I was twenty when I discovered war and photography. I can't say that I wanted to bear witness and change the world. I had no good moral reasons: I just loved adventure, I loved the poetry of war, the poetry of chaos, and I found that there was a kind of grace in weaving between the bullets.

Photojournalism is neither photography or journalism. It has its function but it's not where I see myself: the press is for me just a means for photographing, for material – not for telling the truth.

I was twenty when I discovered war and photography. I can't say that I wanted to bear witness and change the world. I had no good moral reasons: I just loved adventure, I loved the poetry of war, the poetry of chaos, and I found that there was a kind of grace in weaving between the bullets.

There is the refusal of style and the refusal of sentimentalism, there is this desire for clarity.

If an image is powerful enough, if it resists us, if, by its obscure coherence, part of it escapes our understanding, then it means that something has been won from reality.

I want to show the event at the very moment it takes place.... My body must be anchored to the ground and seek the best point of view, without any visual taboos. But then, at the heart of the event, my effort is to disappear, I introduce a distance that borders on indifference.

Being an artist is nothing, or at least, not enough; what you want is to be a poet.