There are some people who become best friends with everyone they photograph. There are people that I really like and admire and respect, but in a way I think it's better to keep a distance. I think you get better pictures of people that you don't know very well.
Usually my ideas for work have revolved around my interest in people, especially people that live on the edges of society.
The obsessions we have are pretty much the same our whole lives. Mine are people, the human condition, life.
I'm just interested in what makes a photograph.
I work in colour sometimes, but I guess the images I most connect to, historically speaking, are in black and white. I see more in black and white - I like the abstraction of it.
Photograph the world as it is. Nothing's more interesting than reality.
Reality is always extraordinary.
I was fascinated by my own prom pictures.
Nowadays shots are created in post-production, on computers. It's not really photography.
One of my all-time favorite photographers is Irving Penn. I wish I could have watched him work.
I'm not against digital photography. It's great for newspapers. And there are photographers doing great work digitally. When they use Photoshop as a darkroom tool, that's fine, too. But at this point of my life, after so many years, I don't really want to change, and I still love film.
I respect newspapers, but the reality is that magazine 'photojournalism' is finished. They want illustrations, Photoshopped pictures of movie stars.
I wanted to travel from the beginning. As a kid, I used to dream about airplanes, before I ever flew in one.
I just think it's important to be direct and honest with people about why you're photographing them and what you're doing. After all, you are taking some of their soul.
When you're working on a film, it's almost like photographing paintings at a museum. You're photographing somebody else's world. I just try and interpret it and make it real, and make it what the actors are about, what the director is about, and what the film is about.
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