After we hung up, I got to thinking a bit more about the questions Brooks asked and my reply. Hindsight being what it is, I would like to amend or add to my comments.
The first topic I would like to cover is printing.
Brooks asked me a couple times about how I printed the images in the portfolio. I gave rather incomplete answers.
I come from traditional analog chemical processes. So my current work emulates many of the tints and papers that I have used over the past 40 years of making prints.
I made the jump to digital daylight processes after I was convinced of the longevity of the prints (200+ years) and confirmed that I could exceed the resolution of my old work. For this reason I use a common consumer grade pigment based printer. The papers I use are "photo rag" in nature. That is to say, they have high cotton fiber content.
For the LensWork portfolio, I printed to Hanemuhle Photo Rag Smooth 188gsm. The images were tinted using a hand built "sepia" tone. The image sizes were selected to allow a sufficiently wide boarder for viewing.
Recently, Ted Mishima shared with me the beauty of Epson's Velvet Fine Art Matte. I love the texture and the way blacks are really black. I also love the way that light appears to be "sucked in" by the surface. This is beautiful material and I can't seem to get enough of looking at images made to it.