Coming tight was boring to me, just the face... it didn't have enough information.
When you go to take someone's picture, the first thing they say is, what you want me to do? Everyone is very awkward.
What I end up shooting is the situation. I shoot the composition and my subject is going to help the composition or not.
My early childhood equipped me really well for my portrait work: The quick encounter, where you are not going to know the subject for very long. These days I am much more comfortable with the fifteen minute relationship, than I am with a life long relationship.
When I was younger, I did things with a camera I would not do by myself. I remember going down to the docks in San Francisco and asking a fisherman if he would take me out on his boat. I would never do that without a camera.
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.
The pictures of my family were designed to be on a family wall, they were supposed to be together. It was supposed to copy my mother's wall in her house.
I shoot a little bit, maybe two rolls, medium format, which is 20 pictures, and if it's not working, I change the position.
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