Process

It’s an interesting time to be an image-maker because there are so many aesthetic choices and techniques that can be utilized to achieve a stronger realization of a creative vision. The medium and techniques that I work with are chosen to strengthen the dramatic aspects of the photograph in order for the viewer to feel more directly connected to the world within it. I believe that the authenticity of the final image should not be based on how loyal it is to reality but how well it conveys its message. I have a natural inclination toward black and white photography as its inherent qualities of abstraction grant it the power to intensify the emotional impact of a place while leaving space for mystery. It's in the shadows that you find the true nature of the subject.

The Capture

I capture my images on both film and digitally. I almost always use a high quality tripod – “If it’s worth taking, it’s worth taking with a tripod”. No matter whether analogue or digital, I make sure that every step in the process is the best possible choice for the highest quality results, making sure that I never loose anything in the process.

Film

I typically shoot medium format film using Kodak Plus-X or Tri-X over the newer films because I like the look of their classic grain structure and tonality. The extra sharpness that would be gained from using newer emulsions can be compensated for by sharpening in Photoshop. I expose the image so that I retain the maximum range of tonal detail in the scene. This typically results in a fairly flat looking negative, but one that contains an extra-wide range of tones. After processing the film in a fairly typical fashion I use an Imacon 848 scanner to convert it into a digital file. Known for its sharpness and impressive dynamic range, the Imacon scanner allows me to capture all of the tones that were contained within the negative. As with my digital work, the next step is Photoshop.

Digital

Shooting digitally is more akin to shooting positive film in that it is better at retaining shadow detail than highlights. With this in mind I expose for the highlights and let the shadows fall where they may. I always capture using RAW, which gives me a couple extra stops of tonal range, lossless image detail and the ability to perform complex image adjustments after-the-fact, versus the baked-in lossy data of a jpeg file. As when shooting with film, my captured image typically looks somewhat flat but it contains a wide range of tones. In the instances that I still don’t have enough dynamic range I’ll bracket my images and combine them to create a single HDR (High Dynamic Range) image. Additionally, I have a robotic pan and tilt head that allows me to create gigapixel (1000 megapixel) sized photographs by automatically shooting and combining many images. I then use specialized software to convert the RAW files, fix any vignetting and barrel distortion, and maximize the dynamic range of the capture. As with my film work, the next step is Photoshop.

Photoshop

There is no exacting workflow that I follow once I get the image into Photoshop. I always spend a lot of time exploring the best way to convert the digital colour images into a black and white space, which is different for every photograph depending on the capture, the needs of the material and the creative vision that I see for it. The majority of my work is spent pushing and pulling the tones (tonal mapping) from the tonally flat capture to achieve the tricky balance of conveying a believable story, maximizing the drama, and producing an aesthetically compelling artifact. I also clean up dust and dirt, resize, crop, and sharpen at this stage.

The Print

Prints are made using Epson K3 printers on Hahnemühle Photo Rag Bright White, 310 gsm. I choose to use the terminology pigment-on-paper to keep in line with historic descriptions of the photographic materials used, like gelatin silver or platinum/palladium. The Epson K3 pigment inks are renowned for their archival permanence, black and white neutrality and wide tonal range. The Hahnemühle papers combined with Epson pigment inks result in remarkable museum grade prints recognized for a rich tonal quality, sharpness, presence and depth. The prints are stable, waterproof and exhibit no colour shifting in changing light (metamerism).

All photographs are available as open or limited edition fine art prints, depending on the specific print and the size. I sign and number each in pencil on the photo paper below the image.