Today my passion is still black and white. Today if I have an array of cameras in front of me the one I would reach for that I would feel most comfortable with would be a 4 X 5 View camera. I was once working in a sort of soft light situation.

When I teach and meet a class for the first time, you realize that there are people there that have exceptional abilities or have the potential to do exceptional things and you never know who those people are. My job is to provide the best information I can.

And friends of mine that had photography class in high school would develop the film and make prints and I'd take them back to the track and give 'em away or try and sell them. Much to my parents' dismay, I majored in photography in college.

You can also see sometimes that the best pictures are the ones where you didn't try so hard, where you were just enjoying the process - and you didn't even know why you were making the picture. It felt right. If someone asked, 'Why are you making this picture?' you probably couldn't describe it very well - and that's why it needs to be a photograph.

There is a considerable amount of manipulation in the printmaking from the straight photograph to the finished print. If I do my job correctly that shouldn't be visible at all, it should be transparent.

I think the greatest photographers are the amateur photographers who do it because they love it. Arnold Newman is a good example; he is a consummate professional, but he's also an 'amateur' in the pure sense of the word.

Whatever it takes to get the image to reach that level is what that photographer needs to do. And for me, I just have such a love of the tactile and sensuous quality of a black and white silver gelatin print.