Don't be creative when you should be mechanical, and don't be mechanical when you should be creative.

- Fred Picker


It is better to be high-spirited even though one makes more mistakes, than to be narrow-minded and all too prudent.

- Vincent Van Gogh


Sometimes I arrive just when God's ready to have someone click the shutter.

- Ansel Adams


Visual ideas combined with technology combined with personal interpretation equals photography. Each must hold it’s own; if it doesn’t, the thing collapses.

- Arnold Newman


My favorite thing is to go where I've never been.

- Diane Arbus


The ground we walk on, the plants and creatures, the clouds above constantly dissolving into new formations - each gift of nature possessing its own radiant energy, bound together by cosmic harmony. Ruth Bernhard

- Ruth Bernhard








    My Digital Photography Workflow

    Go to: My Large Format Film Workflow

    Digital photography offers many opportunities for film photographers from the past. Many of us no longer have access to a darkroom and the equipment. Yet we still have a desire to create and control the processes that make up the final image that we call a photograph. I had stopped photographing somewhere around 1990. A few years ago I made the leap and purchased a digital camera. The journey since has been wonderful.

    Being a photographer that stated with film I incorporated many film techniques into my digital photographic processes. I try and capture images requiring little to no cropping. I almost always place the camera on a tripod. I do try and slow down the ease of shooting digitally. In fact a common practice for me is to use the camera as though it is a large format view camera and that I only have a few sheets of film with me. I try and really work the image before I push the shutter release cable. I don't want a hundred OK photos from Point Lobos, I want one great photo if I am lucky enough to get it. And yes, luck plays a lot into photography.

    Three things are required for a great photograph; technical ability, visualization and the luck of being at the right place at the right time (weather conditions and light). The only way to be lucky is to be out there photographing as much as possible. Visualization comes from learning to see and transferring that vision into capturing the image, instead of getting whatever the camera takes. And as mentioned, there is the need to technically comprehend all that goes into the digital process in order to allow your visualization to meet up with the luck of the day and successfully create a captured image. Technique is supported through having a workflow that is simplified and repeatable.

    The equipment I use can be found on My Digital Camera Gear web page.

    Adobe Lightroom: I import all images into Lightroom. From there I select the images I wish to "develop". Any required cropping is done in Lightroom. Adjustments tone and contrast to the image are handled by a third-party software called Silver Efex Pro. The image is saved back into Lightroom where I tweak any remaining characteristics then sharpen the photo and reduce the noise. I print directly from Lightroom.

    Silver Efex Pro: This product doesn't actually do anything you can't do in Lightroom or Photoshop, but it does it so much more easily. Ease is important to my process.

    Adobe Photoshop: I use Photoshop for only two tasks. One is to create digital negatives and to "heal" and lens flare I manage to capture. The combination of shooting in the desert sun and the fewer number of elements in the lenses of a four-thirds camera system seem to produce lens flare more easily than what I recall with other lenses.

    Digital Printing: My images are then printed on an Epson Stylus Pro R3000 using Roy Harrington's Quad Tone RIP and Piezography inks. My paper of choice is Moab Entrada Rag Bright 300. There are many other combinations available to the photographer. It is best to quickly find what works best and stick with it as much as possible.

    Traditional Printing: I use Adobe Photoshop to create digital negatives from the images. I follow Dan Burkholder's and Jon Cone's Piezography processes for creating the digital negatives. Prints made from from these negatives will be contact prints on LODIMA FINE ART™ Silver Chloride Paper a replacement for Kodak Azo, and on Ilfobrom Galerie FB. The developer I use for the Lodima and lfobrom is Photographer's Formulary's Lomida Paper Developer, similar to the Amidol print developer Edward and Brett Weston used. I use Ilford Ilfostop or Kodak Indicator Stop Bath and then Photographer's Formulary's TF-4 Rapid Archival Fixer. Prints are washed in the typical archival manner to include selenium toning. I have been using Ilford's Harmen Selenium Toner in place of Kodak Rapid Selenium Toner that I used in the past.