I've spent a lot of time in India. When I was a young cinematographer, I was completely enthralled by the color, the movement, the sounds. But photographically, it was very hard to capture it; photographs rarely did it justice.
I realized all of the possibilities that could exist for me with my camera: all of the images that I could capture, all of the lives I could enter, all of the people I could meet and how much I could learn from them.
I think a lot of times, especially for certain stories, photographers travel together for safety reasons, and they also invariably cross paths. But you could have 10 photographers shooting together in the same spot but capturing different images.
The camera sees more than the eye, so why not make use of it?
I take a few pictures a week, but the best part is waiting for my film to be developed. The suspense is exciting, and the reward is great.
One of my challenges was to try to photograph the Great Wall of China. And I did actually take some photos, but it was hard to discern the wall with the naked eye.
I just started taking pictures, and it was - it was an instant love affair. It was just ecstatic.
I discovered photography completely by chance. My wife is an architect; when we were young and living in Paris, she bought a camera to take pictures of buildings. For the first time, I looked through a lens - and photography immediately started to invade my life.
The camera photographs what's there.
From the first moment I handled my lens with a tender ardour.
I don't have a favorite photo. As a photographer, I have attachments to each image. Not the one photo: the experience of getting the photos is the challenge or the thing.
The trouble with photographing beautiful women is that you never get into the dark room until after they've gone.
I always liked taking photographs.
I never expected that. I didn't aim for that. All I wanted was to get some nice pictures of trains at night.
The pictures are there, and you just take them.
