The pilot says, Where do you want to go? and that's always a rather existential question, because naturally I think a bit about where I want to go, but of course I can't really know where I want to go, in advance. I know it when I see it.

What better way to actually deal with L.A. than to get above it and engage with the horizontality and scale of the basin itself?

I struggle against photography. I struggle against the fact that it is silent, that it is just a piece of paper on the wall, often presented in a tedious white matt frame.

Even in this age of digital manipulation, photographs continue to hold a huge degree of power and meaning. They're beautiful and sad and complicated because every stoppage of time refers to the motion of time.

I take pleasure in working with the non-art photographs that reside in public archives, essentially authorless and owned by the world itself, because I find the world of fine art photography to be pretty silly and pretentious.

I was flying planes before I was driving cars. I started gliding when I was fourteen, about when I started photographing. I was a geeky kid, and the camera was a way in high school for me to have some power. Flying was, too, I guess.

... anybody who has spent time with cameras and photographs knows that images, like gravestone rubbings, are no more than impressions of the truth.

I don't particularly care about photographic authorship. Whether an astronaut who doesn't even have a viewfinder makes an image, a robotic camera, a military photographer, or Mike Light really doesn't matter. What matters is the context of the final photograph and the meaning it generates within that context.

The representational-image urge is actually a kind of heightened perception, and I don't stop to think. I don't freeze up - it's actually a kind of letting-go. It's like dancing. At a certain point it's conscious, unconscious, everything is kind of coming together.

I am a photographer who likes to make images, but I also want to get a sense and understanding of images that have already been made. I don't fabricate worlds I pay attention to the things that already surround us.

I realized that if I wanted to truly talk about vastness and the sublime and scale and the West - recurrent themes in my overall work - I needed to engage with the vast ocean that is Los Angeles.

I come at a subject from a profoundly photographic level. I am not interested in pictures that ultimately don't work as pictures.