I pay two full-time assistants in my studio, plus consultants who are architects, engineers, and landscape architects, as well as lighting designers.
The lifestyle that an artist can have, the freedom to wander in the landscape with no real pressure or deadlines, was a very attractive one.
But it is also untrue that I have nothing specific in mind. As with my landscapes: I see countless landscapes, photograph barely 1 in 100,000, and paint barely 1 in 100 of those that I photograph. I am therefore seeking something quite specific; from this I conclude that I know what I want.
Distinctly American poetry is usually written in the context of one's geographic landscape, sometimes out of one's cultural myths, and often with reference to gender and race or ethnic origins.
I often wondered why I was attracted to certain landscapes and not others and why my photographs (and depictions by other artists) looked the way they did, Archetypes imprinted on my mind started me on a search.
There are bound to be differences in any artistic collaboration with landscape elements, or theater, of lighting elements.
Walkman was the precursor to the cell phone, in terms of your strategy for getting through the urban landscape and the modern experience. Insulate yourself from it with your own soundscape.
With Westerns you have the landscape is important, and it's empty, and only you populate it. When you populate it, you can tell any kind story that Shakespeare told, you can tell in a Western.
For me, a landscape does not exist in its own right, since its appearance changes at every moment; but the surrounding atmosphere brings it to life - the light and the air which vary continually. For me, it is only the surrounding atmosphere which gives subjects their true value.
The defining aspects of westerns are still pretty much in place - namely landscape and conflict. In other books the conflict can be internal, but in westerns it usually plays out on a big stage.
Whatever landscape a child is exposed to early on, that will be the sort of gauze through which he or she will see all the world afterwards.
To the landscape architect a rock garden. . . appears. . . the work of a lunatic.
We must also recognize the new realities of modern warfare and the modern landscape of a battlefield.
I think that there are empty ecological niches in the literary landscape crying to be filled and when a book more or less fills a niche it's seized on, even when it's a far from perfect fit
As a landscape photographer we should be open to possibilities, for one thing often leads to another.
I am in awe of the perpetual tumult of the sea. I am moved by the still place on the horizon where the sky begins. I am stirred by the soaring and dipping fields that make the landscape into a rumpled green counterpane. I thought I would never have such powerful feelings again. I thought I would live through the rest of my life having experiences, and thoughts, but I never thought I would again feel deeply-- I was convinced that my wounds had healed and become thick scars, essentially numb.
When you are painting a landscape, assume the painting is real and the landscape is an illusion.
For me nature is not landscape, but the dynamism of visual forces, an event rather than an appearance. These forces can only be tackled by treating color and form as ultimate identities, freeing them from all descriptive or functional roles.
What I am interested in now is the landscape. Pictures without people. I wouldn't be surprised if eventually there are no people in my pictures. It is so emotional.
You pick up a camera because something has been revealed to you in the landscape or in the human-scape. And you have no choice because it's a gift. And it's like, oh right, I better start doing this!