2010, from Autobiography, in my iPad application Horvatland
Little by little, I came to understand what this project required. On the one hand, I had to be constantly prepared to photograph anything, which meant being aware of all the aspects of reality that came within the range of my eyes. But, on the other hand, and at the same time, not just any kind of anything, but only what which mattered to me, for one reason or another – be it an association of ideas, or a feeling, or a memory, or a desire, or a fear. This realisation reminded me of a remark made by Marc Riboud and concerning Cartier-Bresson, whom we both considered our master and mentor: ‘Since his twenties he has been driven by the determination to go out every morning, be it in Paris or in Calcutta or anywhere, to be present at whatever was happening. He didn’t let a single day pass without photographing some students' demonstration, some gardeners' strike, some gallery opening, some trade unions' meeting, or simply to visit a painter friend and do his portrait. When he speaks about photography, he describes the discipline he imposes on himself: No one is allowed in here, except geometers. But if Henri’s photos had only this formal perfection, they would be hollow. It is his passionate interest for the world that gives them depth and richness – but about this he never speaks. He is the only photographer whose work is a real testimonial of our time, even though – or precisely because – he never intended to be a witness" (Marc Riboud, as quoted in Entre Vues).