Photographer

I feel a responsibility to my backyard. I want it to be taken care of and protected.

I shoot a little bit, maybe two rolls, medium format, which is 20 pictures, and if it's not working, I change the position.

What I learned from Lennon was something that did stay with me my whole career, which is to be very straightforward. I actually love talking about taking pictures, and I think that helps everyone.

As fantastic as it is to have 'Vogue' and 'Vanity Fair' as places to work, I don't often get to shoot the kind of things I like to photograph in the way I like to photograph.

I wish that all of nature's magnificence, the emotion of the land, the living energy of place could be photographed.

I went to Yosemite as an homage to Ansel Adams. I could never be Ansel Adams, but to know that's there for us - there's so much for us in this country.

My body was so instrumental to how I took pictures: it was practically a dance. I used to use my legs a lot; now I'm a little more sedentary.

In a portrait, you have room to have a point of view and to be conceptual with a picture. The image may not be literally what's going on, but it's representative.

I'd like to think that the actions we take today will allow others in the future to discover the wonders of landscapes we helped protect but never had the chance to enjoy ourselves.

Lennon was very helpful. What he taught me seems completely obvious: he expected people to treat each other well.

What I am interested in now is the landscape. Pictures without people. I wouldn't be surprised if eventually there are no people in my pictures. It is so emotional.

No one ever thought Clint Eastwood was funny, but he was.

I admired the work of photographers like Beaton, Penn, and Avedon as much as I respected the grittier photographers such as Robert Frank. But in the same way that I had to find my own way of reportage, I had to find my own form of glamour.

Everyone keeps asking you for pictures, and after a while you get tired of that. I always say, They are in the archives.

In a portrait, you have room to have a point of view. The image may not be literally what's going on, but it's representative.

As much as I'm not a journalist, I use journalism. And when you photograph a relationship, it's quite wonderful to let something unfold in front of you.

My father was stationed at Clark Air Base in the Philippines, which had a hospital where they brought casualties straight from the battlefield. My mother was kind of a sophisticated bohemian, and my father was in the military to make a living.

The camera makes you forget you're there. It's not like you are hiding but you forget, you are just looking so much.

A thing that you see in my pictures is that I was not afraid to fall in love with these people.

I still need the camera because it is the only reason anyone is talking to me.