Slowing things back down

Although it’s been 28 years since I first stepped into a darkroom, there’s been a significant gap in time since the last time I stepped into one. I grew up at a particular transition time, like the horse to automobile, typewriter to computer, I started my journey into photography just before the digital camera started making its way into the market and pushing film aside. Even though instant gratification has its place, I still kept that romantic notion of one day getting back into the darkroom slowing things back down. Thirty-six frames, dodging, burning, developer aromas, darkness. One by one.

Arian Stevens. Black and white darkroom print of a two dogs being held by a person.

Thus The One Project was born

Last December I was boredly browsing the internet looking for inspiration when I discovered that our local community college has a darkroom and offers access. I’ve lived in this town for 10 years, how had I not discovered this before? I almost felt embarrassed that it was right there under my nose the whole time. I instantly enrolled and started sorting through all my old negatives and dust off my very used Nikon F100 that was my workhorse all those years ago. I didn’t have to dust much as I occasionally bring my F100 on assignments and road trips when I think I’m going to meet someone unique along the way. I started doing this about 8 years ago after my fellow photographer friend wanted to propose a friendly challenge to break up the monotony of our daily digital photography workflow. Thus The One Project was born.

Arian Stevens. Black and white darkroom print of a box with a fish on it.

For my direction

The “challenge” he proposed was to shoot 36 frames on a roll of film in 30 days of any subject. Sounds easy enough I thought. I soon learned I wasn't the only one who thought this. 30 days turned to 60 then to 90 then to 365 and beyond. Slowly but surely the rolls started getting processed.

After all that time, it was great to finally see what everyone was creating. Scenics, still life, multiple exposures. For my direction I decided to try to make every single frame count, so the only rules I gave myself was I was going to shoot portraits of my friends and colleagues, but only two frames per person. One portrait and one holding their favourite piece of gear/something special (or whatever was in arms reach). The first 2 rolls took 4.5 years to complete, and the most recent roll #3 only took me 3.5 years. This time though, instead of just scanning the developed film like before I now had access to the local darkroom and could print each frame by hand.

Fly fishing

The subjects in this body of work have one thing in common, they all share the same passion for fly fishing. Even though most are avid anglers they are also journalists, business owners, film makers, photographers, scientists, rod builders, river stewards and trout bums. Originally the images were shot as the subjects made their way through Central Oregon where I could grab my two frames. Now I’ve been able to travel to more distant locations to meet these folks in their environments. I’ve now loaded roll #4 into the F100 and roll #4.5 into my old Mamiya RB67. We’ll see how long that will take to make its way into the darkroom.

Arian Stevens. Black and white darkroom print of fish in a tin.

All images photographed on ILFORD XP2 Super 35mm with a Nikon F100 and a Nikkor 50mm 1.4 & 85mm 1.8 & Printed on ILFORD Multigrade RC Paper.

Arian Stevens. Black and white hand portrait.

Images ©Arian Stevens