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

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

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.

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.

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!

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.