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It is part of the photographer's job to see more intensely than most people do. He must have and keep in him something of the receptiveness of the child who looks at the world for the first time or of the traveler who enters a strange country.

Carloads of tourists would photograph the family mailbox, and there was weird mail, death threats.

Most photographers would feel a certain embarrassment in admitting publicly that they carried within them a sense of wonder, yet without it they would not produce the work they do, whatever their particular field.

A lot of paparazzi wanted to be real photographers but they failed, and they did that instead, and it's not right; it's stalking.

I didn't know a single female photographer who covered conflict who even had a boyfriend, much less a husband or a baby.

Born Berlin 1931, Germany, father a British diplomat, mother an American artist. Educated at various schools all over the world. 1958 Settled down to live in London. 1966 Became interested in photography through photographing my young children. No formal training.

The photographer begins to feel big and bloated and so big he can't walk through one of these doors because he gets a good byline; he gets notices all over the world and so forth; but they're really - the important people are the people he photographs.

Newspapers and magazines didn't want pictures of musicians behaving badly back then. Now, because of the Internet, that's all the media wants.

In the 1930s, photographers such as Walker Evans and Dorothea Lange produced images of sharecroppers and Okies, which drew attention both to the conditions in which these unfortunates found themselves and to their heroic fortitude.

Sometimes they are a matter of luck; the photographer could not expect or hope for them. Sometimes they are a matter of patience, waiting for an effect to be repeated that he has seen and lost or for one that he anticipates.