The first step in the making of any print is composing the image in the field. Working in the landscape, I carefully manipulate the camera and evaluate the light to ensure the negative has all the information I need for the creative process to come. As Ansel Adams said "The negative is the score, the print is the performance."

Developing the film is the process through which I bring each image into material existence. After loading the film into a light-tight developing tank, I guide it through a controlled sequence of chemical baths, shaping density and contrast to align with my intent. As the latent image is revealed as a stable negative, I establish the technical foundation from which all subsequent creative decisions emerge. Only then can I fully evaluate the image and determine its potential as a finished print.

Once an image is selected, I meticulously clean the negative and place it into the enlarger. This optical system projects the image onto photographic paper, allowing precise control over cropping, magnification, and contrast. My carriers are configured for selective masking, a process that provides localized control over exposure and expands my expressive range as a printer.

Through the enlarger, I interpret the negative by controlling magnification, focus, and exposure duration. Each adjustment influences tonal range and image clarity. The developing process converts the invisible latent image into a actual print. This of the process is magic, where light, time, and chemistry all combine.

While many decisions can be made with the enlarger—establishing print size, contrast, and overall tonal range—I often find the reality recorded by the film does not fully reflect how I experienced the scene. The negative captures information, but not always the emotional weight of the moment. To translate that feeling into the print, I employ techniques such as dodging, burning, and masking to deliberately alter tonal relationships and emphasize the intended mood of the image.

While more technical in nature, matting is an essential final step in presenting the print. A dry-mounted photograph paired with a precisely cut window mat refines the visual focus and elevates the image’s presence. Each measurement must be exact to the fraction of a millimeter, demanding patience, accuracy, and careful craftsmanship.

The finished photograph, ready to be shared for a lifetime. Each image tells a story and represents up to 20 hours of creative work and dedication.