Silver Gelatin refers to the light sensitive emulsion which coats the printing paper.
This utilises silver halides as the image capturing chemistry.
I print all my work on heavy weight fibre based paper,
which although is more difficult to process
has to my mind a greater depth than resin coated paper.

In the Darkroom.


This is the next stage after printing and all my prints are toned using Thiourea, Sulphide or Selenium.
Thiourea and Sulphide are easily noticeable for the yellow to light brown midtones,
whereas Selenium is harder to spot but has a profound effect on the darker tones.


As a bi-product of toning the image, archival permanence is ensured for 100 years plus.
I use the highest quality acid-free mount board. I choose from three tints of off-white according to the print tone.
And of course all my glues are solvent free.
For added security against deterioration I place a silver foil barrier between the print and backing board.


Over the years I have used all kinds of film, and I have never come across a bad one.
Recently I tend to use Kodak's Tri X Pan and Ilford's FP4+.
The character of these films seem to suit the lenses that I use.
Of late I am playing around with Agfa APX 100, and Rollie RPX 400

In the Darkroom, again.


I travel with a pair of Leica M6's and 4 lenses: 90mm, 50mm, 35mm, and 28mm.
The perfect lightweight kit for portrait and street work
For landscape work I am favoring the Bronica 645 Rangefinder,
for its ease of use and portability. It also goes well with my M6's.


I use two enlargers, one an old and trusted Durst, the other an LPL 7541 5 x 4.
I have an array of lenses,Nikkor, Fuji, Durst and a very surprisingly excellent
Minolta 50mm f2.8.


I am at present running Limited Editions of only 35 on my Medium and Large size prints.
The Small size comes in an Open Edition.