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.

There is no particular reason to search for meaning.

I don't think that has ever changed. I don't think I see any more or any less than I did years ago. Let's say I have the print of a photo taken in the 1960s and one I took a month ago. I think it's pretty difficult to tell any difference, personally.

I like to photograph democratically.

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.

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.

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.