The great street photographers, from Atget onwards, inspire me. When I go out shooting, I’m interested in catching or in being caught by the unexpected, in “organizing the rectangle” as Sergio Larrain put it. My first major influences were Henri Cartier-Bresson, Robert Frank, Lee Friedlander, and Helen Levitt; in the past few years, I have been engaged with conceptual considerations as well.

An exhibition of my photographs entitled “Who’s Got the Address?” was presented in Panjim, Goa, in 2012 and in Ithaca, NY, in 2013. I have taken photography masterclasses with Joel Meyerowitz, Alex Webb, and Rebecca Norris Webb. A selection of my photos can be seen on Flickr.

I was one of a group of photographers invited by the International Center for Photography to respond to an image by Robert Capa with an image of their own. The new edition of my novella Every Day is for the Thief features original photographs I took in Lagos. “Who’s Got the Address?” was published (with text by Amitava Kumar) in Domus India and in Guernica, and some of my other photo portfolios have been published in a number of magazines. More recently, in a series of photographs taken in Switzerland, I have become interested in the tensions within the photographic image: the role of text, signs, optical illusions, perspective, and images of images.

I also write frequently on photography: I wrote the introduction to Double Negative, a novel by Ivan Vladislavic loosely-based on the photographic practice of David Goldblatt, as well as introductions to books of photography by Alex Webb, Rebecca Norris Webb, Howard French, Richard Renaldi, and Zun Lee, and I have published essays on a number of photographic subjects, including Gueorgui Pinkhassov, Dina Kelberman, and the uses of Google and Instagram for photography.