The reason why so many of my photographs in the book were taken in stairwells and corridors was that that was the only bit of spare space available and, in some cases, the only place where there was enough light to see anything. Even then, it was often so dark that I couldn't tell which gender my subject was (not that I particularly cared) and too dark, before the era of autofocus, to focus. I had to find a light (or carry a torch) and pre-focus.

I started out, in the mid-'70s, taking photographs of rock bands that I liked but not because I really wanted to photograph them. Initially, I was pretending to be a photographer, simply so that I could go up to the front of the crowd and be a bit closer to the bands. But, I found I was gradually developing an interest in the photos I took.

Anyway, the fetish crowd, compared to some of the people that hung out with the skinheads, was all pussycats.

Only a very small proportion of us take those excesses with us into later life. In the age before everyone had a camera, it was worthwhile, in my opinion, to record those excesses. Sometimes, many times actually, the young people I photographed were only dressed that way for one night; that one night that they got snapped by me.

To me, the counterculture was always what I grew up with the hippies in the late '60s. But, however you define it, it's really the excesses of youth and it's something that everyone goes through to some extent. Or if they don't, they should do.

When I was starting, I was very much influenced by the straight up, eyes to camera style of August Sander. He is really the only one. Had I known then the work of people like Ken Russell, Vivian Maier, Helen Levitt, and Steven Berkoff, they would undoubtedly have influenced me too.

That's one of the wonderful things about the whole process of photography - eye contact can be very revealing.