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The only way to understand something is to be confronted by something that is difficult to understand.
The contest between form and content is what, is what art is about - it's art history. That's what basically everybody has ever contended with. The problem is uniquely complex in still photography.
Photography appears to be an easy activity; in fact it is a varied and ambiguous process in which the only common denominator among its practitioners is in the instrument.
One color alone means nothing. I acts as in a vacuum, with no other colors to relate to. It is only when colors relate to other colors that the fun begins.
Sometimes without shooting a picture germinates in your head. Other times, you keep taking pictures of the same thing and watch the images mature and grow.
The central act of photography, the act of choosing and eliminating, forces a concentration on the picture edge - the line that separates in from out - and on the shapes that are created by it.
At a fundamental level photography is much like pointing, and all of us occasionally point at things: look at that, look at that sailboat, look at that tree, etc. etc.
When you're shy, a camera becomes an entry into life. It was a kind of shield I could hide my shyness behind, and it allowed me to become an active observer rather than a passive one.
There are movies that change the whole way in which films are made, like Klute, where Gordon Willis’s photography on the film is so textured, and, they said, too dark.
I am a big fan of photography, more of being behind the camera - so when I get the opportunity to work with such great photographers, I always try and learn from their technique.
When you pose for a photograph, it's behind a smile that isn't yours. You are angry and hungry and alive. What I value in you is that intensity. I want to make portraits as intense as people.