I choose to work behind the camera. And I kind of want to make the work and then run away. The presentation of myself really feels complicated for me.

Something about photography is tied to a very specific relationship with the material world. It doesn't have to be, but the way I practice it, it is. So there's an act of observation, but it's not an act of objective recording. It's about framing something and seeing it and understanding that it's relational.

Photographers talk about their shoot ratio. Like four to one, six to one, ten to one! Whatever, I'm, like, seven billion to one. It is just ridiculous. But sometimes if you can hit it just right and get everything out of the way, something will resonate on multiple levels.

The career has to support the making and can offer a platform, can offer you a voice in the world. And that's an incredible thing. But it's complicated and seductive and weird and tricky. I think you have to keep figuring that out your whole life.

Making work for me is being in the world, but it's also being specific about being in the world. I'm interested in this increasingly rare space of contemplation and taking the time and energy to be thoughtful.

I'm always amazed at how people make work no matter how intense the pressure.

I don't think any of us thought Donald Trump could get this far.