[In the late 80's] that's the first time I heard about that astonishing idea [that most photographs would be taken on telephones]. And now I've been watching the tsunami of images.

How the visual world appears is important to me. I'm always aware of the light. I'm always aware of what I would call the 'deep composition.' Photography in the field is a process of creation, of thought and technique. But ultimately, it's an act of imaginatively seeing from within yourself.

This might seem off the track, but an interesting thing to me that others could talk about better than I, but one of the growth areas in photographic education has been the so-called slow photography.

My best work is often almost unconscious and occurs ahead of my ability to understand it.

And that desire-the strong desire to take pictures-is important. It borders on a need, based on a habit: the habit of seeing. Whether working or not, photographers are looking, seeing, and thinking about what they see, a habit that is both a pleasure and a problem, for we seldom capture in a single photograph the full expression of what we see and feel. It is the hope that we might express ourselves fully-and the evidence that other photographers have done so-that keep us taking pictures.

There's a great quote about Virginia Woolf, she had the same spiritual stake in her diaries as she had in her writing.

A very big part of the life of a photograph is the afterlife.