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I shoot just one moment at a time. ... These moments are beneath the threshold of perception, it's often a moment when (the dancers are) falling, or they're going up, or two people are about to touch or something like that. Those moments are more expressive than the typical dance photo of someone in a perfect position on the ground or in the air.
In some ways dance and photography are antithetical. Because (dance) happens in 360 degrees of space, according to musical intervals, a choreographed dance has to be performed in sequence; it's not just isolated movements. But I'm extracting one split second, which nonetheless kind of represents a sequence or is like a split-second dance.
He was basically juxtaposing pictures that seemed to tell a story when put side by side, either one dancer's movement led into the other picture or maybe there was a relationship between the dancers' shapes. ... He had a design strategy of pairing images that became very exciting, because the connotation of (one) picture could be expanded by the juxtaposition to another picture.
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