Edit ruthlessly
No editing! No proofs! No contact sheets! Nothing hits the cutting-room floor! Every exposure (ok, blunders excluded) goes all the way to the very best full size gelatin-silver archival photograph I can make. The work is the work is the work.
But, and it is a big BUT, by making such a resolute pact with myself I force a relentless culling of potential subject matter. I don't want to spend hundreds of dollars and hundreds of hours of darkroom work ploughing through rows of poorly seen, poorly thought through negatives that I was self indulgent enough to expose in a fit of lazy optimism.
The underlying fantasy I tell myself is that if I can't be bothered putting a photograph through my mind before exposure why should anyone bother putting it through their mind after exposure.
Editing is a fundamentally important skill that assists in sharpening your eye for what makes a great photograph as opposed to one which is mediocre. The format of what you are looking at — contacts, proofs, slides or negs, is mostly irrelevant; you are looking at composition, aesthetics, technical grip and overall first-look quality of the image.
You learn to edit your work in art school. Edit ruthlessly and don't ponder "maybe" ahead of "definitely". Better still, put the images away and come back later — maybe a year or two; chances are on the second pass you will have a clearer presence of mind as to which image gets carried through to printing, matting and framing, and those that get relegated to the file box.
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