What has changed is that when I photographed, most people that I photographed didn't have the right of refusal on their work. It would take a Marilyn Monroe at her height to be able to dictate that.

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.

...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.

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.

A studio session ... provides the greatest chance for control. Even though there is total freedom, I still dislike studio photography and the contrived images that usually stem from this genre.

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.

What I have tried to do is involve the people I was photographing... if they were willing to give, I was willing to photograph.