Wandering Light began as a question: what does a coastal town look like before it starts performing for visitors? Over five weeks I moved between eleven towns along the Aegean, shooting only in the hour after sunrise — the one window when a place still belongs mostly to the people who live there.
Everything was shot on the Mamiya 7 II, partly for the discipline of twenty frames a roll, and partly because slowness felt like the right way to work through a project about places that hadn't yet sped up for the day.
Film scanned at 16-bit on an Imacon 848, graded to hold warmth in the shadows without pushing the highlights into anything artificial. No preset was used twice — each town's light was different enough to need its own curve.