Alex Webb
[Photographer, b. 1952, San Francisco, lives in Brooklyn, New York.]

 ... the possibility of one particular photographer’s pictures lying around the corner is never realized until the photographer is there. It’s one of the enigmas of photography. 
 Traditional photojournalists arrive with an idea of what they are going to produce or what the editor wants. I approach a subject very much as a street photographer and a wanderer, without preconceptions. I try to leave it extremely intuitive and exploratory. 
 I work extremely intuitively. I wander, I respond. Am I aware of certain elements rationally at times? Sure. But I think that often when I am more aware of them, it usually means that the picture falls flat. 
 I have always felt that a lot of the most interesting work, not just mine but other people’s, falls into [the] nether area, somewhere between the worlds of documentary and photojournalism (two very vague words) and the world of art. I think a lot of street photography falls into this nether area. 
 I couldn’t work without the world, but I always have a very specific way of seeing it. 
 One of the first times I went to Paris as a photographer, I just looked around and I looked over there and I saw that there is Doisneau, there is Brassaï, there is Kertész, and there is Cartier-Bresson. I just thought, “What am I going to do with my camera?” 
 Sometimes not taking a photograph can be as problematic as taking one. 
 The viewer is yet another eye that is part of the compact that makes a photograph what it is. 
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