To convey in the print the feeling you experienced when you exposed your film – to walk out of the darkroom and say: ‘This is it, the equivalent of what I saw and felt!’. That’s what it’s all about.

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.

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.

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.

A photographer needs to be a good editor of negatives and prints! In fact, most of the prints I make are for my eyes only, and they are no good. I find the single most valuable tool in the darkroom is my trash can - that's where most of my prints end up.

He was a very generous soul and was exceptionally dedicated to the medium of 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.