It was an experience that was exceptional. People frequently ask what it was like and it truly was inspiring. Sometimes during his lifetime, people would try and put him on a pedestal and that's not where he wanted to be, but he was really a great individual.

I support any procedure that allows photographers to express themselves, whether that involves color, black and white, platinum, palladium and digital technology.

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.

When the object that is produced...the photographic image...has the ability to make tears come to your eyes; to inspire you to the point where you have to catch your breath, then nothing else matters.

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.

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.

Obviously, we can see what was in front of the camera, but if a photograph is honestly made, it's a bit of a self-portrait. I think it's impossible for a photographer who is working honestly to keep this from happening.