Notes on film photography, light, and quiet places
Most photographers chase the golden hour, but overcast skies give a softness that's hard to replicate artificially. The shadows fall gently, the colors stay true, and there's a kind of calm in the frame that direct sun rarely allows. I spent most of last week walking the old harbor district with just one roll of Tri-X loaded, waiting for the light to flatten out just right.
Empty space in a frame isn't empty at all — it's doing work. It gives the eye somewhere to rest and gives the subject room to breathe. Too many compositions try to fill every corner, and in doing so, lose the very thing that made the subject interesting in the first place.
A year ago I set up a small darkroom in a converted closet. Since then I've ruined more rolls than I'd like to admit, but I've also learned more about patience and timing than any course could have taught me. Here are a few things I wish someone had told me before I started.