My work is produced using the medium format (6x7) Mamiya RB67 and the large format (4"x 5”) Toyo 45A2 film cameras, with focus, movements, aperture and shutter speed all set manually. The time required to set up and photograph each image ranges from a minimum of 20 minutes to over an hour to accomplish, and many have been fine-tuned to an exact time of day on a particular day of the year.

The lens on each camera is limited to the 'normal' viewing length lens for that format, so that each image represents what the eye would behold viewing the scene in person. Composition is created through careful camera placement, in order to preserve the feeling and intimacy of experiencing the subject material in person.

I use a Manfrotto/Bogen 3205 tripod with the Linhoff Profi II BallHead, and my light meter is the Minolta Spotmeter F, for exacting control over every aspect of exposure. I use Fuji films exclusively.

The film images are scanned at very high resolution, resulting in extremely large files, which are then spotted and cleaned. Color-balance and contrast issues are resolved, usually over an evaluation period of several weeks, and the master image file takes its final form.

The intent of making these images is to transport the viewer to the location in which they were taken, and visually recreate the experience of actually being there. To accomplish this, every effort has been made to preserve the smallest observable details, from the taking of the original image, through the scanning, the processing, and finally the printing. In this regard, the images are best experienced when printed at a size of 16 x 20 inches or larger; 32 by 40 inch prints are my standard size. All of the images are printable with a 300 dpi resolution to about 48 x 60 inches.

Presently, prints at sizes up through 30" x 42" are made using the Polielettronica LaserLab printer at Dickerman Prints, San Francisco, on Fuji Crystal Archive paper. Giclee prints and Fuji Supergloss prints are handled at The Icon in Hollywood, CA by special order.