Almost all photographers have incurred large expenses in the pursuit of tiny audiences, finding that the wonder they'd hoped to share is something few want to receive.

C.S. Lewis admitted, when he was asked to set forth his beliefs, that he never felt less sure of them than when he tried to speak of them. Photographers know this frailty. To them words are a pallid, diffuse way of describing and celebrating what matters. Their gift is to see what will be affecting as a print. Mute.

When you abide in the I you're abiding in the ego. The I is really the ego, the small I. It turns into the Self eventually.

Your own photography is never enough. Every photographer who has lasted has depended on other peoples pictures too - photographs that may be public or private, serious or funny, but that carry with them a reminder of community.

The only freedom we've got is not to react to anything, but to turn within and know the truth.

Landscape pictures can offer us, I think, three verities: geography, autobiography, and metaphor. Geography is, if taken alone, sometimes boring, autobiography is frequently trivial, and metaphor can be dubious. But taken together, as in the best work of people like Alfred Stieglitz and Edward Weston, the three kinds of information strengthen each other and reinforce what we all work to keep intact - the affection for life.

In a foreign country it is far from easy to study a scene at length when you know that at any minute someone may appear and ask what you are doing and that you can't answer, and you haven't many references, and you don't know the law. Neither is it easy to find and know the subjects for portraits or comfortable to make such picture when you cannot apply an anesthesia of small talk.