But there is more to a fine photograph than information. We are also seeking to present an image that arouses the curiosity of the viewer or that, best of all, provokes the viewer to think-to ask a question or simply to gaze in thoughtful wonder. We know that photographs inform people. We also know that photographs move people. The photograph that does both is the one we want to see and make. It is the kind of picture that makes you want to pick up your own camera again and go to work.

First of all, I appropriate photographs.In presenting the Richard Prince photograph I tried to be as neutral as I could be. I put down the fact of it. I wanted it to be the same thing he wanted it to be, an open ended invitation to think about authorship, and who owns a created work. So I pair it with my appropriated picture.

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.

Teaching has never been far from my life. It's the most natural thing I do. Apparently, as I said, I cannot not do it.

Photographs that transcend but do not deny their literal situation appeal to me.

It actually has transcended my career at the Geographic, so that when my career there ended, I had momentum as a teacher, and a belief in photographic education at the workshop level.

I had a book come out several years ago, when there were no blogs. This is a mark to me about how the environment has changed.