Mario Testino quotes:

At the beginning of my career, as a boy from Peru in London, suddenly discovering British culture and society, I looked so much at the work of the photographers Cecil Beaton and Norman Parkinson, which seemed to represent a wonderful vanished grandeur of my new country.

Grunge came from a group of English photographers, and they were documenting their own reality... I'm South American - we celebrate life.

I'm really in no one city more than two months during the year. I'm constantly having to readapt my eye to new locations.

I studied law, economy, international relations, communications, in order to find what I would do. It's the hardest thing, being 17 and trying to find what to do in life. You've explored so little. I'm lucky: My parents let me explore.

However spontaneous I hope a photograph will look, I always put a lot of thought into how I can make it happen. The very best pictures are the most relaxed, so a lot of fussing around technically can completely break the spell, and everyone freezes up with nerves.

My favourite subjects at school were algebra and logic: making a big problem into something small.

My favourite words are possibilities, opportunities and curiosity. I think if you are curious, you create opportunities, and then if you open the doors, you create possibilities.

I started being a photographer because I liked fashion. I liked the idea of dressing up and changing my look. I got earrings, dyed my hair. I would dress like a fashion photo.

There is something about Prince William and Prince Harry that brings real modernity to the British royal family. They are also very open, human, and kind, and this is what I have tried to capture in the pictures I have taken of them as well as in my pictures of Prince William and Catherine.

I have no real training in the history of fine art or furniture; my eye just works by proportions. I react intuitively. In London, it's all about color because the weather is so gray, and in that cold light they look beautiful.

At the end of the '90s, I was very bored with the usual models, so I discovered a new generation that impressed me with their fresh look. I still keep working with models like Gisele Bundchen and Kate Moss, and I am still looking for new, interesting faces. Life is about discovery, and you should never stop searching.

When I had photographed Prince William's mother, I brought along a CD of Dalida, a French singer, that we played on set all day to relax everyone. I decided to do the same thing for Catherine and William. The contrast of the contemporary informal music playing in the beautiful rooms with so much history caused a lot of laughter.

Oh my God, the graduate shows in London are so important! I still remember going to see John Galliano's graduate collection - that was an event I'll never forget.

When I see Kate Moss out and about, I think she looks more beautiful than when her hairdresser and make-up artist try and make her look like something else. And I remember when Madonna first asked Versace to book me to shoot a campaign with her, she came to see me wearing hardly any make-up, and she looked incredible.

I have become aware on my travels that when a country loses the connection between its history and its traditional dress, something truly precious is lost.

South America was not really that open - you had to fit in, and I didn't fit in. I was different - my tastes, my point of view - were a bit weird, and I found in Britain a sense of calm, that I could just be.

In the South America of the forties and fifties, everyone was into beauty and glamour and fashion.

My original idea was to photograph Princess Diana in her tiara. But then I thought, am I interested in seeing another picture of her as a royal person, or would I rather see what she is actually about? And that's why I decided to do her without jewels, without shoes, without trimmings.

It's a choice - there are two different sorts of photographer: those obsessed with the technicalities and those obsessed by the subject.

Even someone as photographed and aware of the camera as members of the royal family needs to feel completely comfortable if they are to look their best.

I am trying to capture the women I photograph at their happiest. That is when they look their most beautiful. But I do understand that you have to make somebody feel completely comfortable in order to bring that out.

Some of my friends say that I only talk about myself. But it is funny: my house is covered in art but with nothing of my own, and when I'm working, I'm only thinking about what the client wants. So I don't see it that way, but maybe it's true. I mean, they are my friends.

A photograph can make you feel so many different things. When you look at war photographs of Vietnam, or something similar, it makes you feel anguish and sadness and pain. Then in other moments, when you look at Jackie Kennedy walking down Fifth Avenue, that makes you feel glory and richness.

A fashion photographer is nothing without clothes and hair and makeup. And when I speak to other photographers, a lot of them can't reference a picture by the designer. Me, I say, 'The Balenciaga.' And I go to the shows. I feel like it's my business.

There are never any absolutes in the fashion business: one day you may like black, and the next day you like colour. I think it's a good lesson that we should never believe too much in any one thing - because the next day it's out, and if we're stuck to it, we're out, too.

A lot of photographers like models to be blank canvases - but bland girls don't influence me. I don't like playing with dolls; I like playing with people.

The liberation of women has brought a lot of equality to the man, in the emancipation of the man as a bulldog; we can also be soft. It's interesting, because sometimes I maybe push the men a little bit more than the women, because it's a little bit less expected.

My favorite type of photography - apart from fashion photography - is journalism, which in a way documents something that exists in a very precise moment, that didnt exist in a moment before and will not exist ever again. This has influenced my work a lot - I usually try to make my images look like they just exist, like no effort was put into it.

Most photographers go and photograph something that they see, that exists, and that somebody else has created - they document it. But fashion photographers have to create what they're going to photograph. We have to go into the thought and build it up, get a girl, get a guy, get a situation, get the house, get the decor. It's the meaning of the word photography: "writing with light."

Some people strive for perfection, but I often find perfection boring.

My pictures are my eyes. I photograph what I see - and what I want to see.

I waited a long time, an hour or two, to make that picture perfect. But I wasn't totally satisfied. Then, when I'd finished the shoot, they were about to leave and they suddenly hugged in front of a radiator. I took my camera and that was the picture that ran everywhere - it was spontaneous emotion you could see they were completely in love.

I said to my mother, 'When you see my name in 'Vogue,' I will have arrived.'

I don't like a tormented photograph. Something attracts you in them, but the attraction isn't because she has a pot on her head or tonnes of make-up and weird clothes and weird everything.

I've been criticised for pretty, smiley photographs, but at least someone is happy! In my mind, I am always giving the image to the sitter.

I was amazed by this person who, even though she had everything, would go to feed the homeless and visit sick children and Aids victims. It was like a fairy tale. Who was she really? Why did she do this? She was trying to find love. I wanted the world to see her kindness, her humility: I think she realised that would be her way.

Ultimately, I made my range wider because I wanted to suit each publication that I worked for. Talk about reinvention - I'm like the Madonna of photography.

I think my sense of color I have got from my upbringing in Peru.

I am very much about promoting Lima because I think Peru and the mountains and the Incas, everybody is aware of those, but Lima is something that people should discover - especially our food.

There's a particular style that is very Peru that you don't see anywhere else; it's got so many different imprints. When you mix Incan minimalism with the heavy, ornate Spanish Baroque, it is very interesting.

To me, the magic of photography, per se, is that you can capture an instant of a second that couldn't exist before and couldn't exist after. It's almost like a cowboy that draws his gun. You draw a second before or after, you miss and you're dead - not them. To me, photography's always like that.

I've always had an affinity with women. It probably started with my mother when I was young, but it was intensified by my sister, Elena, who is one year older than me. I used to hang out with her all the time, and whenever I travelled, I used to buy her clothes and style her.

I find that my entire life has come to me, and things happened without me planning them. You know, I never asked to photograph Princess Diana, and that made me more famous than I wanted. I never asked to photograph Madonna, and that pushed me to another level. There are things that just take you into the limelight.

Being Peruvian means to come from the farthest place possible to get to Europe. Peru is the land of the Incas. It was the capital of South America; it was where the Spanish founded their empire and took over the Inca Empire and made it into a colony of Spain.

I do a lot of decision making before each shoot. It's a luxury to be able to choose what you do.

The year has 365 days, and I want each and every one of them to be exciting.

Fine artists reflect, and then they act. Fashion photographers - we act, and then we reflect.

Some things happen by accident - embrace them.

You have to be you. You can't be anybody else. If you speak loudly, and people tell you to speak quietly, you can do it for a little bit, but loud people are loud, and people who are not, are not.

Many people when I started didn't believe I was a good fashion photographer, and probably they still think that.

A man today has to live with the reality of today. He can no longer live with the reality of 100 years ago. The world's changing so fast. Unless you are prepared to adapt every day, then you have a problem, because the world's not stopping.

As photographers, we have to find our own identity, our own voice, our own vocabulary. And my question all the time is whether this vocabulary is limited, like our own vocabulary that goes from A to Zed, or whether this vocabulary can carry on growing. And to me, I hope that it carries on growing.

Chic is nothing but the right nothing.

I had the right amount of detachment to go back and really appreciate what I had grown up with. There's a particular style that is very Peru that you don't see anywhere else; it's got so many different imprints. When you mix Incan minimalism with the heavy, ornate Spanish Baroque, it is very interesting.

I like getting my ideas from the things of now. I am very conscious of the moment, of images that belong to this moment instead of another period. Fashion is really a reflection of our lives. You see women today and they don't do their hair up; they all wear their hair undone. So you have to reflect that in your photography .

I usually try to make my images look like they just exist, like no effort was put into it.

In Los Angeles, individuality is very big, because people live in secluded bubbles. People don't walk around. They're very insular, and that allows for people to be whatever they want.

Ive been criticised for pretty, smiley photographs, but at least someone is happy! In my mind, I am always giving the image to the sitter.

My favourite words are possibilities, opportunities and curiosity,

No! Beauty is emotional! That's why plastic surgery never works. Women who want to change their nose, lips, they don't understand that they are doing nothing except erasing their magic.

The more I photograph women, the less it is about transformation. Women are beautiful. All that really matters is enhancing that

Work is your life, it's not a rehearsal. You work 7 days a week so you may as well enjoy those days.

Some people strive for perfection, but I often find perfection boring

The way men are seen in photography, in fashion, and the way that men look at pictures of themselves has changed in recent years. It is a subject that has come into focus: The masculine image, a man's personal style, changing attitudes to the male face and body,