I like to feel that all my best photographs had strong personal visions and that a photograph that doesn't have a personal vision or doesn't communicate emotion fails.

When we tune in to an especially human way of viewing the landscape powerfully, it resonates with an audience.

The combination of pictures and words together can be really effective, and I began to realise in my career that unless I wrote my own words, then my message was diluted.

A lot of people think that when you have grand scenery, such as you have in Yosemite, that photography must be easy.

I began taking pictures in the natural world to be able to show people what I was experiencing when I climbed and explored in Yosemite in the High Sierra.

I think landscape photography in general is somewhat undervalued.

I almost never set out to photograph a landscape, nor do I think of my camera as a means of recording a mountain or an animal unless I absolutely need a 'record shot'. My first thought is always of light.

There is no question that photography has played a major role in the environmental movement.

I find it some of the hardest photography and the most challenging photography I've ever done. It's a real challenge to work with the natural features and the natural light.

The reason that I keep writing is that all my most powerful messages about the fates of wild places that I care about need to have words as well as images.

Today, I'm very careful not to mention very specific locations when I write or give captions.

I began to realise that film sees the world differently than the human eye, and that sometimes those differences can make a photograph more powerful than what you actually observed.

Wanting to take a light camera with me when I climb or do mountain runs has kept me using exclusively 35 mm.

I like to feel that all my best photographs had strong personal visions and that a photograph that doesn't have a personal vision or doesn't communicate emotion fails.

What I mean by photographing as a participant rather than observer is that I'm not only involved directly with some of the activities that I photograph, such as mountain climbing, but even when I'm not I have the philosophy that my mind and body are part of the natural world.

My mountaineering skills are not important to my best photographs, but they do add a component to my work that is definitely a bit different than that of most photographers.

There's no question that photographs communicate more instantly and powerfully than words do, but if you want to communicate a complex concept clearly, you need words, too.

If we limit our vision to the real world, we will forever be fighting on the minus side of things, working only too make our photographs equal to what we see out there, but no better.

My first thought is always of light.

And most of my early pictures failed but about one in a 100 somehow looked better than what I saw.

Ever since the 1860s when photographers travelled the American West and brought photographs of scenic wonders back to the people on the East Coast of America we have had a North American tradition of landscape photography used for the environment.

I'm exchanging molecules every 30 days with the natural world and in a spiritual sense I know I am a part of it and take my photographs from that emotional feeling within me, rather than from an emotional distance as a spectator.

I remember when an editor at the National Geographic promised to run about a dozen of my landscape pictures from a story on the John Muir trail as an essay, but when the group of editors got together, someone said that my pictures looked like postcards.

The landscape is like being there with a powerful personality and I'm searching for just the right angles to make that portrait come across as meaningfully as possible.

These days, most nature photographers are deeply committed to the environmental message.

One of the biggest mistakes a photographer can make is to look at the real world and cling to the vain hope that next time his film will somehow bear a closer resemblance to it.

Luckily, many other people tell me how they have had a particular landscape photograph of mine in their office or bedroom for 15 years and it always speaks to them strongly whenever they see it.

I think that cognitive scientists would support the view that our visual system does not directly represent what is out there in the world and that our brain constructs a lot of the imagery that we believe we are seeing.

The experience of life consists of the experience which the spirit has of itself in matter and as matter, in mind and as mind, in emotion, as emotion, etc.

I think it would have been a lot better for him to say, I did it and I'm sorry, McGwire was never one to show a lot of emotion on the field, not a player who sought attention and craved to be thought of as a nice guy.

In fact, words are well adapted for description and the arousing of emotion, but for many kinds of precise thought other symbols are much better.

To be a character who feels a deep emotion, one must go into the memory's vault and mix in a sad memory from one's own life.

A person cannot love a plant after he has pruned it, then he has either done a poor job or is devoid of emotion.

I think we actually punish children out of their relationship with their bodies... we categorically separate mind and body and emotion and intellect.

And if thought and emotion can persist in this way so long after the brain that sent them forth has crumpled into dust, how vitally important it must be to control their very birth in the heart, and guard them with the keenest possible restraint.

My job is usually to express emotion as freely as possible.

People think love is an emotion. Love is good sense.

I have the ability to sing with emotion and feeling, but if you say I sound like Billie Holiday, that's cool. Let's look at who Billie was: she was this person, this singer, this beautiful diva who could move the audience with the slightest gesture of her hand.

I often start writing in order to excite an expansive emotion.

I tried to have more than one emotion on the record.

I have lived too completely, I think. I have known every human emotion.

I'm an actor who believes we all have triggers to any stage of emotion. It's not always easy to find but it's still there.

Patriotism is not short, frenzied outbursts of emotion, but the tranquil and steady dedication of a lifetime.

It is impossible for emotion not to come on us in thinking of that time now flowed away.

I will try to account for the degree of my aesthetic emotion. That, I conceive, is the function of the critic.

I'm singing what I want to sing based on the emotion of what that day feels like. That's what comes out of my mouth and guitar. That impacts people. They know anything can happen.

Learn to reverence night and to put away the vulgar fear of it, for, with the banishment of night from the experience of man, there vanishes as well a religious emotion, a poetic mood, which gives depth to the adventure of humanity.

As you follow the escapades or the journey of the hero through a story, it evokes some kind of emotion in the viewers. The director's job is to make sure that the audience goes through the journey and has an emotional reaction.

I do not literally paint that table, but the emotion it produces upon me.