Equipment

I use the incredible 22, 39 and 60 million pixel, Phase One, Digital recording systems on my medium format Hasselblad H1's and Mamiya 645 Digital Medium Format cameras. My Large Format Sinar P3 camera is perfect for the studio or out on location. I also use the Noblex Panoramic camera and High Definition, medium format film.

I don't use the smaller, lower quality, 35mm digital cameras.

Across the board, 35mm cameras produce lower quality pictures.

Noblex Pro Panoramic

I use the fantastic, medium format, Noblex, Panoramic, camera.

www.kamera-werk-dresden.de

This is unlike any other camera that you've ever seen.

My Noblex produces true, 150-degree, wide angle, panoramic, pictures that are gorgeous, with no vertical distortion.

People's heads will be normally shaped instead of being egg-shaped, as they are in every single "Fisheye" and typical, 35mm, "wide-angle" shot.

My Noblex Panoramic camera is not digital. Instead, it uses Fuji, NPH, high definition, ASA 400, medium format High Definition film. In one picture, I can shoot exactly what your eyes can see, left to right, as you stare straight ahead.

I don't need to stitch several different pictures together in some time-consuming, expensive, post-production process.

Hasselblad H1

www.hasselbladusa.com

On October 3, 1962, during the Apollo Space missions, a basic Hasselblad 500c was used in outer space, by Wally Schirra. He bought it at a camera shop in Houston, to take with him on his "trip".

In 1969, Neil Armstrong used 12 beautiful, motorized, Hasselblad 500EL cameras to shoot the lunar surface, as they walked on the moon!

Hasselblad modified the wet lubricants normally used in their cameras and lenses so that the lubricants would not evaporate in space. Hasselblad also removed any parts that would or could not be used, such as the small shutter buttons. Their long range lenses were fixed focus, on infinity. Beyond that, the "Hassys" used on the moon were pretty much the same as the cameras used on Earth.

So, I figured that if it was good enough for them, on the moon, it would be good enough for me, on Earth. In 1973, I bought 2 of my own Hasselblad 500c cameras.

The superior quality of their Carl Zeiss lenses and metal bodies, the individual lens shutters that sync the camera exposures with the flash exposures, at any shutter speed, the perfect size, the square picture format and the Hasselblad reputation for working in extreme conditions, all came together in my final, incredible, Hasselblad images.

Nothing beats the amazing quality of a Hasselblad image

My Hasselblads allow me the option of shooting digitally or with film. However, I have not used film since 2004.

Instead, I use Phase One, 22, 39 and 60 million pixel digital recorders, attached to the back of my Hasselblad cameras. These are the most sophisticated digital systems available.

www.phaseone.com

The Phase One "Pixels" or light sensors are 2 or 3 times the size of the little 35mm camera chips. That reduces image "noise". It also produces better skin tones and sharper images overall.

For every 1 color or tone recorded by a smaller 35mm camera, my Hasselblad / Phase One system records 16 colors and shades. My black tux jackets have details in the blacks when 35mm shots do not. My light or white dresses have details and density in the whites where 35mm shots do not.

I can infinitely crop into my 60 million pixel images and still hold onto a sharp edge. You can't do that with any 35mm system.

I can count the muscles in your eyes and every hair on your head. 35mm shooters can't.

I use Phase One, Capture One Pro to convert all of my huge, High Definition 25mb, 45mb or 65mb RAW files into JPEGs and TIFF files. This is the industry leader in RAW file conversion programs, for any camera platform.

I am able to process my RAW files into any type of file, at 8 bit or 16 bit depth, in color or black & white and at any resolution up to 600dpi. This program is so complex, I had to build a new, custom, dual quad processor, PC desktop, tower computer just to quickly handle the immense files.

I use huge, "large format" Linhoff and Sinar view cameras, for my special commercial jobs.

These camera bodies allow me to rotate the lens boards and the recorder plane, giving me a huge array of controls not possible with any other camera. I can physically change the shape of my products and buildings by moving the lens and recorder boards on the front and back of this camera.

Unfortunately, it takes a long time to set up each shot with this camera. This precludes using it on people shots, for the most part.

I used to operate a 6,000 square foot studio. I used to shoot cars, motorcycles, furniture, people, food, products and conceptual ideas.

However, over time, I began to feel that I could save my clients some money by "taking my show on the road".

So, now, I work all across the country, using commercial studio space or vacant commercial property as my location studios. I use the same high-end studio lighting supplies and modifiers. However, I don't need to pay for a studio space until I actually use one. That keeps my costs down to the minimum and that saves my clients money.

The costs for these studios are varied due to the locations, durations and the size of the spaces rented.

This also allows me to go directly to my clients, shooting at their place of business, saving them time.

It's my pleasure.

Every time I shoot, it is a whole new adventure.

There is no comparison between my professional medium format Hasselblads and the less-professional, much lower quality, mass-marketed, 35mm cameras.

NONE!

Every picture ever taken with a little 35mm camera, no matter who took it and with what 35mm camera, would have looked better if it had been taken with a Hasselblad.

I continue to be a success where others have failed because of Hasselblad.

I have been hired for high-end "Hollywood" commercial jobs BECAUSE I used Hasselblad.

Ad agencies, who are basing their own success on the quality of the photos they buy, specifically request Hasselblads and 22, 39 or 60 million pixel Phase One Digital recorders.

The "Next Top Model" type of shows on TV all use and show shooters who use Hasselblads and Phase One.

I use the professional Lumedyne flash system. This allows me to light up an entire room with a single, on-camera flash. Or, I can come in close, shooting a ring on a finger with the same system.

The batteries are huge, giving me plenty of exposures per unit. The "heads" are independent, giving me the ability to shoot with the flash off camera, to again light up an entire room but from a different angle.

This gives me creative options.

I also use Speedotron and Profoto studio flash systems with a lot of fire power and individual heads. Some are battery powered, for location assignments.

My studio experiences permit me to quickly understand what my clients need to solve their problems. That saves them money. I don't need to rent because I own. I know what my tools can do for me and that makes my gigs go faster... saving my clients money.

I am a creative, street-wise, problem solver. And that saves my clients money.