On practical level I can't pick up the camera until I think I know what I want. I don't wander around. It's almost impossible for me to pick up a camera... it's really hard.

I have always found the suburbs very beautiful – the light, the change of seasons and so on. I am not so interested in the political dimensions of these things. I didn’t have any witticisms to land on suburbia. I was really just interested in how beautiful it was. I felt it was like a dreamscape and once I understood that was how I needed to approach it the dream started to expand in unusual ways.

Adolescence is interesting. I mean, all of life is interesting and all of life is transitionary. But I think there is an exponential growth physically, intellectually, emotionally and there is so much potential.

It's a profoundly different thing to be able to refer to the images you are taking at the time and check them out on a laptop that is plugged into your Hasselblad and go "oh no, do it again, do it again" - all of those a requickly made decisions. The fact that you can see the images right away in a funny way makes the whole relationship more casual. I don't want a casual relationship with my subject.

I was always amazed at how beautiful the light was. At different times of the day the landscape becomes a different place. Dawn and dusk, it's a different place.

There's something about the processional nature of the architecture, of the rooms connecting rooms. It's just breathtaking.

You pick up a camera because something has been revealed to you in the landscape or in the human-scape. And you have no choice because it's a gift. And it's like, oh right, I better start doing this!