I realize that I had the best of serious picture journalism.

I think if I ever get satisfied, I’ll have to stop. It’s the frustration that drives you.

I came to photography by accident.

I realise that I had the best of serious picture journalism. There was an innocence in our approach, especially in the 1950s and 1960s when we naively believed that by holding a mirror up to the world we could help - no matter how little - to make people aware of the human condition.

I love the idea I can go off with a single camera and a few rolls of film unencumbered... I was not interested in the illusion of reality, I wanted to get close to what was happening.

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.

I found a way of working which pleased me because I didn’t have to frighten people with heavy equipment. It was that little black box and me.