Gelatin Silver Prints (limited editions of 100)
I develop film by traditional methods and make enlarged prints in my darkroom using Variable Contrast papers. To enhance archival properties I tone either with selenium or split-tone with sepia / selenium to achieve different tones between highlights and shadow areas of the print.

Palladium Prints (limited editions of 100)
Palladium prints require a negative as large as the print, exposed by UV light on special fine art paper which is hand-coated with a solution of palladium salt and sensitizer. My prints of 4x5, 5x7, or 8x10 inches are contact printed directly from negatives exposed in large format view cameras. I make larger prints from these same negatives (as well as 6x7 cm, or 35 mm negatives) by first scanning the negatives on a high resolution drum scanner and then creating the larger negative (up to 16x20 inches) on an Epson Stylus Pro 4000 printer using transparency film. Alternately, some of my larger negatives are created on an imagesetter by an outside service bureau.

Carbon Pigment Prints
Technology advances in digital photography over the past several years now allow prints to be made on high quality inkjet printers that equal traditional photographic prints in appearance and archival properties. For some images my carbon pigment inkjet prints exceed what I can achieve with either gelatin silver or palladium.

I scan the film negatives developed in my darkroom at high resolution on a drum scanner. I then convert the digital files into prints using an Epson Stylus Pro 4000 with carbon pigment inks and fine art papers specially formulated for fine art printing. These inks are projected to have a lifetime exceeding 200 years.

Materials
I use only off-white “archival” mat board to mount and mat my photographs and acid-free tape for hinges or corner mounting. Gelatin Silver images are dry mounted and Palladium or Carbon Pigment prints are corner taped.

For framing I use either a graphite metal frame for neutral or “cool” prints, or a hardwood frame stained dark brown-black for the warm toned prints. I use Plexiglas in front of the print and acid-free foamcore to provide some rigidity and protection on the back. “Museum glass” can be substituted for Plexiglas at an additional cost; its advantages are the removal of some of the green tint inherent in normal glass and a coating which reduces glare.