The thing is that when you don't carry a camera, that's when you see pictures in particular, or at least that's when you think you see pictures in particular. When you do carry it, if you do see one on the occasion that you do, you can take it.

Quality doesn't mean deep blacks and whatever tonal range. That's not quality, that's a kind of quality. The pictures of Robert Frank might strike someone as being sloppy-the tone range isn't right and things like that-but they're far superior to the pictures of Ansel Adams with regard to quality, because the quality of Ansel Adams, if I may say so, is essentially the quality of a postcard. But the quality of Robert Frank is a quality that has something to do with what he's doing, what his mind is. It's not balancing out the sky to the sand and so forth. It's got to do with intention.

I see no difference between my pictures that people consider amusing and the rest. To me, it's all serious work - they're just a reaction to what I see. I don't leave this apartment in the morning and say to myself 'Today I'm going to be funny and tomorrow I'm going to be sad.'

I am serious about not being serious.

You don't study photography. You do it.

I like to think I keep my mind open. When I walk the streets I don't look for anything in particular. I come from a philosophy that believes you shouldn't have preconceived notions - that you don't need a gimmick. That you should just photograph what you react to - what you see.

To me, photography is an art of observation. It's about finding something interesting in an ordinary place... I've found it has little to do with the things you see and everything to do with the way you see them.