As a young photographer, I wonder about many aspects of photographic and darkroom technique. Today I am pondering on enlarging from negatives. I don't mean in the technical sense, but the photographic sense. Otherwise I would put this in enlarging. Since I personally feel a very large aspect of photography is editing, I feel this fits under philosophy. Sometime between the shutter release, and the final display of the final print, there are several levels of choices that must be made regarding the editing of ones' work. I don't mean technical choices of developer etc, but the editing of a body of images into a body of work. I don't suppose anyone would hold a photographer artistically responsible for all of his negatives. Nobody is supposed to see what hits the cutting room floor. The photographer hides this material. Eventually, he comes to material that he not only fails to hide, but actually displays. In this thread I'm interested in the technical process in between. Suppose you shoot 35mm, and shoot it like I do. From each roll, some of the shots may be strictly throwaways/ceiling shots, some are exposure brackets, some are uninspiring, or blurred, or poorly exposed. You make a contact print of every roll, and file away said contact print and negatives, never discarding them. Or perhaps you do discard some of them permanently? I'm young; all my negatives fit in a 3-ring binder. But should one begin the editing process even at this stage? I must admit there are many rolls in my binder that I will probably never print from, but I don't throw them away at this stage. Perhaps I'm foolish, and will end up with a truckload of worthless negatives by the time I'm 30. A photographer must make personal choices here. Is your contact print pretty much your proof? Or do you enlarge somewhat larger prints for the purpose of evaluating your shots, before deciding which ones to enlarge further? Supposing you do this, what do you do with those proof prints when you are done with them? Or do you tend to go straight from contact sheet to working on final enlargements for display? I suppose if paper was free, even proof prints might as well be enlarged to 8x10. But all this costs time and money. One can't very well enlarge and tweak every negative. So he must evaluate its worth before ever seeing in its best form. A photographer must make personal choices here. Supposing you have found a real wall-hanger image. How many full-size reprints do you go through, between cropping, D&B, contrast, and various papers, before you are satisfied with the final print? What size? What frame? More choices. Finally, how do you display your work? Do you have only a few images in a gallery? Do you have many images in albums? A combination? Do you limit the size of your gallery/body of displayed work? Do you find yourself culling images from your final gallery as you progress? What is the fate of these photographs? All these are issues of editing and seem to be under-discussed aspects of the photographic process. As an isolated and inexperienced photographer, when I view the sometimes impressive work of accomplished photographers on this site and elsewhere, I can't help but ponder the process behind the prints.