My memory of those places is better than my pictures. That’s why I get much more satisfaction out of shooting thematic work that has to do with an idea that I’m searching for, or searching to express.

My wife and I are affiliated with a temple here in Los Angeles. We feel very close to the congregation and to the rabbi, who happens to be my wife’s cousin and who I admire greatly. I talk to him regularly but I consider myself more spiritual than religious.

I certainly don’t live in a kosher home although I was raised in a kosher environment.

I also do my own processing, so it means a big commitment in lab time.

I’m touched by the idea that when we do things that are useful and helpful – collecting these shards of spirituality – that we may be helping to bring about a healing.

I deal with this spiritual issue every day – either shooting or processing or sorting or discussing or having conversations – I’m in constant contact with it.

My memory of those places is better than my pictures. That’s why I get much more satisfaction out of shooting thematic work that has to do with an idea that I’m searching for, or searching to express.

This time, there have been a lot of interesting discussion about the subject matter and I’ve had a good time talking about it. And in some of the cases, I’m not just signing books; I’m showing slides and talking about the work.

Logic is the beginning of wisdom, not the end.

For me it’s all about personal vision; is there something about a subject that uniquely speaks to me.

I am not Spock.

That is the exploration that awaits you! Not mapping stars and studying nebula, but charting the unknown possibilities of existence.

I became involved in photography when I was about thirteen years old.

Which is probably the reason why I work exclusively in black and white… to highlight that contrast.

I’m attracted to images that come from a personal exploration of a subject matter. When they have a personal stamp to them, then I think it becomes identifiable.

Other times, you’re doing some piece of work and suddenly you get feedback that tells you that you have touched something that is very alive in the cosmos.

That’s the most difficult issue for me… to find a subject that holds my interest long enough that I’m prepared to go to work and spend the time and energy to shoot the subject.

I think it’s my adventure, my trip, my journey, and I guess my attitude is, let the chips fall where they may.

Most of my images have been done in-studio, under very controlled lighting conditions. There have been a few that have been shot in nature, but even then they were shot almost exclusively at night, and again, under controlled lighting conditions.

You proceed from a false assumption: I have no ego to bruise.

My dream concept is that I have a camera and I am trying to photograph what is essentially invisible. And every once in a while I get a glimpse of her and I grab that picture.

What I’m exploring right now is the subject of my own mortality. It’s an area that I’m curious about, and I’m researching it to see if there’s a photographic essay in it for me. If images don’t start to come, I’ll go to something else.

The book tour has been really interesting and very gratifying. I have not book toured before. I’ve never had quite as much pleasure, as much satisfaction.

A neighborhood friend showed me how it was possible to go to a camera shop and pick up chemicals for pennies… literally… and develop your own film and make prints.

Some words having to do with the death of the people in the World Trade Center attack had been added, and when I got to it, I had this overwhelmingly emotional experience. I struggled to get through the words; tears were streaming down my cheeks.

I’ve been working with photography for many years.

That’s true, because I’m a photographer now.

Years ago – in the 70s, for about a decade – I carried a camera every place I went. And I shot a lot of pictures that were still life and landscape, using available light.

I became hooked on the idea of being able to shoot an image and process it myself, and end up with a product.

You know, for a long time I have been of the opinion that artists don’t necessarily know what they’re doing. You don’t necessarily know what kind of universal concept you’re tapping into.

The miracle is this: the more we share the more we have.

But if you’re talking about fine art work, then I think you have to ask yourself some pretty deep questions about why it is you want to take pictures and what it is you want to say.