It doesn’t matter if you use a box camera or a Leica, the important thing is what motivates you when you are photographing. What I have tried to do is involve the people I was photographing. To have them realize without saying so, that it was up to them to give me whatever they wanted to give me . . . if they were willing to give, I was willing to photograph.

Lesson number one: Pay attention to the intrusion of the camera.

...if you think of modern art like sex in all its forms - heterosexual, bisexual, homosexual, multipartnered, bestial, whatever, with absolutely no holds barred and with everything available and permissible - that would be modern art.

I didn't want to be a woman photographer. That would limit me. I wanted to be a photographer who was a woman, with all the world open to my camera.

What drove me and kept me going over the decades? If I had to use a single word, it would be 'curiosity.

Recording sessions were stimulating to photograph, because everything was in motion: the subject, the musicians, the technicians and the photographer. You needed fast reflexes to keep up with moving targets, and sensitivity and skill to get the pictures while keeping out of the performers' eyeline so as not to break their concentration.

If the chemistry is right between star and photographer and the geometry of the pictures pleases the star, often the two people end up with a long-term professional friendship during which they continue to work together and to produce highly personal images.