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

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.

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.

I don't have a burning desire to go out and document anything. It just happens when it happens. It's not a conscious effort, nor is it a struggle. Wouldn't do it if it was. The idea of the suffering artist has never appealed to me. Being here is suffering enough.

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

I don't look at other photographs much at all. I don't know why. I study my own a lot.