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.
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 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.
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.
We all start in this medium because of the magic and the challenge is to keep it going.
One of the workshop participants had shown me a single 8 X 10 photograph of a power plant where he actually was the general manager of this power cooperative. It was quite magical to me.
If a person never contradicts himself, it must be that he says nothing.
Anyone who in discussion relies upon authority uses, not his understanding, but rather his memory.
Art distills sensations and embodies it with enhanced meaning.
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.