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.

I mean its an obsession, you follow the obsession but at the same time you have so many doubts, you know. Why am I wasting so much money going back to this place, taking more pictures? What’s the point of it? No one cares about it. I think I care about it but maybe I am deceiving myself.

Ultimately, the reward is the process - the process of photographing and discovering and trying to understand why and what am I photographing.

Most of my projects seem to start as exploratory journeys with no visible end in sight.

My understanding – of course, I’m not a philosopher or a scientist – of an aspect of Goethe’s theory of color is that he felt that color came out of tension between light and dark. I think that is very appropriate when you think about the kind of color that I shoot.

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

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.

Running through a lot of traditional photojournalism there is an overwhelming sense of... pictures that say something, that define something. I'm not trying to define things. I'm trying to explore things. I'm trying to ask questions.

Photograph because you love doing it, because you absolutely have to do it, because the chief reward is going to be the process of doing it. Other rewards - recognition, financial remuneration - come to so few and are so fleeting...Take photography on as a passion, not a career.

... 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.

I only know how to approach a place by walking. For what does a street photographer do but walk and watch and wait and talk, and then watch and wait some more, trying to remain confident that the unexpected, the unknown, or the secret heat of the known awaits just around the corner.

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

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

It's not just that that and that exists. It's that that, that, that, and that all exist in the same frame. I'm always looking for something more. You take in too much perhaps it becomes total chaos. I'm always playing along that line: adding something more, yet keeping it sort of chaos.

Color is very much about atmosphere and emotion and the feel of a place.