The photography is not the aim of the work; the articulation of the work through photography is another way of understanding what's going on and what's happening outside.

The main reason I went to digital was because I got time-lapse, video, and still images all in one camera. Having a minimal amount of gear is really important for someone who wants to walk around. That allowed me to have this flexibility to document things in different ways.

The hardened mass of liquid stones had much stronger qualities than those which had simply torn. The skin remained a recognisable part of the molten stone.

I've laid down in dried up streambeds, leaving a shadow. And then, five minutes later, it's flash flooded, and where I once laid is now running water, which would've washed me away, you know? There's that power and danger often in places that look so calm and pastoral to begin with.

Occasionally I have come across a last patch of snow on top of a mountain in late May or June. There's something very powerful about finding snow in summer.

My approach to photograph is kept simple, almost routine. All work, good and bad, is documented. I use standard film, a standard lens and no filters. Each work grows, strays, decays-integral parts of a cycle which the photograph shows at its height, marking the moment when the work is most alive. There is an intensity about a work at its peak that I hope is expresses in the image. Process and decay are implicit.

I'm cautious about using fire. It can become theatrical. I am interested in the heat, not the flames.