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.

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

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.

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.

For me, photography is as much about the way I respond to the subject as it is about the subject itself.

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.