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| The technique of photography is an often discussed subject that some feel is more important than the actual photograph itself. This is not to say that the refinement of an individual photographer’s technique is not important.
I feel that the tools used in creating my art come from several years of experience talking back to me. I started, like most every photographer, with a 35mm camera, ‘graduated’ to medium format 6x7cm (Mamaya RB67) and then decided that my work lacked a clarity I was seeking and moved to a 4x5 (Wisner Technical View Camera - #996). I'm sure there's an 8x10 view camera in my future! But that's the fun of it, to try different things. To not get locked into any one way of doing.
I am currently using a Wisner 4x5 Technical View Camera with four Schneider lenses. A G-Claron 305mm; an APO-Symmar 180mm; a Super-Angulon 90mm; and a Super-Angulon 47mm. Recently I picked up a 4x10 back for the Wisner and a 120mm Super Angulon which I will use for a series of 4x10" Platinum/Palladium images. I will soon have a gallery online of these images. I use a spot Minolta Spot Meter as well as a Minolta Auto Meter III. I have been very pleased with the Auto-load 4x5 films. They free you from loading and carrying holders as well as limiting the dust that the holder process might introduce. I have also been using a small digital camera to help pre-visualize. The Sony Mavica camera is great for this in that it will preview a black and white image. It's like using a Director's Finder which a regularly use in motion picture work. When I photograph, I either carry a pocket recorder to make notes on each exposure or write the information on the outside of each auto load holder. The pocket recorder is faster but sometimes a hassle. I find it invaluable to take and keep notes on exposure, lens, filter, place, time, date, etc. it is my learning curve.
I do not practice the Zone system in total but will meter a scene in a fashion similar to that of the Zone system with a thought towards the development process. I usually make two negatives of a given scene which is helped by the design of the auto-load pack holding two 4x5 sheets per pack. There is usually an exposure difference about one stop between the two exposure. If you want to call this bracketing you can. I feel I make the second negative allowing for a difference in how I visualize the final print and giving me something extra to achieve this visualization. I process and print all of my own work. The search for the perfect print is what I seek. I have a small darkroom, approximately ten by twelve feet that I built when I decided to start shooting stills again. My 4x5 sheet film is processed in a JOBO drum processor that holds twelve sheets at a time. The 4x10 is processed in another JOBO drum, five negatives at a time. Lately I have been primarily using T-Max100 and process it in the T-Max RS Developer at 68 degrees for 12 minutes. I print using an Omega D5-XL with a Zone VI cold light head. I use Illford Multigrade FB as my current paper of choice but have printed with Illford Gallerie graded paper, Zone VI Brilliant graded paper and Seagall VC-CRS. I process prints in Dektol 3:1 or 4:1 at 75 degrees. I also may bleach prints using Potassium Ferricyanide. I tone in Rapid Selenium Toner for archival purposes and to intensify the blacks. I have been printing the last few years in both platinum/palladium and gelatin sliver. Additionally, I have done some work with digital imagery and manipulation. ‘Hats’ , the image seen on the home page was made from twelve 4x5 Polaroid type 55 negatives each of which was scanned at Res 80 and then composited into the grouping seen. The file was then outputted to and Iris Inkjet Printer on Arches 55 Watercolor Paper by Graham Limited Editions in California. Additionally, Lenswork Magazine is offering this image in it's limited edition print series.
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