don't have anything to do with each other.

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.

Generally, that's what happens-a fundamental rotting of the idea. They woke up with the wrong idea. It's just like music: If you don't have an innate love or calling for it, then no matter how much you study or how well you can play by looking at the score, it doesn't mean that you're going to make really good music.

There's plenty of film out there, and quadrillions of cameras that use film - I don't think it makes much sense not to use it. The thing that's going out is the manufacturing of the paper. Incidentally, all these years my wife has told me that I'm color-blind.

My friend who I went to boarding school with was interested in photography. He insisted that I buy a camera and marched me downtown.