It seems to me that a photograph— even a straight journalistic photograph— is already several degrees removed from reality: it's still, silent, two-dimensional, limited by a rectangle, and, in my case, at least. black-and-white. I feel free, therefore, to use reality as a starting point, and to create situations in my pictures that are not necessarily faithful to what was actually going on. I hope to suggest— sensually. visually— another reality, dealing with love, hate, terror and other aspects of human relations. it's the tension between these two realities. between what was happening and what seems to have been happening— that, frozen into a picture, creates the humour and the power of photography.