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.

The immediate reviews were very hostile, but they didn't bother me-I had the attitude that I was right. The poor guys who were critics just didn't understand the works at all. I was sorry about that, but it didn't weigh on my mind a bit.

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.

I quite frequently don't look through the camera, which is very close to being blind.

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.

Only the few times I've been to so-called treatment centers, which were a complete waste of money and useless. I didn't know what I was doing at the time, because I was always drunk when I checked in.

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.