process
Singular decisions in techniques and materials give rise to a complete artistic process. Each artist refines their approach in response to available tools, preferred methods, and the inherent qualities of their own creativity. While individual processes vary, the goal remains the same: to most successfully bring a creative idea to fruition. My photographic process is a hybrid of traditional methods and tools developed during the transition from analog to digital photography. These decisions have evolved over time, and I anticipate they will continue to do so.
The selection of a camera is often determined by subject matter, though many other factors contribute to this decision. After working with medium and larger format cameras, I developed a strong preference for them over the traditional 35mm. This preference remains today, as I primarily work with a Hasselblad system and a 4x5 Linhof field camera. I find compositional balance for many images within the square format provided by the Hasselblad, whose optics excel in medium format. The Linhof offers the extensive controls and movements for which large format cameras are known. The 4x5 inch negative allows for the level of detail I seek in my work. While some may regard the slower nature of these formats as a deterrent, I view it as an invitation to work deliberately and thoughtfully with each composition.
One cannot discuss film and processing without reference to the Zone System developed by Ansel Adams and Fred Archer. Designed as a systematic method for translating one’s pre-visualization into a final print, the Zone System relies on rigorous testing to determine optimal exposure and film development aligned with specific photographic equipment. I employ these principles in metering a scene, determining exposure, and developing film.
The majority of my work has been captured on Kodak TMX 100 and TMY 400 black and white film. I continue to find film uniquely capable of reproducing subtle tonal transitions, particularly at the extreme ranges of the tonal scale. Beyond its recording capabilities, I am deeply appreciative of the longevity of film when properly developed, knowing it can endure for generations. Film also engages multiple senses—the tactile quality of the material, the appearance of the negative, and even the scent of the film stock—each adding to the experience of its creation. There remains something inherently romantic and quietly magical about capturing a photograph on film.
In addition to the use of the Zone System in metering and determining exposure for a scene, I regularly employ colored filters to influence tonal relationships within a scene. I believe the translation of color into shades of gray represents both simplicity and complexity within black and white photography. Colored filters such as #8 Yellow, #15 Yellow-Orange, #25 Red, and a circular polarizer allow me to control how colors are rendered in grayscale on film, lightening or darkening specific tonal values. The ability to deepen skies or lighten golden fall grasses is an essential tool when working in a monochromatic medium.
Tonal range can also be shaped during film development. In 2024, I resumed processing my own film to further refine control over the entire process, from composition to final print. By optimizing development times for a normal, +1, and -1 development, I am able to more closely align the tonal outcome with my original vision. I currently use a Jobo CPP-3 film processor, which I have found to be highly precise and consistent. After many years working with Kodak HC-110, I now develop film using Kodak XTOL 1:1. There is a deep satisfaction in retrieving film from the drum and being the first to view the silver halide record of a scene I experienced.
Once the negative is created, I transition into the digital realm—a progression informed by over three decades of commercial work as an architectural photographer and extensive experience with Photoshop. I have grown to appreciate the sophistication of digital tools and their potential when applied thoughtfully to creative work. Negatives are scanned using an Imacon 646 Flextight scanner, and my scanning techniques continue to evolve as I pursue the highest quality digital files for printing. I approach the digital darkroom much like a traditional one, beginning with a straight print from the scanned negative. From there, layers are applied to replicate the practices of dodging and burning, with the added precision of control across specific tonal ranges. Prints are revised incrementally with test prints evaluated over several days before a final fine art print is achieved.
My current process reflects over three decades of work in both analog and digital formats. It is a process that continues to evolve alongside my ideas, questions, and ongoing pursuit of photographs that feel satisfying.