[Photographer, b. 1955, Strijen, Netherlands, lives in London.]
... 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.
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 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 feel the imperfection is much closer to how life is than perfection.
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.
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.
Photography has taken me from isolation.
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.