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.

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.

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.

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.

Watching my daughter sort of live in this world where a photograph is not something to keep a memory. It's something to just speak with. It's language.

For good work to develop the technology needs to become as stable and functional as a typewriter.

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.