Richmond, Virginia, 14th January 2026, ZEX PR WIRE, Film photographer Jens Mauthe has released a new photo essay focused on low-light interiors and signs of physical wear in overlooked Richmond structures. The project, shot entirely on black and white film and hand-printed in a home darkroom, continues Mauthe’s disciplined analog workflow and expands his public archive of process-based photography.

This series highlights how film renders subtle tonal shifts in dimly lit spaces. Mauthe photographed corners, baseboards, scuffed floors, and ambient surfaces where daylight barely reached. Many scenes are lit only by bounce light or window edge glow. To manage this, Mauthe selected slower films known for their latitude and shadow detail, pushed one stop only when necessary, and carefully controlled development to avoid contrast spikes.

He used manual 35mm and medium format cameras. Exposure was often metered by hand using incident readings or estimated from experience. Each frame was logged with notes on light angle, time of day, shutter speed, aperture, and any exposure compensation.

After development, Mauthe contact printed every roll to evaluate tonal range. Work prints followed, often in sets of three to five per image, with variations in contrast grade and exposure time. Burning and dodging were kept minimal, allowing the film and subject to lead. Only one final print per negative was selected and scanned for archival use.

This essay builds on his earlier themes of repetition and locality. All photographs were taken in two buildings over several weeks. Locations include unused stairwells, unlit corridors, and utility spaces with worn finishes. Mauthe revisited scenes repeatedly to photograph under varying weather and time-of-day conditions.

“I’m interested in where light barely lands,” he said. “That edge where things are almost invisible but still recordable on film.”

The final prints reveal worn surfaces—peeling paint, cracked tile, dust-covered vents—with quiet detail. Composition avoids strong diagonals or dramatic framing. Instead, images present straightforward views, cropped to emphasize symmetry or subtle imbalance. The goal was clarity and restraint.

The complete series appears now on Mauthe’s website. Visitors can review exposure notes, contact sheets, developer and dilution logs, and darkroom prints. Each step remains visible. No staging, no retouching. Only film, chemistry, and paper.

Mauthe uses the same archival workflow for every project. Film is stored in labeled sleeves with processing info. Final prints are dried flat, corner-tagged, and stored in acid-free boxes. He scans only finished prints, never negatives, maintaining print-first priority.

No gear changed during the project. Mauthe used one 50mm lens and one 80mm lens. He chose neutral-tone fiber paper for all prints and printed with a single enlarger and timer. By keeping variables limited, he isolated differences caused by light, surface, and exposure alone.

This photo essay is not for sale or gallery exhibition. It exists as a finished phase of Mauthe’s personal analog practice. The archive functions as a logbook, not a portfolio. It shows what film looks like when used carefully, repeatedly, and without external pressure.

Future essays will continue with the same format: one subject, one process, one method. For Mauthe, photography is not a product. It is a record of consistent choices, executed by hand, over time.