Because I almost always shoot in bright sun on Tri-X with the camera set for f/16, there's a uniformity to my negatives. I start printing on either Brovira No. 4 or No. 5 paper (note: this book was printed in 1977) with a fifteen second exposure and the El-Nikkor enlarger lens at f/5.6. When I print I think of the will of the negative and how I should respond to it. While the image is fixed, the light can be manipulated. Even when I'm making the first exposure on the first sheet of paper, I try to imagine the light rays from the enlarger penetrating the emulsion of the paper. When i develop, I imagine the developer softening and penetrating the emulsion of the film or paper. That's also the way I think when I expose film in the camera. Looking through the rangefinder, I'll imagine millions of rays of light going through the lens and burning into the film. This attitude brings me into closer contact with the materials. I like to think of the energy, the speed, and the meaning of the entire process. I could never give anybody else my negatives to print, because they wouldn't make the same decisions. Printing is not only a question of skill, it's a question of attitude.