Theoretical scientists who probe the secrets of the universe and philosophers who seek answers to existence, as well as painters such as Paul Klee who find the thoughts of men of science compatible with art, influence me far more than most photographers.

At 42, I decided to become a photographer because it offered a means of creative thought and action. I didn't rationalize this, I just felt it intuitively and followed my intuition, which I have never regretted.

If you stop searching, you stop living, because then you're dwelling in the past. If you're not reaching forward to any growth or future, you might as well be dead.

I totally disagree with the belief that nature was only made for the use of people. Human beings are not the center of the universe, and, if they are to sustain themselves, it is vitally important for them to be awakened to how closely they are linked with the rest of nature.

My pictures are never pre-visualized or planned. I feel strongly that pictures must come from contact with things at the time and place of taking. At such times, I rely on intuitive, perceptual responses to guide me, using reason only after the final print is made to accept or reject the results of my work.

Light to me is perhaps the most profound truth in the universe. My thinking has been deeply affected by the belief everything is some form of radiant energy.

As I became aware that all things have unique spatial and temporal qualities which visually define and relate them, I began to perceive the things I was photographing not as objects but as events. Working to develop my skills of perceiving and symbolizing these event qualities, I discovered the principle of opposites. When, for example, I photographed the smooth, luminous body of a woman behind a dirty cobwebbed window, I found that the qualities of each event were enhanced and the universal forces which they manifested were more powerfully evoked.