There's an awful lot of work being done that no one ever sees, or that is only seen in the gallery world. I feel that the public are losing touch with the great stuff that's being done in photography.

In the same way, photography, for me, has fragmented. You do have people doing bodies of work - often with found photographs - that are quite hard to understand unless you got a very sophisticated visual history behind you. But there are different camps.

As humans, we need to question all these notions. What does freedom mean for us? What are our responsibilities? It takes one-250th of a second to take a photograph. So I have the whole of the rest of that second - and of that day - to think.

There's an awful lot of work being done that no one ever sees, or that is only seen in the gallery world. I feel that the public are losing touch with the great stuff that's being done in photography.

We sort of understand how painkillers work. You take one, and it reduces your headache. We don't understand how photographs work. And that, to me, is an essential problem as a practitioner.

I have a huge respect for the dedication that many people have, on the other side of the Atlantic, to photography. You can count them on one hand here. There's less respect for a Magnum photographer in Britain than there is in America. It's a much more postmodern culture here.

I think, oddly, that the world of the amateur is quite self-contained, and it depends on "likes" from other amateurs to perpetuate itself. Of course an awful lot of my colleagues are involved with Instagram - they get likes and dislikes, maybe just likes, I don't know - but I think that it's far less self-contained, the world I work in. It goes off in different directions, and is dependent on responses different from a tick or a like or whatever.