Aside from women, I don't know. My work doesn't function the way Robert Frank's did.
In 1979, I received a phone call from Ansel Adams asking me if I would be willing to consider coming to work for him. I was teaching photography in Southern California at that point.
Fashion had no interest for me. I would take photographs in the studio. I would go back home, and my wife would say, 'What is the fashion like for this season?' And I would say, 'I have no idea.'
I myself was a wedding photographer when I was, like, 16.
Peter Lindbergh is the most charming man - I did a Gap commercial for him, and he was just so sweet.
I look at my first appointment book from 1965 and I get dizzy. I was constantly in a phone booth calling photographers.
Maintaining the dignity of my subjects has grown to be, over the years, an imperative in my work, both in the taking of the pictures and in their presentation.
The more you do, the more you realize there is to do, what a vast object the metropolis is, and how the work of photographing could go on forever.
By default, I am a travel photographer. I work on a combination of commissions and personal projects that take me around the world.
I had done a lot of rock 'n' roll photography when I was in college. I was one of many photographers who worked for The Doors, Jefferson Airplane, and all of these rock 'n' roll bands.
Photography to the amateur is recreation, to the professional it is work, and hard work too, no matter how pleasurable it my be.
I was so impressed with the work we were doing and I was very involved ideologically in photography - that I arranged an exhibition at the College Art Association. The first exhibition I picked the photographs and so on and we had an exhibition in New York.
When you work with kids, especially, you want to be ready to turn the camera on at a moment's notice.
I would love to work with Mario Testino. I respect all the work he has done and is doing.
