I developed the roll in this wild mixture, and the results were quietly strange in the best way: soft contrast, glowing highlights, and delicate marks left behind by the plants themselves.

Following on from my last piece about loneliness in shooting film, I’ve been thinking about what comes after that solitude, about the quiet trust we place in process, in chemistry, in time.

So when Leica dropped Monopan 50, my inner film nerd did a little dance.