The vast number of photographers, feeding on anything visible, overgraze the landscape the way cattle overgraze their pasture.
Men have dominated the field of landscape photography just as they have dominated the land itself. Thus shooting a virgin landscape has been man's work - hunting, not gardening.
Given the lack of public skills in reading photographs, given that photographic content is sometimes buried in beauty, contemporary landscape photographers are often condemned to making pretty pictures. Dramatic clouds and sifting light can overwhelm more mundane information. Yet who can resist beautiful landscape pictures of one kind or another? Not I.
Even when I was young I wanted to be an actress. I knew the actors and the paparazzi. It was just kind of always in my landscape. It was never directed at me, but it was always somewhere so I could see how it operated and I could see it from afar and go 'Wow, that's not really glamorous, it's kind of exhausting not having any privacy.' So it was never something I pursued. The first time I saw the billboard for Pretty Little Liars I almost got into a car accident!
One of the best ways to make growth personal is to give employees a share in their firm, a real incentive to go the extra mile, more of a 'John Lewis Economy' if you like...We know that firms where employees are engaged and own a stake do at least as well as other companies in the good times and have performed even better in recent bad times. Expanding and recruiting at a much faster rate and achieving better productivity...So, why do they make up just 2% of our business landscape?
In Hawaii, they're happy to hear that you're filming a show. They love it that people actually come and make use of their beautiful landscapes.
I can use the camera to make a place or landscape; the camera to a greater extent projects rather than takes in or reproduces. The camera, or, rather, the eye, produces the impression of the place: I as a photographer am not passively taking in; I am active as a subject generating the object.
I was terrified when my doctor told me that I had a unique and interesting personality trait, but then he told me about new Zoloft or Prozac and now I just take three pills a day and I blend right into this horrible inbred corporate landscape.
I was living in Monterey, a place where the classic photographers - the Westons, Wynn Bullock and Ansel Adams - came for a privileged view of nature. But my daily life very rarely took me to Point Lobos or Yosemite; it took me to shopping centers, and gas stations and all the other unhealthy growth that flourished beside the highway. It was a landscape that no one else had much interest in looking at. Other than me.
The suburban landscape is alien and strange and exotic. I photograph it out of longing and desire. My photographs are also about repression and internal angst.
To be sure the landscape can't run away, and yet I always fear that it may. [Sometimes] I must set up my tripod, so I worry that the landscape may disappear the next second and I don't stop keeping an eye on it while I get prepared. Then, when pressing the shutter, I hold my breath. These moments are the greatest joys in my life, as if I were undressing the most beautiful woman in the world - that is, if she will allow herself be undressed. If the photo is a success, it means that she was willing. If not, it has been a lovely dream.
By trying many different approaches, you may slowly reach the point where you say more about yourself than about the objects or the landscapes or the people you photograph - and this is where photography really interests me.
So much of what we know, and what we think we know, about the land has first passed through someone's lens. The interesting thing is to make use of this history, not merely to be absorbed into it. For me, landscape photographs begin as the artifacts of personal moments. They get interesting when they become cultural commentary.
I am not much interested in discovering new territories to photograph. Instead, what I wish my pictures could do is lessen the distance one often feels when looking at landscape photographs... The longer I work, the more important it is to me to make photographs that tell my story as a participant, and not just an observer of the land.
The naked figures in the landscape have willingly undressed for my camera. They are either perfect beings heroically occupying their Edens, or else they are gardeners after the Fall, lost and exposed to both the elements and the lens.
I drove from New York to California by myself. The iconography of travel and escape is everywhere in my photographs... So actually becoming a runaway was crucial. I had this idea that I'd make my way across the frontier and find my story as it was actually happening in the landscape.
I never wanted to make portraits - to photograph celebrities, beautiful people, beautiful landscapes, beautiful buildings, or people in distressing situations.... I have always been interested in everyman - average, ordinary people in everyday situations.
All aspects of photography interest me and I feel for the female body the same curiosity and the same love as for a landscape, a face or anything else which interests me. In any case, the nude is a form of landscape. There are no reasons for my photographs, nor any rules; all depends on the mood of the moment, on the mood of the model.
I will not rest until I have transformed the landscape of American politics.
Landscapes, heads and naked women are called artistic photography, while photographs of current events are called press photography.
I remain an active volunteer in the field of at-risk youth, so I'm pretty familiar with the landscape as it stands now, but I don't have any qualifications or an exhaustive body of research to back up my observations.
By visualizing information, we turn it into a landscape that you can explore with your eyes, a sort of information map. And when you’re lost in information, an information map is kind of useful.
I look at a pilot and go, "I see the landscape. I see the characters. I see the direction and the potential of the story." And I also go, "That didn't work. I could change that. Maybe that works. I don't know. We'll see." For me, I look at it, as an actor, as what can I improve upon? So, to have it out there and judged solely on its own merit is really a unique experience for me.
I had just finished reading The Day of the Locust when this piece was brought to my attention, and I was like, "How do you create art in the system, the way it is?" Looking around the studio film landscape, there are all of these great superhero movies, which is fantastic, especially for my kids, but it's hard to find real art house films in the studio system, these days.
When we're being grateful it means that we're acknowledging that life is a gift, that life is a blessing, that this body is only here for a short period of time and it really shifts the whole internal landscape of the mind and it puts things into perspective and it allows us to get our bearings. To get a firm footing in what's real, and then go from there.
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