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Club Sandwich 64

            "Lo and behold, the pictures turned out great. They were very real, and a few of the journalists used them. Two people in particular loved the pictures: one was Lillian Roxon, who worked for the Sydney Morning Herald, which had an office in the New York Times building, and the other was Danny Fields, a friend now, who worked for teeny magazines like 16. They used the pictures and paid me a fee, not a huge amount but more than my rent, and they also continued to ring me up and say, 'Listen, we're doing a story on so-and-so, would you take the pictures?'. I still had a 9-5 job so sometimes it was difficult, but the Clues Project and other local New York groups started asking if I could do some publicity shots for them and that was easier because I could do it after work. In fact, I was asked so often that I began for the first time to think of doing photography for a living.
            "I shall never forget one weekend when I met up with my father and told him I planned on quitting my job to become a photographer. If looks could kill I would not be here now. He said, 'Why don't you study photography, or work for a photographer? You're not going to make a living out of this, you're an amateur!' And I replied, 'Look, I'm already making more money as a photographer than I am as a flunkey at Town & Country so I'm going to quit my job, OK?'. He said, 'But you have no training! You have no studio!', and I said, 'So I'll use natural light!'
            "And I did. I quit my job and started working as a full-time photographer, and it all grew from there..."