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!

As a boy I was obsessed with Egypt and Egyptology. I'm convinced it's not that uncommon. A lot of 10 or 12 year old boys become obsessed with Egypt. It's a bit like young girls and horses.

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.

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

Meaning coming from feeling, feeling coming from within, you absorb a massive amount of information, it goes through your whole body, a little bit of it floats up to your head where there is deliberation. You are conditioned by the way your whole body is responding to what is going on.

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.

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.