I can't hold a camera anymore.

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.

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

It doesn't matter if you use a box camera or you use a Leica; the important thing is what motivates you when you are photographing.

I look for a sense of reality with everything I did. I didn't work in a studio, I didn't light anything. 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 and £5 worth of film in my pocket or maybe it was only £2 in those days.

...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.

If a photographer cares about the people before the lens and is compassionate, much is given. It is the photographer, not the camera, that is the instrument.