In all my work there's this notion of the melancholic. You can make a photograph about the sublime, but you can't make the sublime itself.

In all my work there's this notion of the melancholic. You can make a photograph about the sublime, but you can't make the sublime itself.

I really don't worry too much about what I see through the viewfinder, at least not at that point, especially if I'm using a flash because I don't know what it's going to do. I just see vague potentiality. It's really working with a set of attributes that will hopefully interact in an interesting way.

I don't look for things to see how they function as metaphors.... You can't photograph the sublime. You can only traffic in the specific and its relationship to the symbolic.

The photograph as an object has a relationship to that which it represents something like the relationship the snake skin has to the snake that sheds it.

It's good to be around people who see [photography] as a reasonable enterprise when everyone in the neighborhood may think it's ridiculous. (On the benefit of teaching photography)

To photograph is often compared to an act of redemption - to select from an infinite number of choices that which is to be remembered.