Environmentalism is a personal thing - but it's also a planetary thing. It's about making deep connections. But it's also about recognizing the very human connection between species diversification and ourselves.

I love photographing. I love the experience of being around all the things that surround you when you go out to do work.

In the documentary impulse, two species of 'fact' exist side by side: one is coolly objective and the other is fraught, diverse and emotive; one figurative, the other abstract; one prosaic, the other poetic; one factual, the other romantic.

It's certainly important to include text beside documentary photographs. Furthermore, it's important to include text in a way that's useful and accessible.

We sort of understand how painkillers work. You take one, and it reduces your headache. We don't understand how photographs work. And that, to me, is an essential problem as a practitioner.

We create these walls between fact and fiction, but often the difference between the two is as little as that between a real name and a pseudonym. So I'm not sure about those walls - certainly not in the realm of visual arts.

In the same way, photography, for me, has fragmented. You do have people doing bodies of work - often with found photographs - that are quite hard to understand unless you got a very sophisticated visual history behind you. But there are different camps.