Your sense of composition is very attractive to me, and that's something you don't always see in the snapshot aesthetic. Some of these moments are almost miraculous in how the elements form together in the frame.
In a lot of my earlier work, often I'd cut people's eyes off, or crop a picture so you could just see their mouth, so I wasn't interested in people, I was interested in a figure. At that time, the figurative quality of the image was more important than anything literal in it, and that still sticks with me. Over the years, [as a student and teacher of photography] I was lucky to have access to some of the greatest living photographers of the time [Minor White, Jack Welpott, Brett Weston]. That made me deeply appreciative of the structure of images, because all of them preached that to me, either indirectly or directly.