In a portrait, you have room to have a point of view. The image may not be literally what's going on, but it's representative.
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.
As soon as you put something to bed like the 'Women' book, you're never finished. There were portraits of people that I wanted to photograph - it's an endless subject.
At my Rolling Stones' tour, the camera was a protection. I used it in a Zen way.
When I started working for Rolling Stone, I became very interested in journalism and thought maybe that's what I was doing, but it wasn't.
When I started working for Rolling Stone, I became very interested in journalism and thought maybe that's what I was doing, but it wasn't true. What became important was to have a point of view.
Coming tight was boring to me, just the face... it didn't have enough information.
As fantastic as it is to have 'Vogue' and 'Vanity Fair' as places to work, I don't often get to shoot the kind of things I like to photograph in the way I like to photograph.