Equipment
The most popular question I have to field at lectures and by email is 'Do you shoot digital now?' The simple answer to this is 'no'.
I also quite frequently get asked how many cameras I own, to which I have to say, embarrassed, 'Not sure, but quite a few!'
Over the years I have accumulated equipment, and recently haven't sold much of it. But although I do use my Nikon, Voigtlander Bessa, Mamiya 7 and Hasselblad cameras, the vast majority of my landscape work is shot with the Ebony 
45SU 5x4in field camera.
On large format
The large format camera does not lend itself to rapid response, rapid reaction photography. It is in many respects the absolute antithesis of modern life, where we celebrate speed, demand convenience, consume fast food, and breed short concentration spans. It is partly because it is so contrary that I find it such an attractive way to work!
'Techno-dinosaurs' is a phrase often used to describe large format photographers, but in spite of the dire predictions about the future of film, this species shows no sign of imminent extinction. The myriad benefits of digital capture are less relevant in landscape than in other photographic genres, and those digital camera systems that provide as good as or better quality than 5x4 are exorbitantly expensive, less flexible in terms of wide-angle lenses, focus and perspective control, and/or extremely bulky. So long as photography is essentially about image-making then the method used to arrive at the image is irrelevant. For now, 5x4 especially (among large formats) still provides a compelling range of virtues for those prepared to master its disciplines.
Using a view camera does not actually mean doing everything slowly, because for sure there are times when the LF photographer must work quickly. But it is impossible to make casual snaps, and a way of working develops which, to my mind, is much more akin to painting than what most will think of as photography. Setting up the camera on the tripod, framing the scene with absolute precision, reading the light with a spot meter to ensure every part of the scene is correctly exposed, these are all part of the pleasure, pain and sheer satisfaction of using the field camera. The LF photographer takes total responsibility for all the creative decisions in camera and that develops a real sense of involvement with, and deep understanding of, the photographic process.
Camera movements confer additional controls of focus and perspective not present in other systems. This allows the photographer to represent the scene with greater 'invisibility'. In other words, the image appears more akin to our visual memories or imaginations than a picture where inadequate focus, or perspective distortion serve as a constant reminder that the scene was made photographically.
Because LF images are very sharp and clear they convey a more tactile, real sense of the thing itself. This illusion of reality, the ability of photography to convey the sense of the place or object faithfully, is part of its greatest appeal and power.
On the camera
I have an Ebony 45SU. Mine is a slightly simplified version of the standard SU, with the rear swing and shift deleted, and it is made from mahogany, considerably lighter (if less beautiful) than the full spec Ebony model. The Ebony 45SU is, in my opinion, the easiest to deploy, fastest to set up fully featured field camera ever made. Its asymmetric rear tilt is so quick to use it is virtually the field camera equivalent of autofocus! It is so easy it sometimes feels like cheating.
On lenses
I use a wide range of lenses, from 58mm to 360 and even 500 occasionally. But most of my work is made with 90mm, 110mm, 150mm or 210mm optics. In practice I use a wide-angle, normal or short telephoto lens for most images, without the use of extremes. I own lenses from Schneider, Rodenstock, Fujinon and Nikon. All provide excellent image quality. Sadly Nikon has discontinued its lens manufacturing programme for large format, which I greatly regret. They will be sadly missed.
On film
The thriving state of large format landscape photography today has been built on two crucial leaps forward in film production. The first was Polaroid's introduction of 5x4in Readyload film sheets, a logical evolution of their existing instant film product. This concept has now been taken over by Kodak, and Fujifilm with their virtually identical Quickload system. Freed from the shackles of the darkroom or light tent, photographers can now carry more film for much less weight than in traditional double dark slide film holders.
The second great innovation was Fujifilm's Velvia ISO 50 emulsion, introduced in 1989. Now, after seventeen years as the landscape photographer's favourite, Fujifilm have discontinued Velvia. While this is not a forum for discussing the reasons why, I feel it is worth remembering that this was a film that recorded some of the most amazing photographs of the natural world ever seen.
For my part I feel that my career as a landscape photographer has been built on Velvia. Wildlife and sports photographers embraced it too, valuing its saturated yet natural colour balance. Fujifilm's two ISO 100 Velvia replacements are very good films, but they are not the same. It will be interesting to see if one day they will reintroduce the original in a superior, updated form. I hope so.
On tripods and heads
A tripod is almost as crucial to my photography as a camera, for I wouldn't want to handhold anything whose image quality really mattered to me, whatever the shutter speed or camera. I have used both Gitzo and Manfrotto tripods all my career, and I even have a Benbo when I need to work in deep water! Manfrotto make great value tripods, but Gitzo's carbon fibre range are at the top of the tripod food chain, being unbeatably stronger and lighter than any equivalent models. I have a G1227, a G1327 and a G1548, depending on how far I have to walk. In practice the mid-range model is the one I use the most.
A good tripod head is in some ways as vital as the legs. Manfrotto's 410 and 405 geared heads are brilliant for landscape. Lighter is the Gitzo 2270M pan and tilt head, and I also have the Really Right Stuff ball head, the only ball head I would be happy to use with my field camera. It is an expensive masterpiece of engineering.
On light metering
I doubt that it's possible to do colour transparency photography in the field without a good spotmeter. Assessing the important tones in the image for brightness and deciding where to place them on the characteristic curve of the film is vital in this type of photography. I use a Pentax Digital spotmeter.
On filters
I have used the Lee filter system since long before I started endorsing their products seven or eight years ago. A landscape photographer needs absolutely neutral ND grads to control brightness range on colour transparency film, and Lee have always made the most neutral ND grads. They also make by far the best designed of the system filter holders. Not only that, but they are a British company, manufacturing in the UK, they have impeccable quality control standards, and they bend over backwards to help photographers in every way they can. They are among the real good guys of photography.
On bags
Lowepro began the photo-backpack trend in the 1980s. I had one of their first models. Several generations later they make even better ones. I use the Pro-Trekker AW, the Dry Zone 200, and several of their lens pouches and all purpose minibags.
On accessories
Every photographer has their own favourite bits and pieces they couldn't do without, from nylon line to bulldog clips, to near-opaque foil solar eclipse glasses, to umbrellas. I wouldn't be without my Linhof zoom view finder for composing the picture before deploying the camera. My home-made black fleece dark tube, for keeping the light off the ground glass screen is an essential. And it makes a handy neck-warmer on cold days too...
On digital
Let me get this straight. I think digital technology is amazing, brilliant, spectacular. It has helped revive photography in general, and is now making photography more accessible to everyone. It is a fantastic teaching tool on workshops. The quality of modern cameras is sensational. Trouble is, I am perfectly happy doing what I am doing. For now.
I use digital technology all the time anyway, as I scan my images for publication repro. They can then be altered and manipulated in Photoshop like any digital capture image can. Not that I do that. My aim is to reproduce as perfectly as I can what I saw out there. Where film fails to do that, Photoshop works in the same way as the traditional darkroom to restore imperfect colour and recover dark shadow detail for example. But mostly I aim to simply reproduce the transparency.