The first picture of his I ever saw was during a lecture at the Rhyl camera club. I was 16 and the speaker was Emrys Jones. He projected the picture upside down. Deliberately, to disregard the subject matter to reveal the composition. It's a lesson I've never forgotten.

... we are there with our cameras to record reality. Once we start modifying that which exists, we are robbing photography of its most valuable attribute.

The first picture of his I ever saw was during a lecture at the Rhyl camera club. I was 16 and the speaker was Emrys Jones. He projected the picture upside down. Deliberately, to disregard the subject matter to reveal the composition. It's a lesson I've never forgotten.

Content alone is propaganda; form alone is wallpaper.

Real photography is a wonderfully inclusive, democratic medium, whereas art photography is more often a private pursuit by conmen.

Let's assume that all the cassettes of monochrome film Cartier-Bresson ever exposed had somehow been surreptitiously loaded with colour film. I'd venture to say that about two thirds of his pictures would be ruined and the remainder unaffected, neither spoiled nor improved. And perhaps one in a thousand enhanced.

The ability to keep things in perspective is very important for a journalist. In a tense situation you need the ability to be there, yet somehow step aside; to keep a cool head and keep working without getting frustrated.