…Photography’s like this baby that needs to be fed all the time. It’s always hungry. It needs to be read to, taken care of. I had to nourish my work with different approaches. One of the reasons that I went to Vanity Fair was that I knew I would have a broader range of subjects – writers, dancers, artists and musicians of all kinds. And I wanted to learn about glamour. I admire the work of photographers like Beaton, Penn, and Avedon, as much as I respected grittier photographers such as Robert Frank. But in the same way that I’d had to find my own way of reportage, I had to find my own form of glamour.