Since photography is a technical and process-oriented medium, I will give a few details of those things. I work in both digital and film formats. For digital, a Sony A7iii is the current choice. For film the choice breaks down to a Nikon F100 for slower black and white or color films, and a Nikon
FE2 for faster films, handheld. For medium format film I use a Bronica S2, although rarely.
Film is sometimes flat-bed scanned with a fluid-mounting system. But more often it is “camera scanned,” using a system from Negative Supply and Negative Lab Pro software. Although I can develop my own black and white film, more recently I have been using Ilford XP2 developed at a local lab like my color film.
I do not make prints in a darkroom. Prints are made on one of two printers from digital files: Epson Artisan 1430, and Epson Surecolor P800. The 1430 is modified to print with Jon Cone’s Piezography system. Per Jon, “Piezography is the highest-quality, and most-archival, digital black and white ink printing system ever invented” yielding tens of thousands of rich gray tones. For my black and white work I primarily use the Special Edition ink set, defined as follows: “Special Edition split-tones to display crisp neutral highlights that melds into selenium which melds into detailed Carbon shadows.”
Papers I use are Moab Somerset Museum Rag, Canson Rag Photographique and Canson Baryta Photographique II Matt. I also sometimes print on Reich CT Inkjet vellum, which yields a delicate translucent print with tones reminiscent of a platinum print.