I work exclusively with the Canham 4x5 field camera.  I carry 6 lenses: 75mm, 90mm, 135mm, 280mm, 240mm and 450mm.  I use a Gitzo carbon fiber tripod.  I carry some 2-dozen filters while I shoot.  I backpack up to 10 miles round trip in a single day with all of this equipment (42 lbs).

       I have created a reciprocity chart for long exposure times with Velvia 50.  Most of the images you see here have a minimum exposure time of 1-4 minutes.  Many are 16 to 36 minutes long.  All have color correction filtration over the lens to compensate not only for the color of the original light source, but also for the effects of reciprocity failure and for film development changes away from normal.  Most of the imagery requires compaction of the tonal range, so most of the film is pulled during development.  The film’s effective ISO ranges from 3-80 depending on development procedures due to exposure.  I do use the zone system for exposure placement and evaluation of the scenes brightness range.

       I use to use Ilfochrome Classic, super gloss paper, this beautiful paper has been discontinued, 2012.  In the past I have created highlight reduction masks combined with an unsharp mask for every chrome printed in a traditional darkroom.  I have developed my own technique of creating and using this mask, which allows me to control the shadows and middle tones separately from the highlight areas.  Every effort was made to insure museum standards on achievability of the finished print.  I still own and maintain the darkroom, but use it less and less for classical color printing.

       Currently, I am using digital files output through a Lightjet printer.  The medium is RA4 super gloss paper.  The lab that I use in Hance Partners located in Flagstaff, Arizona.  How I use digital is not to composite imagery together, but rather I use digital to create a more complex mask than what I am able to do within the confines of the classical method.  I am also able to burn/dodge an image with far greater precision and repeatability than I was able to before.  I only use digital to create an image that, if given enough time; I could possibly produce in the wet darkroom.  The final print is a wet processed piece of paper that is super gloss and it has all of the archival characteristics we know and love. 

       I use museum quality form core as the backing for the print.  A 4-ply, museum rag board is used as the window over-matt.  I sign the back of the actual print and the over matt.  A self-adhesive label is placed on the back of the foam core, which is a copyright statement, title, image number, location and my contact information.