Limit your tools, focus on one thing, and just make it work… you become very inventive with the restrictions you give yourself.
As an artist, you say something about yourself in your work. That is what distinguishes your own work from that of others.
... yes, I’ve become a little more professional—which I don’t really want to be but I can’t help it at some point.
I don’t crop my images and I always shoot handheld. By doing that I build in a kind of imperfection and this helps to emphasize reality.
I’m a very, very basic photographer. The main strength of my pictures, I guess, is the mood and feel I get out of the people that I meet. But technically I don’t think I’m very advanced. That never interested me.
I believe that photography is a very simple affair. I meet people—and the camera is only something like a recording machine. My work has nothing to do with the circus that other people create, although of course that can also result in an excellent photo.
My work is not quite perfect. Perhaps it still contains something of life. Because perfection often prevents the work from breathing.
The blurriness and the grain that I use, for me, is close to life. I find things that are very static and very sharp and very well-lit and all that is not how I experience life.
I work using the Brian Eno school of thinking: limit your tools, focus on one thing and just make it work… You become very inventive with the restrictions you give yourself.
My biggest fear always is that I’ll photograph an idea rather than a person, so I try to be quite sensitive to how people are.