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.

Originally, one of the reasons I was drawn to photography, as opposed to painting or sculpture or installation, is that of all the arts it is the most democratic, in so far as it's instantly readable and accessible to our culture. Photography is how we move information back and forth.

My pictures must first be beautiful, but that beauty is not enough. I strive to convey an underlying edge of anxiety, of isolation, of fear.

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.

We all strive to find moments of clarity, of order.

You have this ambition to make something perfect, exactly right. Of course, necessarily, it fails in some way and you have to accept that for what it is, and then you're on to the next thing.

The whole reason I make these pictures is for those moments of clarity. For that single moment, everything seems to make sense in my world. And I think we all look for that in our lives, because our lives are generally filled with chaos and confusion and disorder and complication.