A lot of the photography I'm doing and thinking about is directed at Instagram.

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

I'm always interested in finding new aesthetic problems to deal with and challenge myself, even if the aesthetic problem is one of content.

I wanted to make pictures that felt natural, that felt like seeing, that didn’t feel like taking something in the world and making a piece of art out of it.

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.

There's something arbitrary about taking a picture. So I can stand at the edge of a highway and take one step forward and it can be a natural landscape untouched by man and I can take one step back and include a guardrail and change the meaning of the picture radically... I can take a picture of a person at one moment and make them look contemplative and photograph them two seconds later and make them look frivolous.

There's something essentially fictive about a photograph. That doesn't mean that if you understand that, and you understand how the world is transformed by the camera, that you can't use the limitations or the transformation to have an observation that is a very subtle perception of the world.