FDR Golf Club, Philadelphia, PA1. Capture

This is an area of my workflow that has recently seen quite an investment in time and money, building a kit that can cover most situations, producing the highest quality and resolution images my personal economy allows. While I still use a digital SLR from time to time, it's biggest selling point would be convenience and speed. Often I use my DSLR as my safety shot, a practice I employ less and less.  
More recently I have invested in medium and large format film cameras, not in pursuit of purist intent, but rather to allow for the highest resolution capture available without spending $40,000 plus for a digital Medium Format rig. I feel my selection of cameras gives me and my clientele an excellent set of available options regarding image quality, output size, and granular control of the geometry of focus and perspective, allowing me to select a camera and format appropriate to both subject and output medium.  
So, my kit (in part...as of this minute):  

The Fuji is my most portable and versatile "walking around" camera. Very accurate and quick long bed rangefinder focus (hence it's nickname, the Texas Leica) and the leaf shutter syncs at all speeds, an attribute common to all my medium and large format lenses. The field cameras are reasonably portable, although I don't anticipate the D2 being used more than 10 miles from the car. The Graflex makes a nice, light LF camera...even hand-hold able under some circumstances, the Wista is heavier but with a more useful range of camera movements. Anything technical that the Wista can't handle, the Cambo monorail can cover, and it's light enough to take into the backcountry as I used to do before I secured a field camera. The D2 is generally only used for portraits, landscapes and very large output situations. While quite bulky, my D2 outfit does not weigh much more than my (metal) Wista SP.
*I reserve the right to amend (append) to this list the next time I have enough credit for a Phantom 2 Vision, Fuji 100s or a Linhof Technorama ;-D

2. Post production processing
As I stated earlier, I haven't changed much of what I do to the image once on the computer, but getting it in there's another story.
All film is processed in a Jobo CPP2 daylight drum processor, allowing me to develop C41 color negative film, E6 slide film and of course B&W film under normal lighting conditions. I currently process my silver gelatin prints in trays, as I also develop my 8x10 sheet film. Since I'm shooting 8x10 Litho film, I can process it under a red safelight like the silver paper. I have enlargers to cover film formats up to 4x5..
To digitize the processed film, I have an epson V750 flatbed scanner that I have found to be more than adequate, especially considering my larger concern is bit depth (over resolution) and the local drum scanning service bureaus can't seem to give me better than 8 bit no matter what I pay. I tend to use the Epson software for reflective scans, and SilverFast AI for film. The 120/220 neg carrier was wanting in terms of film flatness, so I splurged on a Lomo DigitaLiza in the MF version, which works much better. 
3. Printing:
Currently, I output my images to five media;  directly to my online print-on-demand (POD) partner, Fine Art America, artist-made Peizography prints, or I contact print to platinum, cyanotype or silver gelatin paper.  I use Piezography's state-of-the-art digital negative system (P2DN) to generate negatives for all contact prints, and still occasionally print silver enlargements from the original negative.  Using the P2DN system allows me maximum flexibility in determining the tone of the final print through the negative, while allowing me to print proofs and archival carbon inkjet continuous tone B&W prints from my Epson 4880.

My platinum process in detail:
All platinum prints are created on Arches Platine 310Gm Watercolor Paper.  The sensitizer solution I use is a combination of Platinum, Palladium and Iron salts, measured by the drop, and brushed onto the paper.  I refer to my prints as platinum prints and platinotypes because platinum/palladium print is a mouthful (and a lot to type), and because platinum prints from the golden era of the medium are not referred to as platinum/mercury or platinum/lead prints even though these elements were used extensively in the commercial papers available at the time.  Platinum and palladium both belong to the platinum group of metals on the periodic table.  Enough said.
All prints are exposed under actinic (UV) light in a vacuum frame. 
I develop my prints in warm potassium oxalate for about 5 minutes unless I'm going for a cool tone in which case I occasionally use ammonium citrate.  I clear in two successive 5 minute baths of a combination of Hypo and tetrasodium EDTA, then wash each print for at least 30 minutes in an archival washer.