Process
Today I use a studio monorail for field work. I used to use a Canham traditional 4x5/5x7, or Shen Hao 4x5 IIA with a selection of Rodenstock or Schneider Kreuznach lenses from 75mm to 360mm or a Mamiya 645 AFD II with a Phase One P30+ and Mamiya lenses.
Large format color images are captured using a Betterlight HS 6000, usually at 16 bit depth RGB. I use an Xrite 24 patch Color Checker in the field to balance prior to capture. I edit the files on an Eizo CG243W monitor profiled with i1 software.
Prints are from an HP Z3200, 44" printer. Color prints are on Hahnemuhle Museum Etching, 320 gms. Black and white prints are printed on Hahnlemuhle Bamboo, 290 gms or Hahnemuhle Photo Rag Pearl.
The b/w images from 1985-1991 were made with a Calumet studio 4x5, mainly with a Nikkor SW 90 mm lens. I used Tri-X, developed by inspection using Edward Weston's ABC Pyro formulas. Silver gelatin prints from these negatives were printed on Oriental Seagull FB paper in various grades of contrast, developed in Dektol with standard ratios, then selenium toned to a neutral tone for archival purposes. Very few of those prints remain with me today and are not for sale.
The negatives have been scanned using an Imacon Flextight Precison II scanner and edited in Photoshop CS4. I have made a conscious decision to treat the digital files as new work, and not try to reproduce exactly the silver gelatin prints from 20 years ago. I have much more control over local tonal ranges than I ever had in the wet darkroom and it would not serve the work to be limited by the older process.
While every effort has been made to ensure accurate color reproduction is maintained throughout the process, variations in browsers and monitors may show slight variations in images viewed on the internet.