I have always felt that a lot of the most interesting work, not just mine but other people's, falls into [the] nether area, somewhere between the worlds of documentary and photojournalism (two very vague words) and the world of art. I think a lot of street photography falls into this nether area.

I have always felt that a lot of the most interesting work, not just mine but other people's, falls into [the] nether area, somewhere between the worlds of documentary and photojournalism (two very vague words) and the world of art. I think a lot of street photography falls into this nether area.

Traditional photojournalists arrive with an idea of what they are going to produce or what the editor wants. I approach a subject very much as a street photographer and a wanderer, without preconceptions. I try to leave it extremely intuitive and exploratory.

To a certain extent what I do is play with the world, but it's disciplined play.

I'm always playing along that line: adding something more, yet keeping it sort of chaos.

The viewer is yet another eye that is part of the compact that makes a photograph what it is.

... the possibility of one particular photographer's pictures lying around the corner is never realized until the photographer is there. It's one of the enigmas of photography.