On the basis of 5 days' acquaintance with FG, as I recall she used 35 mm at first, progressing to 6x6, mainly Hasselblad I think. She used ISO 400 film to avoid the need for a tripod, even so, being extremely slight in build, she suffered considerable physical wear and tear from hiking with cameras. At the time I met her (1995), she was printing herself, obviously extra-large exhibition prints would have been entrusted to a lab, as far as I know she did not employ a regular assistant.
Originally Posted by Bill Mitchell
As others have remarked, FG's outstanding quality was the way she seemed to be in tune with the British landscape. Her work did not appear to have made her rich, at the drop of a hat she would recite a catalog of woes describing how her work had been mishandled by various galleries and agents. I was surprised and gently tried to suggest she should find a better agent who could maximise the income from her considerable archive (which she did in at least one memorable instance, when file shots of sheep were used in an ad campaign by the Wool Marketing Board, if memory serves me correctly).
By 1998 her knees would no longer allow her to undertake lengthy walks, she turned to abstract color work, eventually published in "Glassworks and Secret Lives" - she was not able to get a publishing deal on this, had to self-publish and mail out every copy herself!