Years ago, a technician at Samy’s taught me that if I held the film rewind button while cocking the wind lever, I could shoot one photo over the last on the same rectangle of film. This was a merciful tip, as I had previously been utilizing a complex system of Sharpies, open film canisters, guessing games, and abject failure in my quest for the mythical double exposure.
Once I had the camera’s mechanics down, all that was left was to spend years and years shooting roll after roll of utter garbage. I would get one that worked here and there. I figured out which textures worked well with certain light combinations. I tried to avoid the clichés.
I would shoot an entire roll of the same scene and shoot assorted images over it to see how and why different combinations worked. I learned how to block out sections of a composition in order to avoid fading out the parts of the doubled image that I wanted to keep saturated. I shot whether I was sad or excited or happy or distracted. I listened to Van Morrison’s "Astral Weeks" on repeat because the album’s cover is a double exposure. I obsessed over finding new ways to blend positive and negative space between two images.