In a world where the 2 billionth photograph has been uploaded to Flickr, which looks like an Eggleston picture! How do you deal with making photographs with the tens of thousands of photographs being uploaded to Facebook every second, how do you manage that? How do you contribute to that? What's the point?

In assembling this group of portraits of women, I'm aware that I'm treading on dangerous ground. When I was in college, I learned to be distrustful of men's depictions of women. I remember seeing Garry Winogrand's book Women Are Beautiful in the school library and being shocked that it hadn't been defaced for its blatant objectification of women. But looking back, maybe I was too harsh. Whether one photographs men or women, it is always a form of objectification. Whatever you say about Winogrand, his depiction was honest.

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.

The reason I often say, for me, photography is analogous to poetry, for my kind of work more so than journalism, is because it's so open to interpretation. And I'm very happy having different interpretations of it.

I've never been comfortable photographing people I know, myself included. I guess I prefer the mystery of strangers.

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 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.