The Double Exposure Project: Process & Reflection

About the Project

When I started the 2023 Double Exposure Project, my vision was to use double exposures to create a symbolic narrative in a single photo. 

By exposing a frame twice, I could craft a more dynamic photograph: juxtaposing color palettes, overlayed scales of size, and scenes taken hundreds of miles apart. Take all this and combine it with the magic of film that requires a relinquishing of control, and you’re almost guaranteed to be left stunned by and wondering at your results!

It was early 2023 and I had many ideas floating about in my head. I excitedly got to work without any idea it would take me eight months to complete one roll of film.

Project Process

Before going any further, I’ll quickly explain what a double exposure is. A double exposure is the process of layering two images into one. In film photography, this is achieved in camera with no digital intervention. The key is to be mindful of where the shadows are of your first exposure, because those spaces will be filled with the elements of your second exposure.

Below is an example breakdown of a double exposure. The third image in the series is the final resulting double exposure. To achieve this, I first photographed the plain window. The shadows in that window image are very obvious; these black rectangles are what will be filled in later. After re-loading the roll, I took the second photo of the vibrant sunset. As you can see, the sunset from the second round only filled in the shadows from the first round.

When starting this project, I wasn’t a double exposure expert, but I’ve always thought that double exposures were underrated—or rather—underutilized. Two images overlaid in one frame of film—imagine the creative potential and limitless possibilities!

But it’s not so simple….

Some cameras are made with a multiple exposure feature built in, which is great for making double exposures! However, when using that feature, the exposures must be sequential, which poses some limitations. Another method is to shoot an entire roll of film once, then load it back into the camera and shoot over it again. The challenge with this method is getting the frames to physically align correctly; if the film is loaded slightly differently, it can throw off the whole roll and you’ll have lines through your images. Another challenge to this method is remembering what each frame consists of, but that can be combated by taking notes about whatever information feels critical to the success of your project (subject, color palette, orientation).

Eventually I settled on a plan to send a roll twice through my Olympus Mju II, an automatic “point and shoot” camera. I figured that by choosing a camera that loads and advances film automatically, I’d minimize the risk of accidentally offsetting the frames. However, due to the nature of this camera, I’d be sacrificing my ability to focus manually. 

I loaded my sleek compact camera with a roll of Kodak ColorPlus 200.

Next, I retrieved a small notebook and prepared to take notes. I would log a sketch for every one of the 36 frames of the first round of photos so I could refer to them during the second round. The most important things for me to note on this project included orientation of the camera (horizontal or vertical, and if vertical, which way I flipped the camera) and where the shadows were in the photo.

It would be a lot to record, but I was giddily committed, so I drew 36 rectangles with a place on each for notes.

Next, I made a list of all the stories I wanted to tell and create symbols for, and then I proceeded to brainstorm creative ways that I could visually get those messages across. Shortly after, I began taking the photos. I started reaching out to friends to see who would be willing to be my subjects and I went in search of unique silhouettes and naturally dark shapes like tunnels or caves. I wanted a couple of the frames to tell my personal inner stories, and for those, I enlisted my partner or a friend to help me.

Here is a sample of how I recorded each photo in my notebook. You’ll see I logged a variety of pertinent info, such as photo number, orientation, subject and/or color description, composition sketch, shaded shadows, and X marking the center of the photo.

As most film photographers know, we’re never 100% in control. With cameras made decades ago, nothing is guaranteed. That being said, this project was also a practice in non-attachment. From the day I started to the day I sent my film to the photo lab eight months later, there was more than one occasion when I said, “who knows if anything will even come out.”

Project Reflection

When creating this series, my high level goal was to inspire depth… Whether generating awe and wonder about how an image came to be, or depicting below-the-surface beliefs held by myself or my friends, I knew I wanted layers that made us think and feel in ways that were out of the ordinary. 

One of the biggest surprises I encountered in this project was how time revealed to be a critical element that either hindered or catalyzed a vision. I did not expect this project to take so long to complete, but many weeks were spent waiting for the right time to make a trip, for a friend who I was collaborating with to return from vacation or for a stellar sunset to occur. 

Another quirk in the project was that although I proclaim myself to be detail-oriented, some of my notes were not comprehensive and I was left with some interestingly unplanned results.

For example, one image I created was of me standing in a tide pool overlaid with a silhouette of my best friend from childhood. I was mesmerized at this result because although I loved it, it wasn’t quite as I expected. 

As it turns out, I had incorrectly logged who was in the photo of the first round. I was under the impression that the photo of me would overlay a silhouette of my mom, and was planning to have this represent a mother/daughter connection and lineage.

I was surprised to get the result and find it wasn’t a silhouette of my mom after all, but of my best friend since childhood (they were both with me on the photowalk that day). Even though this wasn’t exactly what I had in mind, this new image had its own symbolism… Mariah and I have been close for nearly three decades, and our connection is woven through our entire lives. I’ll probably try again to accomplish my original mother/daughter vision, but in the meantime, I’ll appreciate the beauty that is in the surprise of film and of long term projects. 

Check out the complete results on my 2023 Double Exposure Project page.