In assembling this group of portraits of women, I'm aware that I'm treading on dangerous ground. When I was in college, I learned to be distrustful of men's depictions of women. I remember seeing Garry Winogrand's book Women Are Beautiful in the school library and being shocked that it hadn't been defaced for its blatant objectification of women. But looking back, maybe I was too harsh. Whether one photographs men or women, it is always a form of objectification. Whatever you say about Winogrand, his depiction was honest.

In a world where the 2 billionth photograph has been uploaded to Flickr, which looks like an Eggleston picture! How do you deal with making photographs with the tens of thousands of photographs being uploaded to Facebook every second, how do you manage that? How do you contribute to that? What's the point?

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.

The reason I often say, for me, photography is analogous to poetry, for my kind of work more so than journalism, is because it's so open to interpretation. And I'm very happy having different interpretations of it.

I've never been the type of photographer to live with people I photograph. You know, shoot heroin with them, that kind of thing. I respect those photographers that work that way. But part of my personality is a certain amount of distance, and part of my attraction to the medium of photography is this distance where you're in the world, but you're removed from it.

Nobody really wants to be alone. People need people.

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.