Like most photographers in the world, I am a gadget-fan. It always seems like I could use just one more piece of equipment to get that perfect shot. But alas, also like most photographers I have limitations, like a budget for instance! And so I must make due with what I have at hand most of the time. This is likely a blessing in disguise. I have heard great photographers say that the best tool for the job is the one you have on hand. I would say that the truth of this has been borne out in my own experience.

This section of my web site reveals the tools that I have used over the years to produce the work presented herein. In many cases they are humble tools, reflecting the reality of my limited financial status. To wit: when my better Nikkor 35-70mm lens bit the dust, I was forced to splurge on a used 35-80 (plastic lens mount!) in the interim (US$70.00!). The beauty of this lens, is that the glass is typical high-quality Nikon optics, while the frame is for low-impact, low-frequency shooting. (I have since upgraded to the Nikkor 35-70 f2.8 lens thanks to some stock-photo sales). In other cases I have splurged, unable to allow myself to compromise on image quality. For example, I would not allow myself a film scanner on my desktop that had lesser dynamic-range capabilities than Kodak Photo CD, until one became available at a price I could afford. Thus, my Nikon LS-2000 found its way onto my desktop. I have since upgraded my scanner to the Super Coolscan 4000 ED.

Photographic

Bodies : Nikon D200 10.2 megapixel digital SLR. Backup is a Nikon D100 6.1 megapixel digital SLR. I also carry a Canon PowerShot Pro1 8 megapixel point-and-shoot.

Lenses: Nikkor 12-24mm f/4G ED-IF AF-S DX Zoom ; Nikkor 35-70 AFD f/2.8; Nikkor 70-210 AF f/4-5.6; Nikkor 35mm PC; Tamron 90mm f/2.5 macro; Nikon Circular Polarizers; Galen Rowell Singh Ray Graduated Neutral Density Filters (2-stop hard edge and 2-stop soft edge).

Accessories: Bogen 3221 w/3030 head (my standard camera support); Gitzo G-1228 Mountaineer Reporter Carbon Fiber Tripod with Kirk Enterprises BH-1 ballhead (my travel tripod); Lowepro Rover Plus AW Camera Backpack; LowePro hip bag. Domke Photogs Vest.

Computer: Apple Power Mac G4/400 upgraded with Gigadesigns 1.25 GHz processor, 1.7 GB RAM,2x250GB RAID with SATA controller; 80, 120, and 3x160 Gb external hard drives for backup, DVD-RW drive, 19" Studioworks 995E color monitor; 15" Samsung SyncMaster LCD monitor (for more Photoshop "real estate"); ATI Radeon 8500 video card;

Peripherals: Nikon Super CoolScan 4000 film scanner; Epson Perfection 2400 flatbed scanner; Epson Stylus Pro 4000 and Epson Stylus Photo 2200 archival printers with Ultrachrome pigment inks; 6"x8" Wacom Intuos Tablet; Colorvision Spyder with OptiCal for calibrating my monitor.

Note: I am no longer shooting with film--I don't even own a 35mm film camera anymore.  However, the principles for recording technically outstanding photographs remains constant despite the medium.

I have always leaned towards highly-saturated color slide films, but shot primarily color negative film for a couple of years while I worked at a photo lab. I'm not intent on using any one particular film, but I tend to gravitate towards Kodak Ektachrome Elite 100 (EB), and/or Fuji Velvia (RVP). Both of these films yield results that are difficult for me to differentiate from each other, although I'd say that the RVP has a decided advantage for color saturation in low-contrast lighting. Coupled with my choice of using fine-grained saturated slide films is the frequent use of a polarizer under most conditions. Routinely, I at least view a scene through a polarizer to see if I can reduce unwanted glare off of my subject(s). I often can't tell how much glare there is until I take this step. This is likely the reason many of my images appear "saturated". True, a polarizer will charge your "light account" about 2.5 stops, but for my style this is moot since I habitually use a tripod.   Some tips...