My days are kind of controlled by my projects, so sometimes they're album covers. Sometimes they're commission portrait shoots. Sometimes they are editorial, so it kind of - I don't dictate it.

It's a wonderful way to get at who someone is through their own love of music and going right at their subconsciousness if you will. You don't play girl singers for girl singers. You know, there's certain things. You do play Ellington for Bobby McFerrin.

A lot of the people that I photograph are master musicians themselves, whether they're singers or great jazz players and it's kind of fun to figure out who they came up with and who they emulated or who they idolized actually.

There are certain people that you don't have to even work at extracting their inner life. It is just there and they're happy to share it with you.

I do select a soundtrack for each of my subjects and again my assistants you know they make fun of me because that is more important to me than the lighting, which I just do in a minute right before, but I spend a long time on the soundtracks.

Many of the jazz musicians whom are no longer here. You don't realize that it's history when it is happening and then time passes and you look at a picture and you say Wow, there is history attached to that.

When people are described as difficult and have a reputation as difficult it's 99% of the time because they've been disappointed over and over again by people who don't really know what to do for them, and I know I'm going to make them happy and I can't wait to work with them.

Giving someone their style or bumping up their sense of style to be a better version of what it is, is part of the fun of what I do, and I actually approached Al Sharpton. They didn't come to me.

I think mentoring is essential in life, both being a mentor to someone and being mentored, and I think that when you are mentored it inspires a generosity in you to mentor others and that I know is what happened with me, so for instance, the people that come through my studio to work for me, it's not good enough for me to just give them a paycheck.

I think that people have to just go with their gut and follow their passion if they're photographers.

This whole business of all these lenses is ridiculous. You know, it's like you have to capture your picture. You have to create it. You have to see it. You have to seize it and you have to move in to get it, so those lenses are just an escape of some sort or a shield.

You know I don't care if it's you know an intern or a full-time employee. I want to help them arrive at who they are or who they want to be in the world and that is one of the questions I ask them when I meet them. You know, who do they want to be.

I guess I'm half traditionalist, half modern girl and I just never... I love the digital world and I love electronica and after I shoot everything is digital, but I just... I don't know.

I love my cameras. I love contact sheets. I love the visceral thing of film and I'm not positive that I can replicate my lighting digitally. My assistants tell me I can, but, just stubborn I guess.

Everyone hates their picture being taken and they're nervous and they're bringing all of that. When I meet with them they realize it is a collaboration and they look forward to coming back.

I kind of - you learn it, you master it, and then you make sure that it just disappears. You know, like if I could have invisible lights, I would, and invisible cameras. I'm just really trying to get at my subject and I respect the technical aspect, but it is not anything that I think about at this point.

For me there's several components to picture-taking and it starts with my goals as an artist. It's capturing I guess the inner life of my subject and then it is giving them their idealized version of themselves.