The sheer ease with which we can produce a superficial image often leads to creative disaster.

Twelve significant photographs in any one year is a good crop.

I believe the approach of the artist and the approach of the environmentalist are fairly close in that both are, to a rather impressive degree, concerned with the affirmation of life.

With all art expression, when something is seen, it is a vivid experience, sudden, compelling, and inevitable.

For me the future of the image is going to be in electronic form... You will see perfectly beautiful images on an electronic screen. And Id say that would be very handsome. They would be almost as close as the best reproductions.

To the complaint, 'There are no people in these photographs,' I respond, 'There are always two people: the photographer and the viewer.'

All I can do in my writing is to stimulate a certain amount of thought, clarify some technical facts and date my work. But when I preach sharpness, brilliancy, scale, etc., I am just mouthing words, because no words can really describe those terms and qualities it takes the actual print to say, here it is.

We were in the shadow of the mountains, the light was cool and quiet and no wind was stirring. The aspen trunks were slightly greenish and the leaves were a vibrant yellow.

It is all very beautiful and magical here -- a quality which cannot be described. You have to live it and breathe it, let the sun bake into you.

It is increasingly clear to me that my art relates more and more to a sublimation of my closeness to the natural world, it's events, light itself, and the positive it is a personal expression based on observation and reaction, that I am not able to define except in terms of the work itself.

The whole world is, to me, very much alive -- all the little growing things, even the rocks. I can't look at a swell bit of grass and earth, for instance, without feeling the essential life -- the things going on -- within them. The same goes for a mountain, or a bit of the ocean, or a magnificent piece of old wood.

There are worlds of experience beyond the world of the aggressive man, beyond history, and beyond science. The moods and qualities of nature and the revelations of great art are equally difficult to define; we can grasp them only in the depths of our perceptive spirit.

There are two people in every photograph: the photographer and the viewer.

A photograph is not an accident -- is a concept. It exists at, or before, the moment of exposure of the negative.

We who are gathered here may represent a particular delete, not of money and power, but of concern for the earth for the earth's sake.

No matter how sophisticated you may be, a large granite mountain cannot be denied -- it speaks in silence to the very core of your being.

To photograph truthfully and effectively is to see beneath the surfaces.

Myths and creeds are heroic struggles to comprehend the truth in the world.

A photograph is usually looked at -- seldom looked into.

The technique of 35mm photography appears simple. One is beguiled by the quick viewing and operation, and by the very questionable inclination to make many pictures with the hope that some will be good.