Usually I'll drive to certain locations over and over again, over a course of months really. And then it might just be I hit it at the right time, and the right light. And then I might go to that location over and over again, and then what happens in that lag time where - the image sort of locks in - all of a sudden I see it in my mind's eye.

I'm very moved by the fact that people are drawn into the pictures and that they do bring their own history and their own interpretation to the photograph. I think that's why they work in a certain way.

In "Twilight," the narratives are more literal, and the event is much more spectacular. The pictures in "Beneath the Roses" are much more psychological and grounded in reality.

I think my pictures are really about a kind of tension between my need to make a perfect picture and the impossibility of doing so. Something always fails, there's always a problem, and photography fails in a certain sense... This is what drives you to the next picture.

I think maybe the figures - that's a good word - the figures in my pictures are stand-ins for my own need to make a connection.

I’m interested in using the iconography of nature and the American landscape as surrogates or metaphors for psychological anxiety, fear or desire

I don't deliberately look for something dark or bleak or disconnected, in fact that's not something I'm even conscious of in the work as I'm making it. I'm always trying to create beauty, reveal hope, show the sense of longing that exists in isolation and loneliness, and capture the search for something greater inside all of my subjects.