Big game photography in Africa is mainly done from a vehicle, so then I feel I might as well take the lot.

For sure, all over Poland, kids had my picture of a lemur on their bedroom wall - but the chances are they may never get to see a real lemur in Madagascar. I thought this was great and it really meant a lot to me.

I think few wives would have encouraged this kind of drastic and reckless career shift!

I concentrate on the southern African subcontinent.

Currently I am working on another three books, doing a lot of magazine work, am shooting for fifteen stock agencies, plus my own photo library - all this keeps me quite busy!

Big game photography in Africa is mainly done from a vehicle, so then I feel I might as well take the lot.

I also like flyfishing - maybe I would have figured a way to make a living out of that?

I hope to goodness I would not still be working in the corporate world - the money is OK but it is no life at all.

For the first few years we lived in a tiny rented cottage at the bottom of a friend's garden. We often joked that there was plenty of film in the fridge, but not too much food!

So about twenty years ago I gave up on painting - and got into terrible debt after buying a load of camera gear!

I carry a notebook full of sketches of pictures I want to take - they are really scruffy sketches, but at least I am going out there with a clear objective.

I would never dream, for example, of going to The States to photograph your wildlife.

My first serious project was photographing badgers - very, very difficult as they are shy and nocturnal.

All I really wanted to do was wildlife photography.

A large wildlife book, start to finish, could take one to two years, but then I would expect to get several good (nature) magazine features off the back of this, plus of course a lot of stock.

Even for an area I know well, I prepare a shooting list of subjects I need.

In The States I would have no edge, no advantage at all.

I also had a tremendous passion for art and read a lot.

The Kalahari is brilliant - and easy to visit.

Photography started as a means of getting reference material for my paintings of nature subjects.

Photography is a major force in explaining man to man.

The other great development has been in photography, but that too was influenced by Conceptual art.

I had done a lot of rock 'n' roll photography when I was in college. I was one of many photographers who worked for The Doors, Jefferson Airplane, and all of these rock 'n' roll bands.

In 1979, I received a phone call from Ansel Adams asking me if I would be willing to consider coming to work for him. I was teaching photography in Southern California at that point.

So when I became interested in photography and further being inspired by the work that I saw of Ansel and others, it was a natural extension to go back to these places that I knew as a kid and explore them with my camera.

It is my intention to present - through the medium of photography - intuitive observations of the natural world which may have meaning to the spectators.

Actually, I'm not all that interested in the subject of photography. Once the picture is in the box, I'm not all that interested in what happens next. Hunters, after all, aren't cooks.

The clue to book jacket photography is to look friendly and approachable, but not too glamorous.

It takes a lot of imagination to be a good photographer. You need less imagination to be a painter because you can invent things. But in photography everything is so ordinary; it takes a lot of looking before you learn to see the extraordinary.

There is only you and your camera. The limitations in your photography are in yourself, for what we see is what we are.

Those involved in the program are interested in how to use photography, videos, the Internet, film, and anything related to communications and transmission of information in the most up-to-date modern ways.

Music is the doorway that has led me to drawing, photography, and writing.

Videos are more like photography. It's not as much about trying to tell a story as it is creating images.

My interest in architecture has always been sculptural. Most of my photography is of architecture.

As an avid photographer, I also took advantage of the latest technology in photography - digital photography - to post photos on my website on a daily basis.

But slowly I began to use cameras and then think about what it was that was going on. It took me a long time, I mean I actually played with cameras and photography for about 20 years.

Look at lots of exhibitions and books, and don't get hung up on cameras and technical things. Photography is about images.

I love photography. My boyfriend's got a great camera, which I bought for his birthday.

My use of the medium - photography - is in some ways traditional.

Few speeches which have produced an electrical effect on an audience can bear the colourless photography of a printed record.

Now, my knowledge of photography was terribly limited.

Photography suits the temper of this age - of active bodies and minds. It is a perfect medium for one whose mind is teeming with ideas, imagery, for a prolific worker who would be slowed down by painting or sculpting, for one who sees quickly and acts decisively, accurately.

The use of the term art medium is, to say the least, misleading, for it is the artist that creates a work of art not the medium. It is the artist in photography that gives form to content by a distillation of ideas, thought, experience, insight and understanding.

The problem of direct colour photography has been facing us since the turn of the last century.

Photography is an immediate reaction, drawing is a meditation.

A lot of people think that when you have grand scenery, such as you have in Yosemite, that photography must be easy.

The problem for me is that I've never actually studied photography, so it's quite a steep learning curve. Cameras these days do so much for you automatically but I still think there's a point where you should actually know the technical side.

I was an artistic dilettante for a while, in photography and collage and the visual arts.

Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.