“Contrast is the leit-motif of my pictures, both in visual and intellectual sense.”
Since early childhood I was playing around with creative processes. I earn a living as award-winning UX consultant, but spend many of my evenings—mornings sometimes too—dabbling with picture taking, occasionally inhaling darkroom chemicals, or avoiding my fingers being cut while woodworking.
When I got my first camera on my 18th birthday it took only couple of weeks before I fell in love with photography. Soon I switched from modern auto-focus cameras to old manual cameras and lenses, and started developing black&white films in my own darkroom. In my photography I started looking for contrasts.
The relatively small format, 35 mm, has always been my preferred medium for analog photography. It offers great compromise of convenience and imaging qualities. I load films most often into my beloved rangefinder Leica M2, indestructible Leicaflex SL2, or one of my Nikons ('63 F to '95 FM2n).
I use the iconic b&w Kodak Tri-X and Ilford HP5+ films, developed in Agfa Rodinal or Ilford Microphen. I often push to 1600 EI for my love of available light and increased contrast. For color I pick Kodak Ektar for its warm saturated tones.
I print myself in my darkroom. I use Berlin-made Dunco enlarger with Durst Neonon lens to project the light to Foma, Agfa, or Ilford resin coated papers.
When I need or want color, or when I am too lazy to use the darkroom, I switch to digital. I do color on film rarely because of complicated path of pictures from the film to paper. I used to shoot Leica M9, but recently switched to Fuji mirrorless (X-E2, X-E3), while I keep using the Leica lenses adapted on Sony A7.