Photography is a very lonely medium. There’s a kind of beautiful loneliness in voyeurism. And that’s why I’m a photographer.

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.

[Photography is] very related to poetry. It's suggestive and fragmentary and unsatisfying in a lot of ways. It's as much about what you leave out as what you put in.

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.

Photography's future is infinite and bright. It's growing exponentially, so that's great, but for me as a practitioner, that exponential growth makes it even more problematic. And so for me, it's got me more engaged with storytelling.

Photography is a very lonely medium. There’s a kind of beautiful loneliness in voyeurism. And that’s why I’m a photographer.