The ideal photographic document would appear to be without author or art.

I never had any ambition to do anything commercial, anything journalistic. I wanted to be an artist, and I wanted to be an artist whose work was done in the medium of photography. It may be debatable to this day whether I ever succeeded in achieving that ambition, but the point is, I never had any uncertainty about that.

I believed it was necessary to investigate photography, dismantle it, jettison all the non-essential components, and begin again with a stripped down but more powerful idea of what is, or could be photographic.

The photobook occupies that deep area between the novel and the film.

I wanted [my photography] to appear as though the camera was seeing by itself.

Anyone can take pictures. What's difficult is thinking about them, organizing them, and trying to use them in some way so that some meaning can be constructed out of them. That's really where the work of the artist begins.

I was living in Monterey, a place where the classic photographers - the Westons, Wynn Bullock and Ansel Adams - came for a privileged view of nature. But my daily life very rarely took me to Point Lobos or Yosemite; it took me to shopping centers, and gas stations and all the other unhealthy growth that flourished beside the highway. It was a landscape that no one else had much interest in looking at. Other than me.