'The proving grounds that you have when you are younger change when you acquire some character as a journalist. You realize, “All right, I'd like to be in Syria making heroic images,” but you look at how many people die from natural causes every year, and then you work out how many die from disease, if you just look at something like malaria, there are five million kids, just kids, dying every year. In conflict zones, those numbers are far smaller. So when you really look at what the issues truly are in the world, you have to be careful not to run towards sensation. And I would never want to detract from the courage of the journalists covering classic conflict, but there are many conflicts in the world, and many of them are completely undercovered.
I’m working in the area of sustainability and diminishing resources and I increasingly see a connection between all of these in terms of conflict, human drama, and migration. It’s all interconnected….It’s kind of like watching a movie and breaking down how the cinematographer worked. You are no longer capable of taking something at face value. Everything has its connection, and those things are increasingly apparent. For example, if you look at something like water and you look at something like oil, you look at sustainable land use, you look at food security, those are global themes that I see coming up time and time again and the ingredients that make up those things are common factors in every place and in every one of us. So I’m just trying to paint this bigger picture.’