...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.

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.

Literature especially has an interesting relationship to photography - to observation, to description, to fiction: taking something that you see and elaborating, jamming, and I think, staging.... taking that moment of observation and letting it go, giving it some wings, following it, rather than nailing it. You're riffing off of reality.

...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 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.

Photography is there to construct the idea of us as a great family and we go on vacations and take these pictures and then we look at them later and we say, 'Isn't this a great family?' So photography is instrumental in creating family not only as a memento, a souvenir, but also a kind of mythology.