... despite the limitations and problems inherent to photographic representation (and especially the representation of politics), it remains for me the most powerful and engaging medium today - one central to the development of cultural dialogue.

Whatever else a photograph may be about, it is always about time.

I've come to believe that beauty can be a very powerful conveyor of difficult ideas.

The very act of representation has been so thoroughly challenged in recent years by postmodern theories that it is impossible not to see the flaws everywhere, in any practice of photography. Traditional genres in particular-journalism, documentary studies, and fine-art photography-have become shells, or forms emptied of meaning.

I'm not interested into victim photography. Photographing people suffering and putting it on a museum wall is too weird.

I think this is the most exciting time in the history of photography. Technology is expanding what photographers can do, like the microscope and the telescope expanded what scientists could do.

People have responded to the pictures I make as mystical things, and they somehow carry the illusion further thinking that the place is this mystical, magical place. The desert is also a very barren place, a very lonely place, a very boring, uneventful place.