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.

As not a native, I have the advantage of not seeing scenes habitually. I can see things fresh.

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 think I misunderstood Instagram and just thought it was people photographing their friends, and discovered there were a number of people, a number of artists, who were taking it very seriously and doing very imaginative work with Instagram as the medium.

A quote that I like very much comes close to explaining my attitude about taking photographs. ‘Chinese poetry rarely trespasses beyond the bounds of actuality the great Chinese poets accept the world exactly as they find it in all its terms and with profound simplicity they seldom talk about one thing in terms of another; but are able enough and sure enough as artists to make the ultimately exact terms become the beautiful terms.’

I've been the head of the photography program at Bard College for over 30 years, and I take that as seriously as I do my photography. My time is devoted to that too.

With a painting, you're taking basic building blocks and making something that's more complex than what you started with. It is a synthetic process. A photograph does the opposite: It takes the world, and puts an order on it, simplifies it.