Almost everything I do stems from the idea of still life. The gestalt of walking around hoping to bump into interesting subjects has never held much fascination for me. In essence, I feel that my practice is similar to entering an empty room with a musical instrument in it. If things work out, something special can happen. There can also be nothing. It is important for me to be in the same space with what I am photographing. The notion of correction is very central to how I work: making a picture, responding or not, correcting; trying to stop at the right point.
My recent work is concerned with the essence of visual things, rather than the complexity of cultural and historical references. I am still committed to the view-camera and its plastic intimacy with the subjects in front of it. The transition from large-format film to large-file digital has not changed this.