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.

I have been poor and I wanted to document poverty; I had lost a child and I was obsessed with birth; I was interested in politics and I wanted to know how it affected our lives; I am a woman and I wanted to know about women.

...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.

Themes recur again and again in my work.

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.

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.

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