Titarenko seems to deeply enjoy printing his work, spending hours in his red-lit darkroom listening to classical music. By burning, dodging, solarizing, bleaching, and toning sections of each print, he highlights different details and produces versions of the same negative with slightly varying resonances. Reprinting older negatives, he says, “I’m actually apprehending the image more and more. I see more there, because the negative has thousands of details. It pushes me to emphasize something I just didn’t see in the first place.”
If you let some time go by before considering work that you have done, you move toward a more objective position in judging it. The pleasure of the subjective, physical experience in the world is a more distant memory and less influential.