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'm a project-based photographer; I think in narrative terms, the way a writer thinks of a book, or a filmmaker a film.

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.

People can talk about the death of social life or whatever; it's not necessarily how I see it. It's more musical in the sense, where it's a feeling about the place I live, slash, who I am in the place.

Every once in a while I have this revelation like, "Wow, a hundred years ago the world wasn't black and white." It was in color. Photographed in a certain way, people look from another time. We are just not used to seeing ourselves in that context. Something that's fascinating about photography is you can isolate a moment, tear it out of its context, and see it afresh. Another realization is that, "Wow, there's a big world out there, and people are still doing all sorts of the things that they used to do." We don't just live in iPad land.

If you want to be a creative person, then you’re gonna have to be creative in how you put your career together. There isn’t a path. Part of the creativity is making your path.

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.