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.

I find myself using music metaphors all the time, but this is too perfect, I feel like. Digital downloading is like photographs online. It's great, they're available, you can see lots of different work, but it's a limited experience of the form. A book is like an album. You don't have to have a million dollars to be able to buy it, you have to save some money, you have to buy your album, then you take it home, and you put it on your turntable.

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.

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.

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

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.