Photographer

One of the great things about being an older person is that I am very aware of the scope of the work and the historical sense of it. It's bigger than me.

I sometimes find the surface interesting. To say that the mark of a good portrait is whether you get them or get the soul - I don't think this is possible all of the time.

What I end up shooting is the situation. I shoot the composition and my subject is going to help the composition or not.

I'm more interested in being good than being famous.

When you go to take someone's picture, the first thing they say is, what you want me to do? Everyone is very awkward.

A very subtle difference can make the picture or not.

I've created a vocabulary of different styles. I draw from many different ways to take a picture. Sometimes I go back to reportage, to journalism.

My hope is that we continue to nurture the places that we love, but that we also look outside our immediate worlds.

I was with Tom Wolfe at the launch of Apollo 17, which led him to 'The Right Stuff.'

I've learned to create a palette, a vocabulary of ways to take pictures.

I try to be home for dinner, but I'm not there enough. I sometimes feel I'm still fumbling, getting it wrong, but I make my way.

There must be a reason why photographers are not very good at verbal communication. I think we get lazy.

As a young person, and I know it's hard to believe that I was shy, but you could take your camera, and it would take you to places: it was like having a friend, like having someone to go out with and look at the world. I would do things with a camera I wouldn't do normally if I was just by myself.

When I take a picture I take 10 percent of what I see.

At my Rolling Stones' tour, the camera was a protection. I used it in a Zen way.

There's not enough talked about in terms of growing older. You start to lose your body.

I realized I couldn't be a journalist because I like to take a side, to have an opinion and a point a view; I liked to step across the imaginary boundary of the objective view that the journalist is supposed to have and be involved.

I was scared when I went to Conde Nast. I had heard horror stories about how they used you up and then spit you out and went on. But there was this great history of photography that had been done there.

I didn't want to let women down. One of the stereotypes I see breaking is the idea of aging and older women not being beautiful.

It's a heavy weight, the camera. Now we have modern and lightweight, small plastic cameras, but in the '70s they were heavy metal.