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.
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've found even after nearly 30 years of doing this, there are all kinds of new surprises that rear their heads at various times and I truly believe that 51% of the images, success takes place in the darkroom.
In my mind I needed a symbol of today's technology, and I realized that what I wanted to photograph was the Space Shuttle. And so that's where Places of Power came into being.
When I teach and meet a class for the first time, you realize that there are people there that have exceptional abilities or have the potential to do exceptional things and you never know who those people are. My job is to provide the best information I can.
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.
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.
I make photographs and still make photographs of the natural environment. It's a love because that was part of my life before I was involved in photography.
I support any procedure that allows photographers to express themselves, whether that involves color, black and white, platinum, palladium and digital technology.
When I'm about ready to press the cable release on the View camera, I've tried to anticipate some of the challenges I'm going to encounter in the darkroom.
I've never seen a surface that I think is more seductive in image making.
I think the greatest photographers are the amateur photographers who do it because they love it. Arnold Newman is a good example; he is a consummate professional, but he's also an 'amateur' in the pure sense of the word.
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.
We all start in this medium because of the magic and the challenge is to keep it going.
For un-subscribe please check the mail footer.