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.

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

After I'd produced about two dozen pen and ink drawings, one evening I decided that they needed poems to accompany them. I still have no idea where that notion came from, but it took me about two hours to produce verses for these creatures.

Yeah, that's what kind of, we get the idea a little bit yeah, because other people from different countries also try as hard as they can to get a medal or a gold medal in the Olympic Games. And you know, if they can work hard, we can work hard as well.

What's fascinating is that when you write a script, it's almost a stream of consciousness. You have an idea that it means something, but you're not always sure what. Then when you get on the set, the actors teach you.

I also do not like the idea of soft money, these issue ads - people don't know where the money is coming from, millions and millions of dollars outside of the control of a candidate - there's no accountability.

From the beginning, the series has been story driven - I began with a story idea - but research feeds it.

Then I decided I couldn't just crawl in the corner and die, so I started putting pen to paper and wrote some songs. I had no idea what for or who I was going to work with. I tried to find my way and direction.

The idea is, if I can't heal from my art, then how can you heal?

There is sometimes a peculiar confusion in the West that equates progress to whatever is recent or whatever is new, and it is time we understood that progress has nothing to do with the chronology of an idea.

The idea of licking stamps seemed great fun for me.

Learn about the world, the way it works, any kind of science and anthropology, it's really an interesting place we live in. Evolution is a really fantastic idea, even more than the idea of God I think.

It's slightly complicated for people to grasp the idea of a head of state in human form.

As far as I know, only a small minority of mathematicians, even of those with Platonist views, accept the idea that there may be mathematical facts which are true but unknowable.