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.

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.

If the photographer is interested in the people in front of his lens, and if he is compassionate, it's already a lot. The instrument is not the camera but the photographer.

What do you hang on the walls of your mind?

You can't make a great musician or a great photographer if the magic isn't there.

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

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