I think landscape photography in general is somewhat undervalued.

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.

Photography is a major force in explaining man to man.

The other great development has been in photography, but that too was influenced by Conceptual art.

I had done a lot of rock 'n' roll photography when I was in college. I was one of many photographers who worked for The Doors, Jefferson Airplane, and all of these rock 'n' roll bands.

In 1979, I received a phone call from Ansel Adams asking me if I would be willing to consider coming to work for him. I was teaching photography in Southern California at that point.

So when I became interested in photography and further being inspired by the work that I saw of Ansel and others, it was a natural extension to go back to these places that I knew as a kid and explore them with my camera.

It is my intention to present - through the medium of photography - intuitive observations of the natural world which may have meaning to the spectators.

Actually, I'm not all that interested in the subject of photography. Once the picture is in the box, I'm not all that interested in what happens next. Hunters, after all, aren't cooks.

The clue to book jacket photography is to look friendly and approachable, but not too glamorous.

It takes a lot of imagination to be a good photographer. You need less imagination to be a painter because you can invent things. But in photography everything is so ordinary; it takes a lot of looking before you learn to see the extraordinary.

There is only you and your camera. The limitations in your photography are in yourself, for what we see is what we are.

Those involved in the program are interested in how to use photography, videos, the Internet, film, and anything related to communications and transmission of information in the most up-to-date modern ways.

Music is the doorway that has led me to drawing, photography, and writing.

Videos are more like photography. It's not as much about trying to tell a story as it is creating images.

My interest in architecture has always been sculptural. Most of my photography is of architecture.

As an avid photographer, I also took advantage of the latest technology in photography - digital photography - to post photos on my website on a daily basis.

But slowly I began to use cameras and then think about what it was that was going on. It took me a long time, I mean I actually played with cameras and photography for about 20 years.

Look at lots of exhibitions and books, and don't get hung up on cameras and technical things. Photography is about images.

I love photography. My boyfriend's got a great camera, which I bought for his birthday.

My use of the medium - photography - is in some ways traditional.

Few speeches which have produced an electrical effect on an audience can bear the colourless photography of a printed record.

Now, my knowledge of photography was terribly limited.