I like photographing the people I love, the people I admire, the famous, and especially the infamous. My last infamous subject was the extreme right wing French politician Jean-Marie Le Pen.
I read like a crazy person, I play the piano, and I'm a photographer. I always say my photography keeps me sane. I spend a lot of time in the darkroom. It's a very solitary, quiet life when I'm not working.
Being a photographer is like listening to music. If you have a camera, by just living your life you're bound to find some things that are worth taking a picture of. You don't have to be an audiophile to have taste in music. It happens through osmosis...
I'm Jewish and respect the traditions of Judaism, but through all the time I've spent photographing nature, I also have a deep appreciation for the power of the universe. No, not the power of the universe, but just celebrating life.
The only thing I have done religiously in my life is keep a journal. I have hundreds of them, filled with feathers, flowers, photographs, and words - without locks, open on my shelves.
I admit that I am hopelessly hooked on the printed newspaper. I love turning the pages and the serendipity of stumbling across a piece of irresistible information or a photograph that I wasn't necessarily intending to read.
Whatever it takes to get the image to reach that level is what that photographer needs to do. And for me, I just have such a love of the tactile and sensuous quality of a black and white silver gelatin print.
Take a random selection of photographs of America in 2012 and 2002 and 1992 and, except for the skinny jeans and the porkpie hats, you'll be hard-pressed to tell the years in which the pictures were taken.
The particular features of the photographic method of detecting atomic particles enabled us to establish the existence of transient forms of matter which had escaped recognition by other methods.
They often ask me to shoot for them. But I say no. I think an old guy like me ought not take pages away from young photographers who need the exposure.
It's true to say that I'm a budding young actor. But I'd rather get my name out there because of my acting rather than who I'm being photographed with.
There are biographies, I looked at a lot of photographs of him, I heard his voice over and over and over again. You get in there and get to know the man by all of those pieces of information.
I say no to photographs. When people take my picture, I feel like they've taken a piece of me, and I can't get that back. It's soul-draining.
The photographs of Iraqi prisoners being subjected to degrading and humiliating treatment by their captors, and the reports of acts of sexual abuse, physical abuse, and other acts of maltreatment shock the conscience.
I began to realise that film sees the world differently than the human eye, and that sometimes those differences can make a photograph more powerful than what you actually observed.
Luckily, many other people tell me how they have had a particular landscape photograph of mine in their office or bedroom for 15 years and it always speaks to them strongly whenever they see it.
We photographers deal in things which are continually vanishing, and when they have vanished there is no contrivance on earth can make them come back again. We cannot develop and print a memory.
There's people outside our house; you get followed by photographers; you can't go out and have a cup of coffee with a friend without someone coming up to you.
Some of the people that I photographed as sticks became much more voluptuous, much rounder, in some cases dramatically so, and I think they're even more beautiful.
With a photograph, you are left with the same modes of interpretation as you are with a book. You ask: 'What do we know about the author and their background? What do I know about the subject?'
There is a considerable amount of manipulation in the printmaking from the straight photograph to the finished print. If I do my job correctly that shouldn't be visible at all, it should be transparent.
