GILES DULEY

When I worked as a music and fashion photographer, I always had the nagging feeling that there was something missing, that I wasn't using my skills productively. I gave up photography - I walked away from it completely - and started doing care work.

If you focus on the things you can't do, you'll destroy yourself. Just remember everything you can do.

It is what it is. I can't change what's happened to me.

War is not something that can be won. Everybody loses at war.

I don't see myself as being injured by a landmine or the Taliban; I was injured by ignorance and hatred. When people do these things, they want to create more hatred. Fight it with love and education.

A lot of great creativity comes from restrictions.

For me, documentary photography has always come with great responsibility. Not just to tell the story honestly and with empathy, but also to make sure the right people hear it. When you photograph somebody who is in pain or discomfort, they trust you to make sure the images will act as their advocate.

I really love the Olympics: Daley Thompson's back-flip, Derek Redmond's father helping him finish the 400m after his hamstring snapped at the 1992 Games in Barcelona, Carl Lewis, Michael Johnson, Sir Steve Redgrave - childhood memories are flooded with these moments and idols.

I remember, on the medevac helicopter, I said to myself, "I am not f - - g dying in Afghanistan." People talk about having flashbacks; I began having flash-forwards. I began thinking of all the things I still wanted to do.

For most Olympic athletes, their training is their hardest challenge and where they push themselves to the limit. For Paralympians, training and competition is an escape from the hardships and struggles of their everyday life. That is the difference.

Alfred Hitchcock had to find ways to create tension without showing it, but now with computer-generated effects you can show anything.

I don't see many people as heroes and, though I love sport, I believe athletes rarely deserve that praise.

People who look at Greek statues never say it's a shame because they're not complete.

For me, documentary photography has always come with great responsibility. Not just to tell the story honestly and with empathy, but also to make sure the right people hear it. When you photograph somebody who is in pain or discomfort, they trust you to make sure the images will act as their advocate.

To step on a bomb, have your legs blown off and survive, is lucky. Everybody has a good-luck story. Mine was the fact that the senior medic was on patrol that day. Those who don't have a good-luck story are the ones who don't make it.

For those looking at me, meeting me for the first time, it is the body they see. I am labelled as disabled.

I'm not a war photographer. I've always dealt with the consequences of conflict.

It is funny how it is almost more painful to fall over and scrape your knee than to be blown up. Your body goes into incredible protection mode.

I was obsessed from the moment I took my first photograph. I wanted to make photography my career.

For most Olympic athletes, their training is their hardest challenge and where they push themselves to the limit. For Paralympians, training and competition is an escape from the hardships and struggles of their everyday life. That is the difference.

Everyone in a band has a big ego - they love having pictures taken.

I really love the Olympics: Daley Thompson's back-flip, Derek Redmond's father helping him finish the 400m after his hamstring snapped at the 1992 Games in Barcelona, Carl Lewis, Michael Johnson, Sir Steve Redgrave - childhood memories are flooded with these moments and idols.

A lot of great creativity comes from restrictions.

If you focus on the things you can't do, you'll destroy yourself. Just remember everything you can do.

My friends love this idea of me as half man, half camera.

When I worked as a music and fashion photographer, I always had the nagging feeling that there was something missing, that I wasn't using my skills productively. I gave up photography - I walked away from it completely - and started doing care work.

War is not something that can be won. Everybody loses at war.

I don't see myself as being injured by a landmine or the Taliban; I was injured by ignorance and hatred. When people do these things, they want to create more hatred. Fight it with love and education.

I remember, on the medevac helicopter, I said to myself, "I am not f - - g dying in Afghanistan." People talk about having flashbacks; I began having flash-forwards. I began thinking of all the things I still wanted to do.

I've learned to listen in all aspects of life, in all relationships and communications. The biggest lesson is to listen.

I am a big believer in love. Love for me is what got me through.

When you are doing portraits, you have that intimacy with someone for a few minutes. For a really good portrait, you don't take the portrait - it's given.

It is what it is. I can't change what's happened to me.

I had been a fashion photographer for over ten years, but I'd always been dissatisfied with what I was doing. It was all about selling people, and I got disheartened by the whole industry.