I think that’s a slight misinterpretation. I think I mentioned that, starting in the mid ’90s or so, when I traveled a lot in China, in some of my street pictures I started to become interested in multilayered subject matter. I was photographing very complex scenes and I was starting to look for bigger challenges. Photographing jungles came mostly from the desire to photograph something very complex that you wouldn’t be able to fully comprehend or fully read—and then I thought, okay, what subject matter might be fitting to use for this creation of such pictures? I thought about construction sites with scaffolding but that wasn’t so attractive because it related to too many different subjects. And then I thought forests would be good, but the forests in Germany would largely be pine trees with a lot of verticality. So I thought the jungle would be better, but it didn’t necessarily have to do with my interest in jungle structures. I had a lot of training in determining compositions of complicated structures (over a period of 12 years) and that helped me make decisions in photographing complex technological structures. But that’s a much different thing [than what he said].