When did you decide to become a photographer? 

It was an organic process. I saw the work of photographers like Cartier-Bresson, Frank, Kertesz and others and knew that this is what I wanted to do with my life.

How would you define your style of photography? 

I work on the street photograph life. It dictates to me what happens. Not me.

I work fast and seek an "out of the corner of the eye" immediacy and energy.  One camera: a Leica M. One lens: 35 mm. Worry about nothing but what is going on in front of me.

Who are the most influential photographers in your career?

The work of the photographers mentioned above still move me. Practically, I worked with Annie Leibovitz and Joel Meyerowitz in New York and Michel Comte in Los Angeles. Meyerowitz introduced me to Leica's. Leibovitz, probably the all round strongest photographer I have ever worked with, showed me how to make photographs every day, no excuses. Deliver the goods. Period. Comte showed me how a photographer's kinetic energy can translate into energy in photographs.

Beginning in 2008, I hit the road for three years to photograph America solo; living out of a tent and bringing along my dog for the ride. While traveling in Maine, I discovered a Bingo hall and it provoked a curiosity about a subculture that I was unaware of. What I discovered was a community of dedicated players who travel to the same place, set up in the same spot, and bring along the same good luck charms with the hopes that this will be the night that they win big.

As I continued my travels across America, I also kept on my quest to find hidden or otherwise unknown bingo halls. When I found a location of one, I also found a sense of community that wasn’t expected.  Although many of the dedicated players may be aging, it’s something that they look forward to each week.  You might feel bad or sorry for some players because they come and leave alone but as I was talking to “B” in a hall in Fort Collins Colorado, she made a point to remind me that it, “beats sitting in front of the boob tube at home!” 

The Ngaben (cremation rite) is a sacred right of passage in Bali, and a great time for celebration. The Hindu-Balinese believe the body is impure, a temporary shell, having no significance at all, except as a container of the soul and its anchor to the earth. All thoughts at the time of death are concentrated upon the spirit and its passage to heaven. The body is just there to be disposed of, and, instead of grieving, the Balinese prefer to throw a great celebration, in the process hastening their dead friend’s soul to oneness with god. I was invited by the family to join the celebration of Mr A.A. Mangkling’s life, festivities and rituals including nyiramin layon – bathing of the body, the procession, the last sacrifice and finally the releasing of the spirit to the sea.

When did you decide to become a photographer? 

I don't remember ever really made a decision as such, for me it happened gradually. i was working in bars, assisting, teaching English to children etc. to make enough money to pay rent, to buy film, darkroom chemicals, food, equipment and other essentials, until i had too much photography work to do the other things.

How would you define your style of photography? 

Generally bland, un-inspiring, forced, derivative........

Who are the most influential photographers in your career?

The work of Stoddart, Koudelka, Murphy, Pellegrin, Grarup and a bunch of the other Danish photographers, among many others, really excites me. i cannot claim to have been in anyway influenced by them, they are far too talented for me to have gained in that way from them.

Kansas has long been viewed as the quintessential white, rural, blue-collar state in the heart of American cattle country. Its wide open expanses conjure up images of America’s romanticized Wild West. But a growing number of immigrants are calling Garden City, tucked away in the remote southwest corner of the state with a population of 28,000, their home. Hispanics make up the vast majority of new arrivals, with blacks and growing numbers of Asian and African immigrants rounding out the rest. The immigrants are drawn to the region by the many meatpacking plants that have long relied on their labor in jobs that require little or no English language skills. The project takes a look at the issue of immigration in America from the vantage point of a single community and offers a peak into the meatpacking industry.

India, is a nation with the world’s largest democracy 3and second most populous country after China; walking on the streets of India is all together a vibrant experience. Surrounded by innumerable faces, which speak of different languages, follow different religions and practice various traditions, a face in the crowd, reveals more than you can expect, whilst dropping all worldly resemblances. A stranger or visitor to this country can be alone, but be never left alone; there is always someone somewhere ready to help.

When did you decide to become a photographer?

It was a few years ago I guess. I had been working abroad and traveling a lot for a few years, taking a lot of images. I thought they were getting increasingly better, and I felt my passion developing, and sort of felt it was to be my calling.

How would you define your style of photography?

I'd say it's very observatory and documentary, very real life. I like to watch scenes develop and really try to capture the moments in, hopefully, very powerful ways. I know perhaps it sounds quite cliche, but I guess that what it boils down to.

Who are the most influential photographers in your career?

I'd have to say Nachtwey was one of the first whose images just blew me away with their power. I've also been really into Alex Webb and his use of layers lately. Simply amazing things he can capture. Many other great shooters who I'm sure we all known as well, but also some of my colleagues and friends here in Vietnam, like Kevin German and Justin Mott, I get a lot of inspiration from.