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.

The greatest compliment that I know how to pay another photographer is to say, 'I never would have made that photograph myself. I'm sure glad you did.' You hope along the way that maybe, once in a while, you do that for someone else.

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.

It was an experience that was exceptional. People frequently ask what it was like and it truly was inspiring. Sometimes during his lifetime, people would try and put him on a pedestal and that's not where he wanted to be, but he was really a great individual.

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

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.

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.