Darkroom printing has always been a central part of my photographic practice. It’s a process I’ve found to be not only technically rewarding but also essential for gaining a deeper understanding of my work. Unlike digital workflows, printing in the darkroom forces a slower, more deliberate pace—one that helps me engage more thoughtfully with each image.

Several years ago, I built a home darkroom to give myself the freedom to work with analogue processes whenever I wanted. Since then, it’s been an integral part of how I create and finish my photographs. The ability to control every aspect of the print—from contrast and exposure to paper choice and toning—has had a major impact on the way I approach photography as a whole.

At the beginning of 2025, I made the decision to place more emphasis on darkroom printing as a core focus. My goal has been to improve my technical skills, push my creative boundaries, and develop a more consistent and intentional printing style. This has included revisiting older negatives with fresh eyes, trying out new materials, and refining my approach.

One of the key outcomes of this focus is Rosetta Stone—a standalone edition of 10 darkroom prints, each representing a different interpretation of the same negative. Using a range of papers, contrast filters, and printing techniques, the edition explores how subtle shifts in process can produce strikingly different visual outcomes. You can learn more about the project and view the work here.

To share more of my working process, I also host The Latent Hour—a monthly live stream held on the last Thursday of each month. It’s a relaxed, behind-the-scenes look at recent darkroom work, including demonstrations, project discussions, and technique breakdowns. For full details and upcoming sessions, visit the Events page.

This continued focus on darkroom printing has brought more clarity and intention to my photographic process and continues to shape how I think about making and presenting my work.