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.
I find the single most valuable tool in my darkroom is my trash can
Pictures you have taken have an influence on those that you are going to make. That's life!
"It is light that reveals, light that obscures, light that communicates. It is light I "listen" to. The light late in the day has a distinct quality, as it fades toward the darkness of evening. After sunset there is a gentle leaving of the light, the air begins to still, and a quiet descends. I see magic in the quiet light of dusk. I feel quiet, yet intense energy in the natural elements of our habitat. A sense of magic prevails. A sense of mystery. It is a time for contemplation, for listening - a time for making photographs. "
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.
Whatever it takes to get the image to reach that level is what that photographer needs to do.
Obviously, we can see what was in front of the camera, but if a photograph is honestly made, it's a bit of a self-portrait. I think it's impossible for a photographer who is working honestly to keep this from happening.
You can also see sometimes that the best pictures are the ones where you didn't try so hard, where you were just enjoying the process - and you didn't even know why you were making the picture. It felt right. If someone asked, 'Why are you making this picture?' you probably couldn't describe it very well - and that's why it needs to be a photograph.
I really don't have any secrets. I've never met a photographer whose work I respected that had a secret because the secret lies within each and every one of us.
I find the surface of a photograph a thing of beauty in and of itself, and it is this surface that makes a photograph unique relative to other two-dimensional media.
Whatever it takes to get the image to reach that level is what that photographer needs to do. And for me, I just have such a love of the tactile and sensuous quality of a black and white silver gelatin print.
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'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.
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.
And friends of mine that had photography class in high school would develop the film and make prints and I'd take them back to the track and give 'em away or try and sell them. Much to my parents' dismay, I majored in photography in college.
We all start in this medium because of the magic and the challenge is to keep it going.
He was a very generous soul and was exceptionally dedicated to the medium of photography.
A photographer needs to be a good editor of negatives and prints! In fact, most of the prints I make are for my eyes only, and they are no good. I find the single most valuable tool in the darkroom is my trash can - that's where most of my prints end up.
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.
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.
Many photographers are consumed with the idea of making beautiful contact sheets. I am far more interested in making the best final print I can.
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'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.
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.
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.
