So when I became interested in photography and further being inspired by the work that I saw of Ansel and others, it was a natural extension to go back to these places that I knew as a kid and explore them with my camera.

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.

For me the printing process is part of the magic of photography. It's that magic that can be exciting, disappointing, rewarding and frustrating all in the same few moments in the darkroom.

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.

I took a workshop from him a few months after that. That experience changed my whole approach to photography. At that workshop in Yosemite in 1973 I decided I wanted to try and see if I could pursue this for myself, and I'm still trying.

It was amazing to watch him in the darkroom at an advanced age, still get excited when the results were pleasing. He still struggled like we all do in the darkroom and he struggled behind the camera, and when he had a success he was beaming.

It's not a question of getting the opportunities, it's a question of noticing that opportunities are there.