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I'm most interested in finding the strangeness and irony in reality. That's my forte.
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Reality is always extraordinary.
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I don't like gimmicky pictures; I've always hated them. I like pictures that are very clear and clean, whether you're a great street photographer - somebody like Friedlander or Winogrand or Cartier-Bresson - or whether you're a portraitist, like Irving Penn.
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I love to photograph people in their own environment. It offers clues to what's important in their lives.
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What I'm trying to do is make photographs that are universally understood... that cross cultural lines. I want my photographs to be about the basic emotions and feelings that we all experience.
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In 1965, I was in Trabzon in eastern Turkey on a Fulbright scholarship. I would get up every morning and walk around the streets and look for photographs.
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Nowadays shots are created in post-production, on computers. It's not really photography.
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In every successful still photographic project that I have completed, there has always been a turning point in the story where I felt that perhaps I was working on something that could be very special.