As we travel around Britain, I am convinced most of us cannot really appreciate what we are seeing. We take too much for granted, because it is all so familiar.

I avoid Facebook, LinkedIn and Twitter, and if I need to communicate with someone, I email direct.

I am not as cross about Thatcher now as I was in the ’80s. Begrudgingly, I can see that some of her policies helped modernise Britain.

The thing about tourism is that the reality of a place is quite different from the mythology of it.

I never think of photographs as being individual. Always as a group.

TV-makers usually don’t know much about photography.

Of course, New Brighton is very shabby, very rundown, but people still go there because it’s the place where you take kids out on a Sunday.

I would urge everyone to start looking at the world in a different way. Spend some time looking at everyday objects, at their design, their shape, their individual characteristics. Think ahead and imagine their significance.

Margaret Thatcher was very good for the arts in so far as it gave people a real focus for something to be against.

I do read many of the photography magazines from the U.K. and abroad.

Criticism is hypocrisy; society is hypocrisy. I’m a tourist. I’m a consumer. I do the things that I photograph and can be criticized of.

I photograph people as I find them. But people have issues about how they look.

When I fly British Airways, I can’t help but read the free Daily Mail, which makes me glad I am leaving the country.

The knack is to find your own inspiration and take it on a journey to create work that is personal and revealing.

Photography is, by its nature, exploitative. It’s whether you use this process with a sense of responsibility or not. I feel that I do so. My conscience is clear.

Most of us, when we go out with a camera in our own country, try to find exotic subject matter to photograph.

I get up early and open my emails, write cheques, and answer the phone; whatever needs to be done.

When I am in London, all I do is mix with other people in the arts.

I photograph wealth.

You can’t shoot in sepia, so converting into black and white and then into brown makes everything feel less real.

There are 65 to 70 photography galleries in New York alone. In the U.K., there are no more than five, and they’re all in London.

I am kept awake by the list of possibilities for shooting more photos and deciding what I must prioritise next.