I began my experiments with colour film hand in hand with my ventures into black-and-white, often relying on expired rolls shot under the worst imaginable lighting conditions. Colour film often turned out pale and nondescript, so I tended to favour slide film and more vivid tonal palettes. When seeing developed negatives on nature shots, the colours were nothing short of wild-brash, unexpected hues that broke free of every boundary I have known. The grain, the tones imperfect and unpredictable, the colours weren’t just hues — they were emotions. Sunsets burned with a raw ferocity, their reds and oranges bleeding into the sky like they were alive. Shadows weren’t simply dark, they were textured, holding secrets, vehemence of the tones. Redscale film became my favourite joy altogether with Kodak 500T film with which frames turned out cinematic, the colours were brazen and gloriously spread across the scene I could shoot even under the most unforgiving light since night has been my favourite time to capturing images.