To see something spectacular and recognise it as a photographic possibility is not making a very big leap. But to see something ordinary, something you’d see every day, and recognize it as a photographic possibility - that is what I am interested in.

I don't have to have a single point of emphasis in the picture. It can be complex, because it's so detailed that the viewer can take time and read it, and look at something here, and look at something there, and they can pay attention to a lot more.

I realize that as I get more experience as I get older, my perception changes and that feeds the photograph.

I meet young artists and it becomes clear that with some the main motivation is getting a show in Chelsea. It strikes me that this is very different to the way it was for me, which was that I wanted to understand photography and the world and myself.

The context in which a photograph is seen affects the meaning the viewer draws from it.

I think most serious photographers understand that there's this large gap between the world and how the world looks through a photograph.

Photographers have to impose order, bring structure to what they photograph. It is inevitable. A photograph without structure is like a sentence without grammar-it is incomprehensible, even inconceivable.