This is the final part of a small series built around a simple still life.
In the previous posts, I shared the images and the thinking behind them. This one is about everything that came after. The part we donāt usually see.
The Moment
When the work is done, thereās always a small pause.
A moment to step back, take a breath, and quietly say thank you. Not to anything in particular, just to the moment itself.
This is how Iāve chosen to live my life. I have so much to be thankful for, and whenever my creative muse pays me a visit, I give thanks.
The image above simply says thank you for the opportunity, for the direction, the tools, and the light. Without all of that, what follows would never have happened.
Developing
From here, the work shifts.
The film comes off the reel and into the tank. Chemistry, time, and a bit of patience do their part.
I use my small laundry room between the kitchen and garage as my loading space. You donāt need much room. For me, itās the top of the washing machine, covered with a rubber mat that holds my film, reels, and tanks as I load in darkness.
Since 2025, Iāve been using the AGO film processor. I havenāt written a full review yet, mostly because I still want to run color film through it. Thatās coming.
Iāve fine-tuned my technique, and the process has become faster and more consistent. Anything that saves time gets a gold star from me. If asked, yes, I would purchase it again.
I always prewash my film, even though youāll read online that it isnāt necessary. It is, if you care about a clean process.
When processing film, the anti-halation layers come off in everything from green to nearly black, with occasional blues, purples, and magentas. I donāt want that mixing with my developer.
The prewash also clears out any debris that may have found its way into the tank. Five minutes. Simple. Clean.
Here are my 510 Pyro Developer and One-Shot Fixer recipes.
From Film to File
Once the film is dry, itās prepared for digitizing.
Onto the light table for a little trimming and matching.
From there, it moves into the digital workflow.
Last year, I upgraded my digitizing setup to the Negative Supply system. One thing I want to share here is how I join two 120 rolls into one for a faster workflow.
This idea comes from my commercial days working with Meisel lab in Atlanta. They used polyester tape on some of my 120 negatives for fast, safe machine printing.
Here, Iām using that same approach. Two rolls joined together, allowing the Negative Supply transport to move smoothly with just a few turns of the knob.
I also save unwanted film strips to use as leaders on shorter rolls, which helps streamline the process even further.
The tape is thin, strong, and removable. Once digitizing is done, I trim the taped ends off, cut the film into strips for storage, and everything stays clean, organized, and efficient.
Contact Sheets
The contact sheets tell the truth.
Some frames stand out right away. Others fall away just as quickly.
What matters is seeing what worked, what didnāt, and how everything performed. Frame spacing, contrast choices, lighting decisions, it all shows up here.
I donāt worry about edges where equipment or small distractions appear. I shoot larger film so I can crop. Cropping is part of the process.
Working in a smaller space means I canāt always frame perfectly in camera, and thatās fine. I learned a long time ago to trust the tools and refine the image after the fact.
Shooting film keeps your eye honest. It has a way of reminding you what matters.
The Rest of the Story
Not everything makes the final cut, but that doesnāt mean it didnāt matter.
These were part of the process too. Different directions, different moods. They had their moment.
I have a deep respect for the āalmostsā in my life. Without them, I could never have had the career I did.
The Finish Line
What this finish line looks like: props purchased from an animal rescue thrift shop, photographed because something about them spoke to me.
I canāt keep everything I bring home, so the plan is simple. Return the pieces, along with prints made from them, back to the shop.
In the end, everything goes back.
The prints will be matted and returned to the thrift shop, along with the objects themselves. A small cycle that gives something back.
A bonus from this experience is that I believe Iāve found a photo lab that prints my work the way I see it. I want affordable inkjet prints that still feel like art, not rough reproductions.
I prefer cold-press watercolor paper and prepare my files in Photoshop with borders sized for matting. What you see here are the labās most basic prints, made from files prepared exactly as shown.
From here, Iāll cut ivory mats, float the image with a small white border, sign in pencil, mount to foamcore, and package the finished prints in 11Ć14 clear bags for the shop to display and sell.
Iām not selling prints anymore. I did that for years.
Now, I give them. And in this case, I give them back.
And thatās how this one ends.