I build many of the sets, props and clothing that I use in my images, and print using one of three different processes, depending on what suits the work. I print onto anodized aluminum plates using a 19th century technique requiring five different coating materials and a fifteen step process. The aluminum plates are so smooth that their surface must be abraded with a fine sand-paper and then coated with an oil-based polyurethane to add an additional "tooth" to the metal. A barrier layer is then applied to keep the final coat of emulsion from reacting to the metal's electrochemical reaction chain. The plates are then processed in the darkroom. There is very little tolerance and typically I can expect to create one perfect print for every three attempted.

I use a wet darkroom when printing negatives from traditional film cameras. New technology can now also be used to create life size negatives which are then directly applied onto the emulsion's surface and exposed under an enlarger. The result is the marriage of archaic and modern practices. I shoot with a Nikon DSLR camera and print with a professional printer which allows me to print images on several materials such as heavy weight satin, museum, and watercolor paper, textured oil canvas, and various fabrics. The professional inks, printers and supports now offer quality as rich and beautiful as the darkroom, and sometimes superior, without the health and environmental hazards. They also have the same archival standards as traditional photographic papers, lasting up to 250 years.