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.

The denunciation of suffering by photography has replaced the religious justification of suffering in painting. Denunciation is a function of photojournalism, and in itself that's a step in the right direction.

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.

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.

You have to record as many details as possible and achieve an order, without taking away the complexity of the real. To voice the real and at the same time to create an image that is a world in itself, with its own coherence, its autonomy and sovereignty; an image that thinks

There is something beautiful about photography; it allows the self to be reunited with the world.

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.