Workflow
I use a professional analogue and digital workflow for every stage of my images, to create a high quality, archival product.
Image Capture
Initial analogue image capture is done through either a Cambo Legend 4x5 Large FormatCamera, or a Linhof Technorama medium/large format camera.
In these cameras I use professional analogue films. Most of my work has been shot Fuji Velvia 50 colour film, and Ilford Ortho 80 Orthochromatic Black and White film. I also utilise Kodak Ektachrome, Ektar and Portra, where required.
Developing
Colour film is sent to Vision Image Lab in Sydney to be professionally developed, using a dip and dunk deep tank system. I develop my Black and White film by hand, using the large format tray method and Ilford developing chemicals.
Scanning
Once film has been developed, it needs to be digitised so it can be shared with audiences, and so it can be printed using modern printing systems. For digitisation I use a variety of scanning methods, including a Flextight, DSRL scanning, and an Epson V850 pro scanner. One of the benefits of using large format film is the incredibly high resolution, tonal range, and detail that can be extracted from slides and negatives. This far exceeds what is possible on other formats and systems.
Editing
Once an image has been scanned and digitised, it must be edited so that the scan will look the same as the original slide (this is rarely possible due to digital limitations). Once a scan has been edited, creative editing techniques can be used to realise the true potential of the image, (this is where my imagination comes in). For all image editing I use Adobe Photoshop, however, digital tools are not where photo editing finishes. For colour images, colour accuracy is critically important and often overlooked. To ensure colour accuracy I use an Eizo Coloredge CG279X 27” monitor, probably the finest photographic editing monitor on the market. Using an Eizo calibrated screen, with its incredible colour accuracy, I can edit colour images by eye, without using digital aids to determine exposure, colour, and tonal ranges. This means that all images are edited to match how my eyes see the world.
Printing
Once an image has been edited, it is printed on a state-of-the-art Epson P906 A2 printer. The P906 is sets new benchmarks in A2+ professional photographic printing, delivering the highest D-max to date and unsurpassed black and white photography along with outstanding colour exhibition quality prints
https://www.epson.com.au/large-format-printers/products/largeformat/DisplayMain.asp?id=SC-P906
Paper
Prints can be done on a variety of paper; however, my preference is Hahnemuhle Museum Etching 350GSM, with a deckled edge. Museum Etching is the best of the best from Hahnemuhle. It has an immediate sensation of quality and timelessness in the hand and the deckled edge gives a beautiful handmade feel to the paper, it looks great when float mounted.
Prints are then hand signed, and numbered, before being shipped to customers.
Archival
According to Epson, Accelerated testing of prints on specialty photo & fine art media displayed indoors under glass indicates light stability of up to 200 years for colour and 400 years for B&W.
Prints are then protected using Hahnemuhle Protective Spray, which once sprayed, lays like a fine film on the paper, without changing the paper structure. It fixes colours of pigment-and dye ink and prevents an eventual colour fading, and the intensity and the high brilliance of the colours stay permanently. The coating increases the abrasion resistance of the paper, so the risk of finger print marks and scratches are reduced.
Prints are then packed in Crystal Clear A2 bags, which protect the print until it is framed.