Fine Art Photography
What it means to me...

It is all about creating that stunning final print, the tangible, that you can hold in your hands and admire for its beautiful and thought-provoking composition, perfection in technical execution, and meticulous attention to detail in creating the print itself.

Sizes + pricing
8x8 / 8x10 : 18x18 Matted = $200
16x16 / 16x20 : 28x28 Matted = $400
Nielsen Bainbridge 8-Ply Artcare™ AlphaRag – 1/8 inch thick, 100% cotton, ACID FREE museum-quality preservation mat board
Nielsen Bainbridge Artcare™ 3/16 inch thick archival ACID FREE foamcore foamboard
Canson-Infinity Platine Fibre Rag, 310 gsm

Setting the benchmark for Digital Darkroom papers, Platine Fibre Rag provides the aesthetic and feel of the original F-Type Baryta Fibre paper, having a true pure white tone without using optical brighteners that are known to affect the longevity of digitally produced images.

Platine Fibre Rag's extremely high Dmax and exceptional grey tones make it the product of choice for the more discerning black and white as well as colour photographic prints.
My Equipment
Hasselblad X1D-50c (50 megapixels)
Hasselblad XCD 30MM F/3.5
Hasselblad XCD 80MM F/1.9
Hasselblad XCD 90MM F/3.2
Hasselblad XCD 120MM F/3.5
Hasselblad HC 300MM F/4 + XH Lens Adapter
Tripod + Head
Really Right Stuff TVC-24L
Really Right Stuff BH-40 LR
Singh-Ray LB Warming Cir. Polarizer
Singh-Ray Mor Slo ND-10 Stop
Singh-Ray Mor Slo ND-15 Stop
Past Equipment
Leica M Monochrom 246
Leica M Monochrom
Leica M9 / M9-P
Leica Apo-Summicron-M 50mm f/2 Asph.
Leica Apo-Summicron-M 90mm f/2 Asph.
Leica Summilux-M 50mm f/1.4 Asph.
Leica Elmarit-M 28mm f/2.8 Asph.
Nikon D3X
Zeiss Makro-Planar T* 50mm f/2 ZF.2
Zeiss Makro-Planar T* 90mm f/2 ZF.2
Hasselblad H3DII 39MP
Hasselblad HCD 4,0-5,6/35-90MM
Linhof Master Technika 2000 4X5
Arca-Swiss Misura 4x5
Rodenstock Grandagon-N 90mm
Schneider Super-Symmar XL 80mm
Mamiya 7II 6x7
Mamiya RZ67 PRO II
FUJI GX617 Panoramic
Hasselblad 501CM
My Digital Darkroom Process
The choice of my camera equipment affords me the following minimal workflow in Lightroom (LR) and Photoshop (PS):

  • Import images using LR at the default settings for my equipment
  • Adjust the Exposure in LR, if needed
  • Export to TIFF and open in PS
  • Fix white-balance for color accuracy
  • Do minimal Dodging and Burning if/as needed
  • Apply a few Curves layers to get the look I want
  • Remove any dust spots
  • And that’s it!
What I DON’T DO in LR and PS is also equally important here:

  • NO Unsharp Masking
  • NO Sharpening
  • NO Layer Masks
  • NO Gradient Masks
  • NO HDR
  • NO Editing-Out Content (except for dust spots)

It is this process that helps me bring integrity to my photography and create some of the cleanest, film-like digital prints I have ever seen.