I think, oddly, that the world of the amateur is quite self-contained, and it depends on "likes" from other amateurs to perpetuate itself. Of course an awful lot of my colleagues are involved with Instagram - they get likes and dislikes, maybe just likes, I don't know - but I think that it's far less self-contained, the world I work in. It goes off in different directions, and is dependent on responses different from a tick or a like or whatever.

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

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.

Good photographs aren't just complex. They are enigmatic. Images are beguiling. And the way they play into our psychology, into our visual cortex, is something we still don't understand.

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.

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.

We don't understand what photography is doing. We don't understand the power of its rhetoric. We don't understand why the Provoke photographers showed Tokyo city as a ghastly and alien city when it was really going through this period of mega-capitalist growth. It's a very, very, very powerful force, the photograph. People ask me why it has such an ability to captivate us. And I just don't know.