Quotes About Landscape

The wind through the trees made a mournful noise, like some great giant sighing.

ma chère penchons sur les filons géologiques (my dear let us lean on geographical veins)

I spend as much time as I can sketching from nature, Dartmoor contains such a rich variety of landscape, as many boulders, foaming rivers and twisted trees as my heart could ever desire. . . . When I look into a river, I feel I could spend a whole lifetime just painting that river.

Everywhere around the forts shell craters had broken up the ground, and at the Dardanos, a little further downstream on the Asiatic shore, the hillsides were pitted and scarred like the surface of the moon. Coins and pieces of pottery which had lain in the earth since classical times had been flung up into the air.

Back above ground, like robotic versions of the mosques and minarets that grace the shores of Istanbul's Bosphorus, Houston's petroscape of domed white tanks and silver fractioning towers spreads along the banks of its Ship Channel.

At King Henry's Mound there is a perfect, uninterrupted view – created in 1710 – through a gap in the trees and all the way across the city to St Paul's Cathedral. It is a view that is protected by law. Protecting magnificent views is proof that the law is not, always, an ass.

There's a huge expanse of this continent that so seldom gets photographed.

Black-and-white photography, which I was doing in the very early days, was essentially called art photography and usually consisted of landscapes by people like Ansel Adams and Edward Weston. But photographs by people like Adams didn't interest me.

So when I became interested in photography and further being inspired by the work that I saw of Ansel and others, it was a natural extension to go back to these places that I knew as a kid and explore them with my camera.

I find it some of the hardest photography and the most challenging photography I've ever done. It's a real challenge to work with the natural features and the natural light.

We're moving into an era when things are dematerialised and much more holographic. Floating above the physical world and the geographic map, there's another landscape that's constantly changing - something like a cloud - of communication, information, exchange and commerce.

If we can think of a place, the physicality of a place, as a kind of 'material,' I would say the landscape of Florida in particular was especially important while writing 'Isle.'

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.

I couldn't take pictures of green rolling hills.

This is the beauty of Rajasthan; everything is so picturesque.

Perhaps no country in Latin America is more picturesque than Bolivia, and the most memorable Bolivian city may be Potosi.

Each mountain in the Dolomites is like a piece of art.

A cricket ground is a flat piece of earth with some buildings around it.

For me, 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?

One of my challenges was to try to photograph the Great Wall of China. And I did actually take some photos, but it was hard to discern the wall with the naked eye.

I always design a landscape with fixed horizons whether it be mountains or a stone wall around a 20-foot-square plot.

'Woman on the Plaza,' with its distinct horizon, snow-like surfaces, wintry wall, stunning sunlight, sharp shadows, and hurrying figure, would become the most biographical of my photographs - an abstract image of the landscape and life of northern Ohio where I grew up and first practiced photography.

We get letters every day from people wanting more mountains. As many as I paint, they still say, 'Give me more mountains.'

Apart from its dangers, much of Iraq isn't very interesting to look at. The landscape is flat and dun colored. The dirt just beyond the highway is littered with hunks of twisted and mangled metal, some of it the detritus of wars, some of it just unclaimed junk. The countryside looks muddy and broken.