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.

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 people that I photographed allowed me to photograph them because they didn't want to be alone, and the truth is I didn't want to be alone making the pictures.

You can photograph anything. You can be inside, outside, doesn't matter, you're controlling the light. It gives you great flexibility. That was a primary motivation.

I didn't want to pretend to be a conceptual artist that charges $10,000 for an experience. It's just not what I am. I'm a photographer and I make prints. And people buy a print, and I understand that. But I'm uncomfortable with buying an experience.

I'm like the annoying guy in the street.

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.