I'm pretty fast with a camera when I have to be. However, I think it's irrelevant.

If you take a good look at the book [ Stock Photographs], it's largely a portrait gallery of faces - faces that I found dramatic. And some of those turned out to be reasonably dramatic photographs. But that's all it is, I think.

Just think how minimal somebody's family album is. But you start looking at one of them, and the word everybody will use is "charming." Something just happened. It's automatic, just operating a camera intelligently.

When the woman is attractive, is it an interesting picture, or is it the woman? I had a lot of headaches with that, which was why it was interesting. I don't think I always got it straight.

I don't think anything happens without the press, one way or the other. I think it's all done for it. You saw it start, really, with Martin Luther King in Birmingham. He did the bus thing. And I don't think anything that followed would have happened if the press hadn't paid attention.

I had an agent. When [Edward] Steichen was doing "The Family of Man", I went up to the office one day. I think Wayne Miller, who assisted Steichen with "The Family of Man," was up there and pulled out a bunch of pictures. So I got a message: "Take these pictures, call Steichen, make an appointment and take these pictures up there." And that's how I met him.

It was interesting; it's an interesting photographic problem [those demonstrations in the late Sixties]. But if I was doing it as a job, I think I'd have to get paid extra.

Well, I'm not going to get into that. I think that those kind of distinctions and lists of titles like "street photographer" are so stupid. I'm a photographer, a still photographer. That's it.

I think that there isn't a photograph in the world that has any narrative ability... They do not tell stories - they show you what something looks like. To a camera.