“I try to preserve the dynamics of the street, and my way of using the camera tries to approximate as much as possible the way we see: focusing on details, opening up to wider angles, and composing all these very short, fragmented impressions into a larger mental picture.”

I like to be flexible in the way I take pictures. I do not use a tripod, and I move around in the crowd, of which I am myself part….

I don’t see myself as a documentary photographer. I am more drawn to the image itself, rather than to the description of a scene. And, anyway, every image only halfway represents reality, whereas the other half is rather, more or less, fulfilling our imagination.

My work doesn’t speak about individuals (it’s not portraiture in the traditional sense), it tries to speak about life in general in cities of the West – which is where I live and what I understand.

At the core of my work there is this eternal back-and-forth between being confined to one’s own individuality and that longing to be part of the other, the outside world: the impossibility of ever being able to get beneath another person’s skin.

It is the photographer, not the camera, that is the instrument.

The camera cannot, but the photographer can.

The single most important component of a camera is the twelve inches behind it!

You don’t make a photograph just with a camera

There are no rules for good photographs, there are only good photographs.

Together now, new reside in the album of our gallery. People on this camera roll never came under the same roof again.

The cameras used to pass by me; now they’re stopping for me.

I was very camera shy. People like hot girls, so I put my music to hot girls and it just became a trend. The whole ‘enigmatic artist’ thing, I just ran with it. No one could find pictures of me.