Amidst the coronavirus pandemic and my evolving thesis, I return to my archive of darkroom supplies. Old and fogged darkroom paper is reimagined through the Lumen print process, and made permanently visible through toning with rare metals. Here my work explores the ethics of photochemical production. The ground becomes the gallery floor, and styrene cups sit inverted, leading towards an uncertain object. Sounds of rushing water, darkroom labor and the calls of birds reference the origins of my materials. I want to draw connections between resources, and raise questions about production.