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

Photography is inherently an analytic discipline. Where a painter starts with a blank canvas and builds a picture, a photographer starts with the messiness of the world and selects a picture. A photographer standing before houses and streets and people and trees and artifacts of a culture imposes an order on the scene - simplifies the jumble by giving it structure. He or she imposes this order by choosing a vantage point, choosing a frame, choosing a moment of exposure, and by selecting a plane of focus.

Even in ordinary reproduction [photography] verges on facsimile.

I don't know how much a photograph can add to a biography, the way a film or writing or narrative medium could. Because it's a frozen image.

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

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.

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