Photojournalism is the worst it's ever been. Nobody is doing anything. Today all the photographers are making setup shots, where you go in to shoot someone with a couple of assistants and a few stylists. Everyone does it. I do it. It's the ValueJet of photojournalism -stuck in the mud. In the end, those kinds of portraits mean nothing. They don't convey any information. The idea in that kind of photography is to make a picture the subject will like. That’s not journalism.
If people don’t like the pictures, I don’t care. To me, there’s only one point of view: that’s mine.
Growing up in the war, listening to Churchill's speeches, being bombed in Glasgow every night - that brought me to photojournalism. It was the drama - I wanted to be close to the center of things.
I was next to Bobby (Kennedy) when he was shot. It was hideous. Part of me wanted to crawl away. I couldn't. That was when I had to deliver. I was saying to myself, "Don't fail now, fail tomorrow." The Kennedy thing - I still wake up in the night and think about it. I even remember the f-stop. It was 1.4
I was next to Bobby [Kennedy] when he was shot. It was hideous. Part of me wanted to crawl away. I couldn’t… I still wake up in the night and think about it. I even remember the f-stop. It was 1.4.
Well, people like the idea that somebody from a magazine is coming to photograph them, they like telling their friends … But there is a price to be paid for that! I want them to make themselves interesting, I don’t want them to be sitting on the couch all the time. What I’m doing is keeping their image alive.