When you shoot on film, you don't know whether you've got it or not until you get the film processed, and so it changes the relationship we have with the subject whether it's a landscape or a person in a so-called controlled environment in a chair in a studio in front of you.

It was the dreamscape of the suburbs that interested me.

You spend your whole life trapped inside your body. Everything you know about the world comes to you through your body.

It just struck me that one of the things about photography that made it such a compelling medium to deal with is that it is perhaps the most contradictory of mediums.

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!

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.

When you shoot on film, you don't know whether you've got it or not until you get the film processed, and so it changes the relationship we have with the subject whether it's a landscape or a person in a so-called controlled environment in a chair in a studio in front of you.