It never seemed important to me that my photos be published. It's important that I take them. There were periods where I didn't have money, and I would imagine that someone would come to me and say: 'Here is money, you can go do your photography, but you must not show it.' I would have accepted right away. On the other hand, if someone had come to me saying: 'Here is money to do your photography, but after your death it must be destroyed,' I would have refused.

I have to shoot three cassettes of film a day, even when not 'photographing', in order to keep the eye in practice.

My photographs are proof of what happened. When I go to Russia, sometimes I meet ex-soldiers... They say, 'We came to liberate you....' I say: 'Listen, I think it was quite different. I saw people being killed.' They say: 'No. We never... no shooting. No. No.' So I can show them my Prague 1968 photographs and say, 'Listen, these are my pictures. I was there.' And they have to believe me.

I am not interested in repetition. I don't want to reach the point from where I wouldn't know how to go further. It's good to set limits for oneself, but there comes a moment when we must destroy what we have constructed.

The maximum, that is what has always interested me.

For me what photographers say about their photos doesn’t have any importance. For me it is just enough to look at the pictures. Many times - for the boring pictures - people have to say so many things about them to show you there is something to them when many times there is nothing.

Sometimes I photograph without looking through the viewfinder. I have mastered that well enough, it is almost as if I were looking through it.