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.

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

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.

I had the attitude that I would work with this present-day material and do the best I could to describe it with photography, not intending to make any particular comment about whether it was good or bad or whether I liked it or not. It was just there, and I was interested in it. That's what I still do 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.

I have some that I have become a well-known-even infamous-client of, mostly in Memphis. But a great deal of that is legend and doesn't have anything to do with truth.