I fell in love with the process of taking pictures, with wandering around finding things. To me it feels like a kind of performance. The picture is a document of that performance.

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.

I'm like the annoying guy in the street.

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.

This is the same problem I have with digital photography. The potential is always remarkable. But the medium never settles. Each year there is a better camera to buy and new software to download. The user never has time to become comfortable with the tool. Consequently too much of the work is merely about the technology. The HDR and QTVR fads are good examples. Instead of focusing on the subject, users obsess over RAW conversion, Photoshop plug-ins, and on and on. For good work to develop the technology needs to become as stable and functional as a typewriter.

[Photography is] very related to poetry. It's suggestive and fragmentary and unsatisfying in a lot of ways. It's as much about what you leave out as what you put in.

Photography is a very lonely medium. There’s a kind of beautiful loneliness in voyeurism. And that’s why I’m a photographer.