|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.
||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.
||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
||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.