To me, photography is 90% a retrospective experience. There's the part of pursuing the image, and exposing the film, but once you make the exposure, you're always looking backwards in time. I like that aspect of photography.

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 remembered seeing it and it was this metallic turbine and I thought it was beautiful. I had never been in a power plant before, but I felt, without being overly dramatic, compelled to make photographs of this for myself.

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.

We all start in this medium because of the magic and the challenge is to keep it going.

Whatever it takes to get the image to reach that level is what that photographer needs to do.

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.