I'm very interested in making the photographs look real, but a lot of them are highly synthetic. They're hybrids, located somewhere between the found and the constructed.

I'm very interested in making the photographs look real, but a lot of them are highly synthetic. They're hybrids, located somewhere between the found and the constructed.

Like a ventriloquist who laughs at his dummy's jokes, I keep trying to make photographs that seduce me into believing in the image - all the time knowing better, but believing anyway.

...when it comes down to making work that really sings, I don't know if I can teach any of it. I don't even know if I can do any of it half the time. It's so much about failure, it's so much about making pictures that are so utterly boring and overstated, you're endlessly disappointed. And in that process you hopefully find something that draws you back and calls to you.

...I think finding that room to make pictures that don't jump off the wall as, or detonate as dramatic, either in lighting or in form or in composition or in subject matter, but more ordinary, that's the challenge.

I love making pictures, even if most of the results are lousy.

Ambiguity is really important to me. Part of the difficulty facing photographers is that almost any subject matter has accumulated a representational history, so to find a new discursive space, a space to wander around those subject matters, is a real challenge.