A slower way to think about grain
I print small first, then decide what deserves to be larger. This is less a guide and more a record of what worked for me.
The middle part
Overcast days are underrated; the light wraps around all of it. The first four weeks were chiefly about unlearning. A loupe helps, but it is not the point.
Where it started
For a long time I treated light as an afterthought. Scanning is tedious, but it is where the series takes shape. Film forces a pause between seeing and pressing the shutter. In May the light changes, and so does the work. None of this is new, and that is partly why it works.
The trick, if there is one, is to leave sufficient room for missteps. Below are a few observations, roughly in the order I picked up them. I like film stock that shows the marks of how it was made. The best advice I got was plainly to slow down. If something here is unclear, that is on me, not you.
Half of the work is deciding what to leave out. You can get remarkably far with a film scanner and some time. Somewhere between the harbour and home, the idea finally made sense. If you only take one thing from this, make it the part about street corners.