I don't know, the older I get, the more complicated I think I get, which is a hindrance.

I think the digital camera would record that information too fast for me.

If you're not going to tell something if you're not going to expose something it's real easy to go in and photograph from behind the camera and not expose any of your weaknesses.

We all take from our artistic endeavors what we as individuals need, to make the process unique and fulfilling to ourselves.

To me, that is the essence of me as a photographer. It is those ideas, working with them, formulating them and eventually putting them down on paper, photographing them and then going on to the next step.

My son does a little photography, but he's not involved the way I was.

I tried painting for a short time and realized that I was not a child prodigy at painting.

No matter how fast I could do it with the digital camera I don't think I would get the same thing out of it. The passion I have for formulating an idea stands alone. It is the important essence of what I do.

If no one wants to jump into a Kim Weston and drive it down the street. That's fine with me I don't care. I know my work is good and I know it's serious work.

Growing up, I didn't give my grandfather's photography a second thought. I wasn't involved in his work, except that I helped my dad print his negatives.

Well, now I'm an old photographer and I still don't sell.

I didn't want to travel. I didn't want to leave my family. I heard all these stories from Dad about not having Edward around when he was young, and I didn't want that to happen.

Uncle Brett had a definite vision that he was after, I don't think having a famous father affected him much.

I think all photographers fit their vision to their personality.

A lot of my work comes from my life experiences.

I was always confident in my art and in myself as an artist.

In front of the camera I look and I see visually what I've created.

What I had to prove was that I had a dedication and a desire and a passion to do the work and everything else would fall in place because I have a vision that I want to portray and it did and I do it. I don't sell anything.

Being a shy person, I always felt strange outside with my camera.

I'm not photographing the model in the classic sense; the model is playing a part in my photographs. It's more like theater. I always work with models I know, and I let them participate in deciding how to act their part.

I felt no pressure that my grandfather was famous and my uncle was famous.

As an artist you have to have a certain amount of arrogance.

My surprises come usually once I start rolling and photographing.

Any nude is a something you setup in front of the camera.

I photographed rocks and trees and tide pools and nudes and all that stuff for years and years. Until 20 years ago when I found that I could do it in the studio and never have to travel.

Galleries, and they're all the same, and rightly so, they sell work.

You work on an idea, your first interpretation is very raw and you work it and you work it and it gets polished and polished. It gets to a certain level and then it comes down off that peak.

I just love photographing. I don't do it for anyone else.

I don't know, the older I get, the more complicated I think I get, which is a hindrance.

The darkroom is just the means to an end.

That's not to say that some day I won't go outside again, but I'm having a great time working on this process.

I don't need the money I generate from photography to support myself.

The gallery is generating work for the masses.

I don't think at that time I realized how important it was and how important it was for me to be here and carry on that legacy in our family of being a photographer.

It doesn't matter what you do, as long as you're fulfilling that inner need, and for me the need is more the process than the finished product. My photographs are stories of the process.

The great thing about this thing we call art is that it has no rules.

I was a good fielder in the gully in my college days. But in the outfield, I was not such a good fielder.

For cool things to happen, you have to get out of your comfort zone.

Pastry school is great for a foundation and introducing you to basic techniques, but it is really up to the chefs to practice, practice, practice and refine their techniques.

Internet penetration in Italy is quite low and the Berlusconi media machine controls most of what people see.

Companies in Europe should stop trying to do the U.S. version of a European idea.

Argue for your limitations, and sure enough, they're yours.

I worry unnecessarily.

Music is like a really sacred, awesome thing. That first 45 minutes to two hours that you're on stage spending time with music every night is always really great.

For more than eight decades, Washington has been my hometown. My whole orientation is toward this place.

I have never, for better or worse, thought about a 'career path' or anything like that.

We have to treat smoking as a major public health issue. We have to reduce the extent to which young people start smoking, and one of the issues is the extent to which display of cigarettes and brands does draw young people into smoking in the first place.

The ease with which barley may be substituted directly for wheat in human food and its usefulness to replace wheat milling by-products as feed in the production of the milk supply render its abundant production important.

Welcome to the 77th and last Oscars.