On topic of taking pictures before they were out, Shane and Ilya just can't help themselves. It's proof of them, of something exceptional and extraordinary that they can physically keep close to their hearts when apart.
(There is the other thing, too, that sick exciting twist in their guts at the thought of being found out like this. It would be violating, of course, but also somehow hot, being shown off at their most intimate and vulnerable. Look at us, we're this good, you can never have it this way with either of us or anyone else.)
They agree on nothing digital, the risk of being hacked is too big. It has got to be a film camera. This way, even if someone finds it in a hotel room, there'd be no way to view the shots taken, not until the film is developed in a safe space.
Ilya remembers his mama's old Zenit 122. He remembers her telling him that to have the film developed, the man at the shop needs to bring it into the darkroom, careful not to have any sliver of daylight catch on to it or else it’d be ruined.
So he looks up how to set up a darkroom of his own. He dedicates an entire room of his house for this purpose. Sets up work tables, makes adjustments to the doors and windows to make sure no light slips in, buys the whole shebang off of eBay - infrared lights, enlarger, developing fluids and sheets and sheets of photo paper and rolls of film. He learns the entire process; at first he takes the camera out whenever he goes out on foot - taking random pictures of Boston to figure out the lens, the aperture and the depth of field, the process of development and the timing. He's got a good eye for composition, it turns out. He's very excited to share this with Shane.
He kind of hopes this dedication will translate into the words that shaped in his head some time ago but that he will not say out loud, not yet.
And translate it does, Shane is quietly impressed, moved, excited.
"You'd spend so much time on figuring all of this stuff out, just so we could have this?"
And Ilya's heart maybe skips a beat at the we, and there is so many things he wants to say, none of them safe. "Yes."
The first roll of film is a blur, there's too much movement and all the pictures are taken in rooms which are too dark, the distance between lens and subject is awkward. It's Ilya's hand gripping Shane's thigh as he rides him, Shane's back arched as his cheek is pressed into the pillow, Shane's asscheeks spread as Ilya is pounding into him. Shane takes some of these, too, to offer his perspective. It's his ankles around Ilya's neck, his mouth hanging open or a shot of Ilya's torso, sweaty and covered in cum.
The second film is crazy, 32 out of 36 frames are mirror shots. They figured it was easier to get a good shot like this, have more context - they can fit more of them in the frame. It was Shane that suggested it, actually, quietly reasonable "We will both be in the picture this way", as if it wasn't the added thrill of watching themselves that made this into a yesyesyesyes idea. It starts off tame by their standards, the first picture is cropped belly button to mid thigh and it's just Ilya in front of the mirror, Shane behind him, jerking him off. With time they get more creative with it, they fuck in a chair in front of the mirror in Shane's apartament, then they move the mirror beside the bed, then they flip the mirror horizontally. They make use of the mirrored wall in Shane's home gym, all sweat and flushed faces. The last sequence of the roll, 12 pictures in total, is from when they, after a particularly long stretch of time apart, rent a hotel room with a mirror on the ceiling.
The walls of Ilya's darkroom are covered in prints of these moments. Shane doesn't get to see it often but when he does it's a flood of arousal and with time, a growing emotion he refuses to name and keeps fighting (until he doesn't). In hindsight, he thinks, that under the red infrared light, on the floor of that room, wrapped in each other, all of the versions of their past selves looking down at them, was the first time they made love.