I am hooked on the 3-D luminosity of a platinum-palladium print, that, when viewed under different lighting, becomes almost a different image. I prefer the long tonal separation in the high values, the tactile feel of the image as part of the paper, and the print color of the platinum-palladium print; I have been making only platinum-palladium prints since 1992.

Ultimately, I suppose, I am committed to both the art and craftsmanship involved in using big cameras, making in-camera negatives. I have been working with the 8 x 10 view camera nearly twenty years, hand-coating paper, and creating prints that are almost one-of-a-kind, never quite identical.

Prints made from in-camera made negatives have, I think, a different personality than prints made from digitally enlarged negatives; in similar manner, hand-coated platinum-palladium prints have a different personality than computer-printer generated “platinum prints.” Furthermore, I think, in addition to being a compelling and interesting artistic image, the print should in and of itself be an object of beauty.

Together, my views of photographic art and craftsmanship demand that I continue making in-camera film negatives and hand-coated platinum-palladium prints. It’s expensive and time-consuming—but making images this way is personally rewarding and aesthetically pleasing to me, and, I believe, to those who collect my work.