Nearly all the images on this site have been produced from a Toyo AII  4 x 5 field view camera and a Pentax 67 II (6 x 7cm image size) camera, with the exception of a few selected 35mm images produced from an assortment of Nikon SLR camera bodies (including, most currently, an F6) and lenses.

I've been using the Toyo almost exclusively since 1996, employing a combination of Nikkor and Schneider lenses. My film of choice is Fujichrome Velvia transparency film, which I've used—with very few exceptions—since 1990. Prior to that, my primary film choice was Kodachrome 25.

For fine art prints I have my transparencies scanned on a Heidelberg Tango drum scanner and printed on Fuji Crystal Archive papers using (most recently) the Chromira ZBE printer. I prefer using the Fuji supergloss paper surfaces for their unparalleled look of depth, sharpness, and saturation, and because the results I get with supergloss most closely convey what I feel about an image.

I believe these prints represent the finest that currently can be produced. (The following image prefixes indicate the original format: 'SF' means 35mm, 'MF' means 6 x 7cm, and LF means 4 x 5".)

In the field I use three Gitzo tripods (504, and carbon fiber tripods 5561 and 1227), depending upon hiking distance and lens use, among other considerations. My ball heads are a Foba Superball and an Acratech, as well as a Wimberley Head Version 2 for telephoto work. I carry a full complement of filters, but generally use only a small number of them—in particular, I favor various polarizers, graduated neutral density filters, and warming filters. Lowe photopacks round out my gear.

For publication purposes and for the web, I personally scan all my transparencies on either a Nikon 9000ED (35mm and medium format images) or a Microtek 1800f (large format images). For editing, I use the latest version of Photoshop CS running on an enhanced Mac Pro with a 30" Apple Cinema Display, and I proof my prints on an Epson printer.