“The single most important component of a camera is the twelve inches behind it!”

With all art expression, when something is seen, it is a vivid experience, sudden, compelling, and inevitable.

Photography is an austere and blazing poetry of the real.

Yosemite Valley, to me, is always a sunrise, a glitter of green and golden wonder in a vast edifice of stone and space.

There are always two people in every picture: the photographer and the viewer.

Today, we must realize that nature is revealed in the simplest meadow, wood lot, marsh, stream, or tidepool, as well as in the remote grandeur of our parks and wilderness areas.

Let us leave a splendid legacy for our children…let us turn to them and say, this you inherit: guard it well, for it is far more precious than money…and once destroyed, nature’s beauty cannot be repurchased at any price.

One of the most important pieces of equipment, for the photographer who really wants to improve, is a great big wastepaper basket.

No matter how sophisticated you may be, a large granite mountain cannot be denied – it speaks in silence to the very core of your being.

We were in the shadow of the mountains, the light was cool and quiet and no wind was stirring. The aspen trunks were slightly greenish and the leaves were a vibrant yellow.

Impression is not enough. Design, style, technique – these, too, are not enough. Art must reach further than impression or self-revelation .

You don’t make a photograph just with a camera

The ‘machine-gun’ approach to photography – by which many negatives are made with the hope that one will be good – is fatal to serious results.

As the fisherman depends upon the rivers, lakes and seas and the farmer upon the land for his existence, so does mankind in general depend upon the beauty of the world about him for his spiritual and emotional existence.

I don’t know anybody who needs a critic to find out what art is.

We must remember that a photograph can hold just as much as we put into it, and no one has ever approached the full possibilities of the medium.

Image quality is not the product of a machine, but of the person who directs the machine, and there are no limits to imagination and expression.

We’ve spent now about 150 years trying to convince ourselves that photographs are reliable evidence, some unimpeachable slice of the real world. That was a myth from the very beginning.

And I don’t like having my picture taken. I’m almost like an old African in that sense. I think it steals a bit of the soul.

When I got cast in ‘Rocky IV,’ I had never seen a film camera before. And here I was in this boxing movie.

All the films are hits before you turn the camera on. It’s only in the execution that they fail. I’ve been less than happy with the way a couple of films were edited, but it’s a director’s prerogative and you gotta go with it.

I treat the camera like a person – I gaze into it. Photos are a flat thing, and you need to put life into them.

I think a lot of people like hidden-camera shows where they think they’re spying on somebody who doesn’t know they’re looking at them. And nobody takes it seriously – you either enjoy it and get a laugh out of the reactions or not.

In the theater, while you recognized that you were looking at a house, it was a house in quotation marks. On screen, the quotation marks tend to be blotted out by the camera.

When you’re in front of the camera, for a small budget or a big budget movie, there’s no difference.