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.

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.

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.

Mysteries lie all around us, even in the most familiar things, waiting only to be perceived.

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.

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.

What you see is real - but only on the particular level to which you've developed your sense of seeing. You can expand your reality by developing new ways of perceiving.