I came to photography by accident.

What do you hang on the walls of your mind?

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

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.

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

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

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.