All the colour photographs on this site have been made with an Ebony 45S field camera. For most of them I use the 5×4 inch format with classic Velvia 50 transparency film (and occasionally Provia 100F). For some compositions I use a Horseman 6×12 cm back (mostly horizontally but sometimes vertically); this uses 120 roll film (again I use mostly classic Velvia 50). My lenses range from 58mm to 300mm (all Schneider except for a Rodenstock and a Fuji).
Some time after starting with the 5×4 format camera I started to make platinum/palladium prints from 10×8 negatives made with a Deardorff camera. I use Ilford FP4 Plus film for these pictures which I expose using the BTZS system devised by Phil Davies. My lenses here range from 165mm to 1200mm! Again they are mostly Schneider but with a Rodenstock and a Nikon (with 3 interchangable rear elements). On some occasions I use a 5×4 reducing back on the Deardorff, something that I intend to explore more for the longer focal lengths.
The 5×4 transparencies are scanned using a Flextight 646 scanner profiled using a precision target made by Don Hutchison; the profile itself was made by Neil Barstow. This makes a big difference to the quality of scans made. They are then processed using Photoshop (I am now using CS6) enhanced with the excellent plugins from PixelGenius. These plugins have been developed by leading experts and enable the user to think entirely photographically. Indeed the main reason I would not contemplate changing from Photoshop to any other processing software is because the plugins work only with Photoshop. When Photoshop CS3 was released, if it was started in a certain way, the splash screen displayed a tribute to Bruce Fraser (a key member of the PixelGenius team) who had sadly died all too young in 2006.
All my colour printinting is done on my Epson Stylus Pro 7880 using archival ultrachrome inks. This printer can take rolls of paper up to 24 inches wide, I use Museo Silver Rag. This paper has no brighteners which means that colours are fairly stable under most lighting conditions (inevitably they will shift according to the light spectrum under which they are viewed but not wildy so as with brighteners). It has a natural white point and is slightly glossy, producing a deeper black than matte papers which of course have their own special qualities. I worked closely with Neil Barstow to make a customised profile to get the best out of the paper, well worth the effort. Bruce Percy also makes his own prints but his printer does not handle 24 inch paper, on those occasions when he needs a large print he entrusts that to me. Here is a testimonial that he has kindly sent:
Kyriakos opened my eyes to what was possible with inkjet printing and how it can, if done well, be a replacement for standard chemical based prints. He has a delicate eye — able to interpret prints made on paper from those that are displayed on computer screen. I had, up until a very polite invite from Kyriakos to come and see how his printing solution worked, thought that chemical based prints were superior to inkjet. I now see that inkjet, with the right consideration has fully arrived. So much so, that if I were to ask someone to help me prepare images for exhibition — it would be Kyriakos I would ask.