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.

Flying was certainly formative for me; I have a deep and lasting ease with it as a result.

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.

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 don't particularly care about photographic authorship. Whether an astronaut who doesn't even have a viewfinder makes an image, a robotic camera, a military photographer, or Mike Light really doesn't matter. What matters is the context of the final photograph and the meaning it generates within that context.

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

I take pleasure in working with the non-art photographs that reside in public archives, essentially authorless and owned by the world itself, because I find the world of fine art photography to be pretty silly and pretentious.