Analogue photographic printing techniques are utilised to abstractly deconstruct the darkroom process. Media about its medium.

Light traces itself across the surface of this world. Through a camera shutter, this light is captured, held in stasis. With analogue photography and film development, this light can become a physical imprinting. A process using chemical reactivity to make tangible these tracings. Each image an artefact of sorts.

Look at the analogue process. There is the first capture through lens and shutter. Then there is the processing of film: spool, develop, stop, fix, wash, dry. Then the print making: illuminate, develop, stop, fix, wash, dry, display. A linear process, with cyclical repetitions as it is conducted again and again.

The fall of light may occur naturally, but the capturing and redistribution of this occurs through processed, manufactured images. This is a series of such imprints. The light imprinted on film, now imprinted once more on paper. Traces of traces of traces on traces. A deconstruction of the darkroom process, seeking to explore and expose the elements of manufacture. The traces of the making.

traces of the making is my first foray into analogue printing processes. The work is driven by a deep engagement and experimentation with the technical processes both in the darkroom, and with the original camera images. Attention is drawn to the contrast of light and shadow and the gradations therein, which is emphasised in the monochromatic images.

I photographed a variety of subjects, focusing particularly on water, and light and shadow, which are core components of analogue processes.

Among more traditional photographs, I also explore techniques such as adjusting the lens and focus during exposure, and longer shutter speeds with hand-held camera to emphasise the element of time.

In some of the developed prints, an effect like ink-splotting emerges through applying the developer concentrate to select parts of the paper only.