Issue 21
Life is a Process of Becomming
Life is a process of becoming, a combination of states we have to go through. Where people fail is that they wish to elect a state and remain in it. This is a kind of death.
3 Ideas for the Creative Mind
I.
The only thing I can truly control as an artist is showing up every day and doing the work. Whether inspiration decides to make an appearance or takes the day off for a nap, well, that’s not up to me. Some days, I churn out something worth framing, other days… let’s just say it’s best kept away from prying eyes.
II.
By showing up consistently – and learning from both the masterpieces and the disasters – my work gets better. At first, the progress is almost invisible, like watching grass grow, but it’s happening all the same.
Over time, this slow, steady improvement adds up. Eventually, the work I create surpasses anything my past self could’ve imagined. It makes my current self feel rather pleased, while my future self is probably somewhere in the distance, biting their nails, wondering how on earth they’ll keep up.
III.
In practical terms, this means that each year, I shoot stories in a way that’s different – and better – than I did the year before. My editing style evolves, sharpening with time. The way I process negatives? A world of difference from when I first started – cleaner, more refined, like the work of someone who’s actually learned a thing or two. And the prints I create? They’re not just different versions; they’re better. As time goes on, every step of my process improves.
What remains constant is the change itself – this kind of progress that comes with sticking at it, allowing my work to mature like a fine cheese. You know, one of those ones that gets tastier (and a bit smellier) the longer you leave it.
In the Spotlight
Brighton… Winter, 2024
Right now, I’m pouring over a series of negatives I shot in Brighton back in February ’24 and developed in March.
My process is a bit like a slow-cooked stew – done in stages, with editing, culling, processing negatives, and finally cooking up some proof prints from the most promising shots. I often leave a good stretch of time between each step, letting things marinate before moving on.
As I sit here evaluating these negatives, a full six months after developing them, I can’t help but notice something: if I were doing this today, I’d make different choices. It’s the same story with the test prints for my Black Cotton collection, which I’ll be releasing this November. The prints have evolved to better reflect my vision and growing skill.
In each case, I go back and tweak, tinker, and rework until I know that my current self has truly nailed it. Once I’m sure the print captures my vision, I lock the source file and release the image for purchase – no more fiddling allowed!
That’s it – thanks for reading! As always, please feel free to hit reply and exchange your thoughts or to just say “hi”.