The reason I call myself a documentary photographer is the idea of how photographs contain and participate in history.

I always give a print to everybody I photograph, and some of my subjects have told me they have a hard time hanging them up at home.

I'm very empathic to the construction of masculinity within our culture and how we build these identities up.

When we were kids, growing up in the sixties, the only images we had of ourselves were either still photographs or 8mm movies.... Now we have video, digital cameras, MP3s, and a million other ways to document ourselves. But the still photograph continues to hold a sense of mystery and awe to me.

I do photograph things for people to look at 100 years from now. But we're such a mediated society that things become historical the next day.

There's a lesbian aesthetic, just as there's gay camp, but I don't know if there's such a thing as 'lesbian art.'

Language is a very complicated thing, and that's one of the reasons why I like making photographs.

I really love to drive. It’s really hard for me to be a passenger, even though I get to look around a little bit more, but I’ve gotten really good at driving and looking.

I'm a complete supporter of Obama and kind of in love with him.

My dad was a very conservative Republican businessman, so obviously I considered it a problem when I realized I was a lesbian.

The biggest cliche in Photography is Sunrise and Sunset.

I like that time is marked by each sunrise and sunset whether or not you actually see it.

Light is everything in photographs and has to be considered in all situations.