Sometimes I enjoy just photographing the surface because I think it can be as revealing as going to the heart of the matter.
It's a heavy weight, the camera. Now we have modern and lightweight, small plastic cameras, but in the '70s they were heavy metal.
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 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.
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 shoot a little bit, maybe two rolls, medium format, which is 20 pictures, and if it's not working, I change the position.
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.
I feel very proud of the work from the '80s because it is very bright and colorful.
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