On the contrary I want my subject to be as fully conscious as possible —fully aware that he is taking part in an artistic event, an act. Do you remember the old cameras that the village photographer used at the turn of the century? Large as an oak tree, with a lens cap the size of a cat's face, and a billowing black hood? All the village came to have marriage and confirmation pictures taken. It was a solemn, almost holy event. You were obliged to sit still; with the old lens cap the exposure was sometimes four seconds. Moreover, you had to hold your breath, sit still, and stare 'at the dicky bird.' The fact that it was ritual did something to the sitter —you can see the souls looking out of their faces more easily than you can in our photographs of today. They were not off guard, but fully cooperative, sharing an act of innocent majesty — 'having a picture took.' - That is what I still try and hunt for.