One of the things that was really influential early on was Ezra Pound's Cantos, one poem he worked on for 50 years. It's epic. I had a great deal of difficulty understanding it. One of the problems was you'd be reading along in English and he would move to a Chinese ideogram or French-he actually used seven different languages in a given poem. And for somebody who's not fluent in different languages it has the impact of rupturing your way of understanding something.

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.

... 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.

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.

Our experience with knowledge, the way we know things, is not that neat. It doesn't fit into a grand narrative, the way we've been taught to read.

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

One of the things that was really influential early on was Ezra Pound's Cantos, one poem he worked on for 50 years. It's epic. I had a great deal of difficulty understanding it. One of the problems was you'd be reading along in English and he would move to a Chinese ideogram or French-he actually used seven different languages in a given poem. And for somebody who's not fluent in different languages it has the impact of rupturing your way of understanding something.