I've taken a workshop with him, viewed scores of his photographs firsthand, purchased and enjoyed "Along the Way", and visited his website often. He is masterful at making gold from lead, which is to say that he makes the quotidian exceptional by framing it and making it appear significant using what is there in a way that is revealing. Read his essay on "where to put the edges" which offers a frontal address to the challenge of modernist art photography. In my own synthesis of his ideas, the subject is subordinate to the arrangement.
Painters and photoshoppers get to reconstruct reality to suit their tastes. Modernist photographers need to sort out what's actually there until it suits theirs.