What was the first campaign you did for Calvin Klein?

Actually I did CK jeans with Steven Meisel right after we shot Iceberg Jeans together. The CK Jeans picture never came out for some reason, but that was right before I signed the Calvin Klein contract. And then I think I shot the whole collection with Peter Lindbergh, then Escape with Jean-Baptiste Mondino. He was awesome to work with.

Why?

Because he was just so much fun. He's this stocky bald-headed French guy, he's just a blast to work with. I had no idea of what I was doing at the time. It was such a massive production. As far as modeling, it was the biggest production I've ever been on. I was so young and yet they trusted me to work with Mila Jovavich on this huge production.

It was in a big Hollywood studio and they built this huge long hallway. It was the first time for me that I realized "Wow, this isn't like modeling, this is like acting." There was a camera, I got to move, and I was like: "Man, I'd love to do movies, I could do this all day." It was a blast. Just three days and the most lucrative job I did in five years. It was a great campaign. Then I did underwear with Tiziano Magni, then Armani, Golf underwear, Emporio Armani, Bagutta, and Versace.

You did two campaigns for Versace, didn't you?

I did Versace Sport and Versace Home, both with Richard Avedon.

What was it like to meet him?

To me, he's like an icon, I was just in awe. He sat across from me at lunch and I was just so excited to talk to him. He's just like a hero to me with the images he's created. Not only fashion, but everything he's done. I had him autograph my Richard Avedon book.

What was he like to work with?

He was sweet. So nice. But when he shoots, you better get into position and you'd better — the way he positions people in fashion, it's almost unnatural. You have to hold these positions that can make your body so sore afterwards. And he shoots very few frames. He just makes you hold it and hold it, he gets everything right, and then he shoots.

He's meticulous?

Very meticulous. He gets everything perfect. But it was an absolute treat to have the chance to work with him.

So he's not shooting a hundred Polaroids before each photograph?

No, he used the 8 X 10, just a few shots so he gets everything perfect.

Overall, what do you think makes a good photographer?

I think it's the same for every artist — to have an undying passion for what they do. To see the world in a special way that nobody else sees it.

It sounds like you're talking about it from a personal perspective.

Yes, I have a personal investment in photography. For me it's something I lose myself in. My love is landscape, which is very peaceful. I'm a big fan of Ansel Adams and I've done several road trips across the country shooting. I even built a darkroom in my last apartment — it was very peaceful, very relaxing to work in my darkroom developing pictures.