Photography just gets us out of the house.

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

I've also never had favorite pictures. Or subjects. I have this discipline of treating everything equally-I used to say "democratically."

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

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’ve always assumed that the abstract qualities of [my] photographs are obvious. For instance, I can turn them upside down and they’re still interesting to me as pictures. If you turn a picture that’s not well organized upside down, it won’t work.

A lot of my friends were mostly working in black-and-white-people like Lee Friedlander, Diane Arbus, Garry Winogrand, and others. We would exchange prints with each other, and they were always very supportive of what I was doing. What each of us was doing photographically was entirely different, but we were basically coming from the same place, sort of like a club.