There is a natural conservatism in photography that prevents it from breaking free of that special form of bondage consciously and/or unconsciously imposed by the noble traditions of reportage and documentary work. Such work is important both aesthetically and socially but represents only a small part of photography’s potential and most certainly has no monopoly in the area of social commentary. In fact what the unconscious defenders of this bondage consider social is sometimes little more than banal and obvious political posturing.
Why are its practitioners so obsessed with power and control over the medium? There is room for everyone. Their position is a form of conceptual poverty which I have fought all my life and will continue to fight until my last breath. It is sad, it is regressive, it is counter-productive and is most certainly impotent in the face of the inevitable changes that will prevail.