...it is seldom indeed that a composition which was poor when the picture was taken can be improved by reshaping it in the dark room.

All I care about these days is painting — photography has never been more than a way into painting, a sort of instant drawing.

Pictures, regardless of how they are created and recreated, are intended to be looked at. This brings to the forefront not the technology of imaging, which of course is important, but rather what we might call the eyenology (seeing).

As photojournalists, we supply information to a world that is overwhelmed with preoccupations and full of people who need the company of images....We pass judgement on what we see, and this involves an enormous responsibility.

I'm not responsible for my photographs. Photography is not documentary, but intuition, a poetic experience. It's drowning yourself, dissolving yourself, and then sniff, sniff, sniff - being sensitive to coincidence. You can't go looking for it; you can't want it, or you won't get it. First you must lose your self. Then it happens.

During the work, you have to be sure that you haven't left any holes, that you've captured everything, because afterwards it will be too late.

In photography, the smallest thing can become a big subject, an insignificant human detail can become a leitmotiv. We see and we make seen as a witness to the world around us; the event, in its natural activity, generates an organic rhythm of forms.