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.

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.

And then as I frequently do, some times I'll peek out from underneath the focusing cloth and just look around the edges of the frame that I'm not seeing, see if there's something that should be adjusted in terms of changing the camera position.

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.

Pictures you have taken have an influence on those that you are going to make. That's life!

I think one of the aspects of photography that remains for me is I find the process still frustrating. The counter to that is that it's still very exciting. If you didn't have the frustration, you wouldn't have the excitement. If you didn't have the disappointment, you wouldn't have the magical intoxication of this process working.

The first day at the power plant I found myself photographing some steam vents on the roof of the structure. And I remember consciously thinking that they were just like trees but they were metal.