The problem is almost everybody is just recording the world with home photographic toys, not doing metaphor or ideas. We have a photographic culture that's not conditioned to think in terms of symbol.

I was raised a Catholic as a boy and went to a Catholic boys' high school, a private school, and kind of drifted away, candidly, in my latter teen years. I consider myself deeply spiritual but not in an institutional, religious kind of a way. In Catholicism, we're surrounded by these images of martyrdom and doing penance and doing some suffering to achieve what you're trying to achieve. And I certainly embedded that in my psyche and I have lived that very effectively.

When I worked with wildlife a lot in the Eighties and Nineties, I learnt the meaning of patience. And when I worked with trees, I learned the meaning of humility.

There is a glacier in Iceland, Solheimar, which has retreated a great deal, and every time I go back there and see what's not there any more, it does something to the heart. It makes you realise it's possible for a gigantic natural element to just disappear.

Early in my career I discovered that there was something really special about photographing at night that places your mind on the surface of the planet. You’re no longer just a human being walking around in the regular world. You’re a human animal striding around on the surface of the planet that’s out in the middle of the galaxy. We as a culture, we’re forgetting that we are actually natural organisms and that we have this very deep connection and contact with nature. You can’t divorce civilization from nature. We totally depend on it.

Glacial pace is actually an incorrect concept. The glaciers move a lot faster and they react a lot faster than people imagine.

I've been to the Himalayas a half a dozen times and I love it. I'm just kind of tired of going literally twelve time zones around the world. I would rather go six time zones and get to Iceland or whatever it is.