Themes Recur Again And Again In My

Lesson Number One: Pay Attention To The Intrusion Of The Camera.

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.

It Doesn’t Matter If You Use A Box Camera Or A Leica, The Important Thing Is What Motivates You When You Are Photographing. What I Have Tried To Do Is Involve The People I Was Photographing. To Have Them Realize Without Saying So, That It Was Up To Them To Give Me Whatever They Wanted To Give Me . . . If They Were Willing To Give, I Was Willing To Photograph.

A Studio Session ... Provides The Greatest Chance For Control. Even Though There Is Total Freedom, I Still Dislike Studio Photography And The Contrived Images That Usually Stem From This Genre.

If The Chemistry Is Right Between Star And Photographer And The Geometry Of The Pictures Pleases The Star, Often The Two People End Up With A Long-term Professional Friendship During Which They Continue To Work Together And To Produce Highly Personal Images.