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present its solutions. The solutions to reading the
work are those of the viewers, not mine.
S.P.: Collaboration with both subjects and authors
also seems to play a major role in your work. Can
you describe a bit about your collaborative process
for different projects? I was fascinated by your
relationship with Dean Tiemi Te Au, the protagonist
in Muttonbirds—part of a story (1984). Was he eager to
write his story, or did he need some convincing? Did
you take the images before or after reading his text?
Did he have any role in the image-making, either in
where you pointed your camera or the final selection?