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My first camera was a 120 box camera which I got at age 12 by sending two boxtops and 50 cents to Kelloggs. I took it to the Toledo Zoo on a class trip and photographed a roll of B&W of the animals - a precursor of what I would still be doing many years later. Soon after, my father gave me my first 35mm - an Argus C-3 - which I still have. It was the very same camera that he used in China when he worked for the Chrysler Motor Division as photographer and historian in the theater of the Burma Road at the end of World War II. When I went off to college he gave me a new Minolta SRT-101.
Today I have an arsenal of Minolta cameras and lenses, ranging from my trusty old SRT's to X-Series systems to a variety of Maxxum cameras. Minolta equipment has served me well over the years - from the burning sands of Arabia and frozen glaciers of Greenland to the steaming humidity of African jungles. Neither moisture and dust, nor severe heat and cold have ever prevented me from completing assignments.

And over the years Minolta has provided me with excellent service, generous equipment loans, and prompt technical support. Now we have entered a world of Digital Imaging and I am experimenting with many new possibilities using a variety of software programs and film scanners.

 1994 Robert Burch Communications
 1990 Robert Burch Communications The 35mm format has been my preference over the years since it allows me to comfortably carry several bodies and a variety of lenses. Advances in emulsion technology now make it possible to obtain superb results using this compact and convenient format. I also own several Nikonos cameras, lenses and strobes for underwater work, and occasionally I employ a Mamiya 645 or a Pentax 6X7 when clients require a larger format.
 2001 Robert Burch Communications I use a variety of color slide films for my color work. Fujichrome Velvia is my preference when I have the luxury of using a tripod. I especially like the color saturation I get when shooting night scenes. Its extremely fine grain makes great enlargements possible, and for fireworks it can't be beat!

Fujichrome Provia 100 is my choice for general purpose work; if I require more speed, rating it at ASA 200 still yields excellent results.

For long lens work and action subjects, I use Fuji's Provia 400 and occasionally push it to 800. But for the most part I prefer to use films of 200 ASA or slower.

Kodachrome Professional 25 and the Kodachrome Professional 200 emulsions are old favorites. The rich saturated colors and a proven archival performance are testimony to its popularity. All the Kodachromes that I took two decades ago are still as brilliant as the day they came back from the lab. Kodachromes that my father shot at the end of World War II have also retained a remarkable vitality. I also use Kodak Ektachrome Lumiere and other Ektachrome films for certain situations.  1989 Robert Burch Communications
 1997 Robert Burch Communications Black & White photography has always held me in its power. The commanding interplay of light and shadow is rarely present in color. While today there isn't as much demand for Black & White in the commercial world, I always expose a few rolls wherever I travel. I use Delta 100 and Delta 400, made by Ilford. They have excellent tones and can be processed together in the same batch.

Working in my darkroom is relaxation and a form of therapy. Before the digital revolution, it was the only medium where I could completely control the results. I use Ilford papers - Ilfospeed Multigrade RC for general purpose work and MG Fiber paper for exhibition prints. I process both film and prints using a variety of Kodak developers.


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