My lens of choice was always the 35 mm. It was more environmental. You can't come in closer with the 35 mm.

The work which is manipulated looks a little boring to me. I think life is pretty strange anyway. It is wooo, wooo, wooo!

What I am interested in now is the landscape. Pictures without people. I wouldn't be surprised if eventually there are no people in my pictures. It is so emotional.

What I end up shooting is the situation. I shoot the composition and my subject is going to help the composition or not.

I am impressed with what happens when someone stays in the same place and you took the same picture over and over and it would be different, every single frame.

A thing that you see in my pictures is that I was not afraid to fall in love with these people.

Nature is so powerful, so strong. Capturing its essence is not easy - your work becomes a dance with light and the weather. It takes you to a place within yourself.

At my Rolling Stones' tour, the camera was a protection. I used it in a Zen way.

Coming tight was boring to me, just the face... it didn't have enough information.

Lennon was very helpful. What he taught me seems completely obvious: he expected people to treat each other well.

My lens of choice was always the 35 mm. It was more environmental. You can't come in closer with the 35 mm.

The camera makes you forget you're there. It's not like you are hiding but you forget, you are just looking so much.

I feel a responsibility to my backyard. I want it to be taken care of and protected.

When I take a picture I take 10 percent of what I see.

The pictures of my family were designed to be on a family wall, they were supposed to be together. It was supposed to copy my mother's wall in her house.

My hope is that we continue to nurture the places that we love, but that we also look outside our immediate worlds.

I don't think there is anything wrong with white space. I don't think it's a problem to have a blank wall.

Everyone keeps asking you for pictures, and after a while you get tired of that. I always say, They are in the archives.

It's a heavy weight, the camera. Now we have modern and lightweight, small plastic cameras, but in the '70s they were heavy metal.

If it makes you cry, it goes in the show.

A very subtle difference can make the picture or not.

There must be a reason why photographers are not very good at verbal communication. I think we get lazy.

It's hard to watch something go on and be talking at the same time.

I feel very proud of the work from the '80s because it is very bright and colorful.

In a portrait, you have room to have a point of view. The image may not be literally what's going on, but it's representative.

You don't have to sort of enhance reality. There is nothing stranger than truth.

If I didn't have my camera to remind me constantly, I am here to do this, I would eventually have slipped away, I think. I would have forgotten my reason to exist.

I still need the camera because it is the only reason anyone is talking to me.

I was scared to do anything in the studio because it felt so claustrophobic. I wanted to be somewhere where things could happen and the subject wasn't just looking back at you.

When I started working for Rolling Stone, I became very interested in journalism and thought maybe that's what I was doing, but it wasn't.

When you are on assignment, film is the least expensive thing in a very practical sense. Your time, the person's time, turns out to be the most valuable thing.

Computer photography won't be photography as we know it. I think photography will always be chemical.

When I say I want to photograph someone, what it really means is that I'd like to know them. Anyone I know I photograph.

There are still so many places on our planet that remain unexplored. I'd love to one day peel back the mystery and understand them.

I've created a vocabulary of different styles. I draw from many different ways to take a picture. Sometimes I go back to reportage, to journalism.

When you are younger, the camera is like a friend and you can go places and feel like you're with someone, like you have a companion.

I shoot a little bit, maybe two rolls, medium format, which is 20 pictures, and if it's not working, I change the position.

What I learned from Lennon was something that did stay with me my whole career, which is to be very straightforward. I actually love talking about taking pictures, and I think that helps everyone.

I wish that all of nature's magnificence, the emotion of the land, the living energy of place could be photographed.

Sometimes I enjoy just photographing the surface because I think it can be as revealing as going to the heart of the matter.

No one ever thought Clint Eastwood was funny, but he was.

I didn't want to let women down. One of the stereotypes I see breaking is the idea of aging and older women not being beautiful.

I'd like to think that the actions we take today will allow others in the future to discover the wonders of landscapes we helped protect but never had the chance to enjoy ourselves.

When you go to take someone's picture, the first thing they say is, what you want me to do? Everyone is very awkward.

As a young person, and I know it's hard to believe that I was shy, but you could take your camera, and it would take you to places: it was like having a friend, like having someone to go out with and look at the world. I would do things with a camera I wouldn't do normally if I was just by myself.

As much as I'm not a journalist, I use journalism. And when you photograph a relationship, it's quite wonderful to let something unfold in front of you.

I admired the work of photographers like Beaton, Penn, and Avedon as much as I respected the grittier photographers such as Robert Frank. But in the same way that I had to find my own way of reportage, I had to find my own form of glamour.

I fell in love with the darkroom, and that was part of being a photographer at the time. The darkroom was unbelievably sexy. I would spend all night in the darkroom.

I fight to take a good photograph every single time.