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.

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 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.

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.

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.

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.

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