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.

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.

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.

Stories from anywhere in that appeal to our minds and hearts. Discovering and sharing the work of both emerging photographers alongside the more experienced and famous professionals working today. This is a photojournalism project that's brings all those interested closer to the most important stories upon our world.

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"In India I searched for the true essence of that country. I found nothing promised, no mysticism, religion, colour .... I found prostitution, drugs, money, poverty, death, and monsters, lots of monsters. For a month I visited brothels, I met  drugs dealers, I spoke with junkies, and I witnessed through my camera and in front of the fire, many of the facets of India's hidden world."

Germán Gutierrez

Why are we here and where are we going? When I was a child, my religion told me that if you were not a Christian, then, ha ha, you were going to hell. That didn’t feel right to me and I put Religion away with Santa and the Easter Bunny. Later in life, as a 20-something slacker, photography and spirituality came to me at the same time, one allowing the exploration of the other. This 20-year essay is the chronological result of those explorations.