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For me the printing process is part of the magic of photography. It's that magic that can be exciting, disappointing, rewarding and frustrating all in the same few moments in the darkroom.
When I'm about ready to press the cable release on the View camera, I've tried to anticipate some of the challenges I'm going to encounter in the darkroom.
I really don't have any secrets. I've never met a photographer whose work I respected that had a secret because the secret lies within each and every one of us.
I support any procedure that allows photographers to express themselves, whether that involves color, black and white, platinum, palladium and digital technology.
So to me it's very similar in terms of trying to distill within the image, those elements that are gonna form, hopefully, a compelling visual statement.
I find the surface of a photograph a thing of beauty in and of itself, and it is this surface that makes a photograph unique relative to other two-dimensional media.
In my mind I needed a symbol of today's technology, and I realized that what I wanted to photograph was the Space Shuttle. And so that's where Places of Power came into being.
I make photographs and still make photographs of the natural environment. It's a love because that was part of my life before I was involved in photography.
In 1979, I received a phone call from Ansel Adams asking me if I would be willing to consider coming to work for him. I was teaching photography in Southern California at that point.
The reason I do workshops is so I can learn, and I am fortunate that I've probably gained more from the whole experience of teaching than any one participant has. It is all about asking.
The first day at the power plant I found myself photographing some steam vents on the roof of the structure. And I remember consciously thinking that they were just like trees but they were metal.