Having photographed the landscape for a number of years and specifically working with trees and in the forest I found, without consciously thinking about it, that it was a great learning experience for me in terms of organizing elements.

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.

And as part of my activity there, he had indicated he wanted me to work with him on that and conduct the various technical tests. And so a few months later I moved from Southern California up to the Monterey Peninsula where I still live today.

And the camera position, the organization, looking for repeating forms, shapes, trying to set up a visual rhythm seemed to come very natural. All of a sudden I was in a forest of aluminum and steel rather than a forest that we might think of in a traditional sense.

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.

It had rained on some vivid green ferns in Maine and it was quite beautiful. I was moving the camera slightly and studying the ground glass. Looking at those 20 square inches, trying to find out just what were the right elements to include.

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