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.

I come at a subject from a profoundly photographic level. I am not interested in pictures that ultimately don't work as pictures.

The pilot says, "Where do you want to go?" and that's always a rather existential question, because naturally I think a bit about where I want to go, but of course I can't really know where I want to go, in advance. I know it when I see it.

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.

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

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.