[b. 1947] portraiture and documentary photographer
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Physically, looking through a giant ground glass and seeing how the world looks is amazing. When composing a shot, I see a combination of the real facts of my subject and the camera's transformation of their image at the same time.
People are self-conscious at first. But it gets better as we kind of dance with each other... it’s like a date, in a way. We get more comfortable together. The best pictures are usually the last ones.
I never get tired of photographing people, because they are all very different. They smell different, they look different, I engage with them differently. My interest is intense and changing, one slice of the life cycle at a time.
I’m not very good at working for other people. I mostly make pictures because of some whim. With luck, I get a glimpse of something, and then it turns into an adventure, and then into a project.
[Digital is] the future. People will do terrific things in it, and it’s maybe better for color now. But I’m not interested in the way [this work] looks. So much is changed—veracity is lost. The quality of witness is compromised.
Photograph five men you would like to sleep with without them knowing.
