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I'm just the opposite of a lot of photographers who want everything to be really, really sharp. And they're always, you know, stopping it down to F64.

But optics sharp it needs, I ween, To see what is not to be seen.

My lens of choice was always the 35 mm. It was more environmental. You can't come in closer with the 35 mm.

I believe more in precision, when you have the capability, like when you see a mosquito fly and you're able to hit it, you're able to hit it with a couple of short sharp shots... it's a beautiful thing.

Image is powerful, but image is also superficial.

If everyone worked with wide-angle lenses, I'd shoot all my films in 75mm, because I believe very strongly in the possibilities of the 75mm.

I'm kind of a tech geek. With the camera work, I chose to shoot super 16, which has a real tactile feel. I feel it's as authentic as possible; I love the way the grain feels.

I don't have this feeling that 70 is really old.

So often when we historicize material, we use this big wide-angle lens.