Of course, today at the Karolinska Institute, I am working with some top experts - even some Nobel prize winners. They have the latest news and I have the technique.
I have some friends, colleagues here at the Karolinska Institute and even in the United States and many other countries too, because we are working together as scientists.
I've always thought of the project as a sort of sexually driven digestive system, that it was a consumer and a producer of matter. And it is desire driven, rather than driven by hunger or anything like that.
Growing up, I thought I was white. It didn't occur to me I was Asian-American until I was studying abroad in Denmark and there was a little bit of prejudice.
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.
I really knew when I started photographing I wanted it to be a way of knowing different cultures, not just in other countries but in this country, too, and I knew I wanted to be a voyeur.
If I hadn't become a photographer, I would have loved to become a doctor. I would have loved to have done something that actually helped people and changed their lives.
But I was in awe of the painters; I mean I was new in New York, and I thought the painting that was going on here was just unbelievable.
I think you always have to find where the boundary is in relation to the context in order to be able to kind of articulate how you want the space to interact with the viewer.
Now when you have administrators deciding what sexuality is, and what's a taboo and what's not in terms of content, you got guys, like, Trent Lott who equates homosexuality with a disease.
Basically, what you really want to do is try to engage the viewer's body relation to his thinking and walking and looking, without being overly heavy-handed about it.
From the top of the quarry cliffs, one could see the New Jersey suburbs bordered by the New York City skyline.
Some artists imagine they've got a hold on this apparatus, which in fact has got a hold of them. As a result, they end up supporting a cultural prison that is out of their control.
As I have practiced it, photography produces pleasure by simplicity. I see something special and show it to the camera. A picture is produced. The moment is held until someone sees it. Then it is theirs.
I had luck, but I worked hard and I suffered. It's not just photography I'm talking about. It's about whatever dream you want it to be.
In almost every photograph I have ever made, there is something I would do to complete it. I take that to be the spirit hole or the deliberate mistake that's in a Navajo rug to not be godlike, but to be human.
My father taught me photography. It was his hobby, and we had a small darkroom in the fruit cellar of our basement. It was the kind of makeshift darkroom that was only dark at night.
My allegiance was always to the act. I wanted them to be happy. I wasn't owned by a magazine or a record label. And I was a very naughty boy to boot!
I had done a directing producing job before on 'Big Day' and 'Jake in Progress,' and those are two shows where I directed the pilot and stayed with it in series.
I think it's not uncommon for new television shows to spend certainly the first year, but without a doubt, like, the first eight or ten episodes, kind of figuring out what the show is.
Ultimately, I made my range wider because I wanted to suit each publication that I worked for. Talk about reinvention - I'm like the Madonna of photography.
