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

The one thing that seems to be consistent through all my work that I like, and I experimented a lot, is the viewer is allowed to meditate on something that normally we don't stop and stare at, whether it's people or a cactus.

I am not unaware that I have the mindset, as contradictory as it may sound, to discover in the world what I am in fact looking for. Perhaps the best pictures are a seamless hybrid of discovery and construction.

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.

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

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.

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.