I always say that photography's closest cousin is poetry because of the way it sparks your imagination and leaves gaps for the viewer to fill in.

Nobody really wants to be alone. People need people.

Whether you are Minor White or Robert Frank, almost every photograph starts with an act of pure description - a window. But every now and then you catch a glimpse of the photographer's reflection. The mirror is just another function of the window.

It's a weird combination that makes a great picture. It's a complete mystery to me.

I've never been comfortable photographing people I know, myself included. I guess I prefer the mystery of strangers.

Photography's future is infinite and bright. It's growing exponentially, so that's great, but for me as a practitioner, that exponential growth makes it even more problematic. And so for me, it's got me more engaged with storytelling.

I admire photographers that don't need a destination. In some ways, street photography is like that. There's a quality of wanderlust for sure in my work, but I need a destination.