[A key to success] is being able to talk to camera without a teleprompter. … If you believe something and want to make clear what you are talking about, you ought to be able to articulate it without a teleprompter.

Fifty years after we undertook to make the first synthetic polarizers we find them the essential layer in digital liquid-crystal. And thirty four years after we undertook to make the first instant camera and film, our kind of photography has become ubiquitous.

Iconography becomes even more revealing when processes or concepts, rather than objects, must be depicted–for the constraint of a definite ‘thing’ cedes directly to the imagination. How can we draw ‘evolution’ or ‘social organization,’ not to mention the more mundane ‘digestion’ or ‘self-interest,’ without portraying more of a mental structure than a physical reality? If we wish to trace the history of ideas, iconography becomes a candid camera trained upon the scholar’s mind.

If I had been starting out now, I would be behind the camera.

The last few meters up to the summit no longer seem so hard. On reaching the top, I sit down and let my legs dangle into space. I don’t have to climb anymore. I pull my camera from my rucksack and, in my down mittens, fumble a long time with the batteries before I have it working properly. Then I film Peter. Now, after the hours of torment, which indeed I didn’t recognize as torment, now, when the monotonous motion of plodding upwards is at an end, and I have nothing more to do than breathe, a great peace floods my whole being. I breathe like someone who has run the race of his life and knows that he may now rest forever. I keep looking all around, because the first time I didn’t see anything of the panorama I had expected from Everest, neither indeed did I notice how the wind was continually chasing snow across the summit. In my state of spiritual abstraction, I no longer belong to myself and to my eyesight. I am nothing more than a single, narrow, gasping lung, floating over the mists and the summits.

To the east was our giant neighbor Makalu, unexplored and unclimbed, and even on top of Everest the mountaineering instinct was sufficient strong to cause me to spend some moments conjecturing as to whether a route up that mountain might not exist. Far away across the clouds the great bulk of Kangchenjunga loomed on the horizon. To the west, Cho Oyu, our old adversary from 1952, dominated the scene and we could see the great unexplored ranges of Nepal stretching off into the distance. The most important photograph, I felt, was a shot down the north ridge, showing the North Col and the old route that had been made famous by the struggles of those great climbers of the 1920s and 1930s. I had little hope of the results being particularly successful, as I had a lot of difficulty in holding the camera steady in my clumsy gloves, but I felt that they would at least serve as a record. After some ten minutes of this, I realized that I was becoming rather clumsy-fingered and slow-moving, so I quickly replaced my oxygen set and experience once more the stimulating effect of even a few liters of oxygen. Meanwhile, Tenzing had made a little hole in the snow and in it he placed small articles of food – a bar of chocolate, a packet of biscuits and a handful of lollies. Small offerings, indeed, but at least a token gifts to the gods that all devoted Buddhists believe have their home on this lofty summit. While we were together on the South Col two days before, Hunt had given me a small crucifix that he had asked me to take to the top. I, too, made a hole in the snow and placed the crucifix beside Tenzing’s gifts.

Why can't I see the picture right away?