For me, a good portrait shows the fragility and humility of the person, and at the same time a strength, a resting in themselves. 

 Within me it is all one continuum. I’m not just drifting around, taking a picture here and there. Each type of work is carefully considered in its own right. On the other hand, the great advantage is my liberty to do all these things. 

 People haven’t developed much imagination over the past 150 years to invent new forms of presentation. And so it’s a pretty limited medium as an exhibition medium. It’s very much about, “How can I get this excitement that I have from a print lying on my table into the gallery?” 

 If you go into a shoot with an idea, you only get that idea and you cut yourself off from the chance of getting a much better picture. And I guess that’s the problem that a lot of photographers probably have—that they don’t trust the situation they are putting themselves into. So they have a safety net and they don’t even try to leave that. But I find it intriguing to expose myself to somebody that I’ve not met, and see what happens. 

 Photography is only a continuation of sculpture and painting. I see myself in the tradition of picture-making... Art that stays has invented new ways of picture-making. If I can invent something once a year, for 50 years, I’m very happy.