The history of art is filled with people who did not live long enough to enjoy a sympathetic public, and their misery argues that criticism should try to speed justice.

There is always a subjective aspect in landscape art, something in the picture that tells us as much about who is behind the camera as about what is in front of it.

I have asked students at the beginning of their careers, what things of that sort might haunt them – what things they must photograph, things they have to try to shoot even before they master the intricacies of making dye transfer prints.

No place is boring, if you've had a good night's sleep and have a pocket full of unexposed film.

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.

My first show at MoMA in New York was pictures of new developments along the eastern edge of the Rocky Mountains. They were housing developments that were brutal in many ways, that cared almost not a thing for the human beings inside. They were just designed to make money.

The secret to peace-of-mind is to not identify with anything other than your true self.