We all move on the fringes of eternity and are sometimes granted vistas through fabric of illusion.
The herculean task of a photographer is to capture a momentary frame as beautiful in reality, as it would be in a dream.
Photograph not only what you see but also what you feel.
All art is a vision penetrating the illusions of reality, and photography is one form of this vision and revelation.
I’m interested in something which is built up from within, rather than just extracted from without.
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.
If you have enough craft, you’ve done your homework and you’re practiced. You can then make the photograph you desire.
Knowing what I know now, any photographer worth his salt could make some beautiful things with pinhole cameras.
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.
I am probably afraid that some spectator will not understand my photography – therefore I proceed to make it really less understandable by writing defensibly about it.
Ask yourself, ‘Why am I seeing and feeling this? How am I growing? What am I learning?’ Remember: Every coincidence is potentially meaningful.
In a strict sense photography can never be abstract, for the camera is incapable of synthetic integration.
As the fisherman depends upon the rivers, lakes and seas and the farmer upon the land for his existence, so does mankind in general depend upon the beauty of the world about him for his spiritual and emotional existence.
If what I see in my mind excites me, there is a good chance it will make a good photograph.
All art is the expression of one and the same thing- the relation of the spirit of man to the spirit of other men and to the world.
The piano has eighty-eight keys, and you have to be able to play all of them. And the range of white to black is analogous to the eighty-eight keys and you have to be able to play all eighty-eight keys in that palette from white to black.
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.
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.
The skies and land are so enormous, and the detail so precise and exquisite that wherever you are you are isolated in a glowing world between the macro and the micro.
It is the photographer, not the camera, that is the instrument.