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.
Fashion pictures show people looking glamorous. Travel pictures show a place looking at its best, nothing to do with the reality. In the cookery pages, the food always looks amazing, right? Most of the pictures we consume are propaganda.
Sepia in particular tends to make everything look a bit romantic and almost sentimental, hence the fact that it remains such a popular choice for wedding photographs.
When I visited Vietnam for Oxfam, the thing that really struck me was how the local farmers had to prepare to evacuate or climb to their mezzanines with their valuable family possessions.
In the '70s, in Britain, if you were going to do serious photography, you were obliged to work in black-and-white. Color was the palette of commercial photography and snapshot photography.
Personally, I don't take holidays; I go on trips. My idea of relaxing is taking a trip that isn't commissioned. I'll work just as hard, but without that nagging pressure of fulfilling a commission. Now that's what I call a holiday.
For those aspiring to make a living from travel photography, it's a sad fact that the boring shots are the shots that are going to make you money.
We live in a homogenized world, where it's hard to get excited when everything is slick and professional. The interesting things are the dull things.
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.
Modern technology has taken the angst out of achieving the perfect shot. For me, the only thing that counts is the idea behind the image: what you want to see and what you're trying to say. The idea is crucial. You have to think of something you want to say and expand upon it.
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.
When someone says to you, 'Oh, I don't take a good picture,' what they mean is they haven't come to terms with how they look. They take a fine picture, it's just that their image of how they think they look is not in touch with the reality.
I like to keep in touch with younger photographers. It's important that a younger generation comes up and questions the assumptions made by old farts like me.
Over the years, I have perfected the art of dancing and photographing at the same time: it's a great double act. If you're dancing, you are joining in. If you stand there rigid, you are not in the flow of things.
I pride myself in being an aficionado of the British seaside. Throughout my career, I have visited and worked in many of the famous British resorts, from Great Yarmouth to Largs.
Filming is always a challenge because I'm not used to it. But I approach it head-on. I'm not technically brilliant, but it's the spirit that counts.
If you go to the supermarket and buy a package of food and look at the photo on the front, the food never looks like that inside, does it? That is a fundamental lie we are sold every day.
One of the things I regret is that magazines now are so lifestyle-orientated that the opportunity to do bigger projects is gone. This is a serious misjudgment on the part of magazine editors.