... 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.

The desert ... may serve better as the backdrop for the problematic relationship between man and the environment. The human struggle, the successes ... both noble and foolish, are readily apparent in the desert. Symbols and relationships seem to arise that stand for the human condition itself.

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

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

In spite of recent trends towards fabricating photographic narratives, I find, more than ever, traditional photographic capture, the 'discovery' of found narratives, deeply compelling.

To me, the work I do is a means of interpreting unsettling truths, of bearing witness, and of sounding an alarm. The beauty of formal representation both carries an affirmation of life and subversively brings us face to face with news from our besieged world.

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.