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.

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.

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.

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.

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.

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.

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.