When I say I want to photograph someone, what it really means is that I'd like to know them. Anyone I know I photograph.

The pictures of my family were designed to be on a family wall, they were supposed to be together. It was supposed to copy my mother's wall in her house.

When you are on assignment, film is the least expensive thing in a very practical sense. Your time, the person's time, turns out to be the most valuable thing.

When you are younger, the camera is like a friend and you can go places and feel like you're with someone, like you have a companion.

When you go to take someone's picture, the first thing they say is, what you want me to do? Everyone is very awkward.

You don't have to sort of enhance reality. There is nothing stranger than truth.

I don't think there is anything wrong with white space. I don't think it's a problem to have a blank wall.

What I learned from Lennon was something that did stay with me my whole career, which is to be very straightforward. I actually love talking about taking pictures, and I think that helps everyone.

I wish that all of nature's magnificence, the emotion of the land, the living energy of place could be photographed.

I didn't want to let women down. One of the stereotypes I see breaking is the idea of aging and older women not being beautiful.

I feel a responsibility to my backyard. I want it to be taken care of and protected.

I shoot a little bit, maybe two rolls, medium format, which is 20 pictures, and if it's not working, I change the position.

There are still so many places on our planet that remain unexplored. I'd love to one day peel back the mystery and understand them.

My lens of choice was always the 35 mm. It was more environmental. You can't come in closer with the 35 mm.

I'd like to think that the actions we take today will allow others in the future to discover the wonders of landscapes we helped protect but never had the chance to enjoy ourselves.