The representational-image urge is actually a kind of heightened perception, and I don't stop to think. I don't freeze up - it's actually a kind of letting-go. It's like dancing. At a certain point it's conscious, unconscious, everything is kind of coming together.

The representational-image urge is actually a kind of heightened perception, and I don't stop to think. I don't freeze up - it's actually a kind of letting-go. It's like dancing. At a certain point it's conscious, unconscious, everything is kind of coming together.

I'm attracted to the garden, without a doubt, but I always try and image the wolf that's there, too. And that wolf would be us. It's not that we're malevolent or evil - we're marvelous, fantastic, tool-bearing beings and capable of so much - but there are so many of us, and we don't tend to take responsibility for what we do.

I've always been amazed at the vastness of America itself and what it does and how it does it. I'm interested in the mechanics of what makes this country happen, the power structures, the natural splendor.

Even in this age of digital manipulation, photographs continue to hold a huge degree of power and meaning. They're beautiful and sad and complicated because every stoppage of time refers to the motion of time.

When I go up, especially if I'm paying for a small helicopter and pilot, I'm on. I've got an hour and a half and the clock is ticking and it's costly and I enter into a super-heightened state of mind.

... anybody who has spent time with cameras and photographs knows that images, like gravestone rubbings, are no more than impressions of the truth.