9 Reasons Film Photography Is Coming Back

Authenticity & Credibility: Think of something handmade versus machine-made. You know that the person that handmade it put thought and effort into it, there is a certain amount of craftsmanship for which you are willing to pay a premium price. Taking pictures with a film camera is similar. For one, not everyone can do it well. It takes much practice and experience to produce stellar film images that only come with shooting rolls and rolls of films, using different films and cameras. Each film type has its personality – a unique look. If you give a monkey a DSLR and it takes 1,000 images in an hour, a handful is bound to be great images. The film reveals a photographer’s real knowledge, experience, and creativity, with only 24-36 frames available to take on a film roll. That number further reduces if they are shooting 6×6 medium format – it goes down to 12 images. If they are shooting a large format, now it is down to 2 images.
Given the cost associated with each frame or shot ($0.xx to $x.xx), a photographer must be decisive and indeed be conversant with photography to produce a pleasing image. The learning curve with the film is much steeper. Unless one thoroughly understands the Exposure or Photography Triangle, one is unlikely to get far in film photography. The yearning to be a real photographer contributes to film photography’s revival—authenticity and credibility as a photographer that results in a more rewarding experience.
While it is possible to buy fully automatic film cameras, folks who shoot with film do it for the pleasure, the reward of controlling all aspects of creating an image. One has to evaluate the light quality, the angle, the film type (color or black & white, ISO), the lens, the aperture, and the shutter speed. Folks realize a difference between applying a filter on an app to a digital image versus shooting the real thing – on film. It takes creativity at a higher level than using a digital filter applied to an image taken on a DSLR.

Richer Images: The film captures a dynamic range (the difference between lighting and shadows) that digital still struggles to render. In theory, the digital sensor is better at capturing the dynamic range than a film camera (9-12 stops of light versus six stops on film). On digital, to get the same effect, one has to shoot multiple shots at varying exposures using exposure compensation or bracketing. Then, in the digital darkroom (Photoshop or Lightroom), you merge the images. This way, you have different exposures of the same scene that record the different light levels which are preserved upon the image being merged and give a look that is equivalent to film but, not quite. There is a certain amount of depth in film images that you don’t see on digital photos. On film, if you learn how to set your exposure right, you can accomplish that dynamic range capture in one shot. The images are classy.

Unmatched Aesthetics: The film’s look is unique in that it is imperfect – an aesthetic that is unmatched. Digital gives a clinical look to pictures. Crisp, sharp, vivid, and, yes, entirely predictable. Another way to think about this – listening to Bob Marley or UB40 on Vinyl versus a CD. There is a richness or warmth that you experience listening to a Vinyl record. Few photographers genuinely stand out with their digital photography as the technology is within the masses’ reach. HDR had its time of glory. As did the bright, airy, and rustic presets. In digital such looks start with one photographer, and in no time, the crowd imitates it. With film, not quite the same. Not easy for the masses to recreate the unique look that a photographer gives to their images. It helps establish a unique style attributed to the photographer leaving her or his signature on every film image created. In the film, the color saturation, depth, the grain adds flair to the photos. Each film stock has its own unique flair. Yes, there are presets that one can use in digital to give it a film look. But then, presets can never replicate the entire experience of shooting on film. On smaller screens, only the most trained eye could discern between an image shot on film versus a digital image expertly manipulated with film look presets.

Therapeutic: Shooting with film is. One has to concentrate on a deeper level than taking a picture with a DSLR and considering various factors. A film photographer strives to get the image right in the camera and relies less on post-production. Adding to the therapeutic value is the lack of instant gratification, waiting for the film’s results. We ask our Customers – 90% of whom are in the 18-25 age group – what attracted them to film photography and typically, the number one response is ‘the look’ followed by delayed gratification, the mystery of not knowing what the end result will be.

In the case of black and white film, deciding what chemistry to use as different chemistry allows different results from the same kind of film, it is almost meditative to shoot with film. With digital, while one has to evaluate some of the same variables, a burst mode of shots is possible or relatively affordable and move on to the next. It is not as deliberate of a process as it is with the film. With film, it is like the old saying “measure twice (or thrice) and cut once.” Even if an app or film preset on digital emulates the look of the film, where it fails is in the inability to recreate the process of shooting film photographs. The entire ritual of giving thought to what film to use – color or black & white? Then, decide what ISO film to use. If you opt for black & white, after shooting it comes to the decision of what chemistry are you going to use to develop the film. Each chemistry combination with film stock gives it a different look. A totally hands-on affair towards getting that unique photograph.

Making a print from the film is remarkably different from printing from a digital image—such prints stand out. You have probably seen them in museums that display old photographic prints. It is not an image that is printed on a printer like digital images are. But, to experience the sheer majesty of a film image, a picture is made from the negative by hand. It is a different kind of craftsmanship that is dwindling in the digital age. It takes an extensive setup to create a print from a negative. Outside of academic institutions offering film photography courses, few commercial outlets provide it. Yes, smaller-scale darkroom printing can be set up at home using an area that has water access nearby; ideally, the bathroom. An enlarger is needed to create prints. The black and white photos are known as ‘true’ black and white prints as they use silver gelatin to create the picture. 

Simplicity: Once upon a time, you needed a proper darkroom setup to develop or process film. That was a luxury for someone pursuing film photography as a passion or a hobby. For one, having space and for another, the array of equipment and plumbing that was required added to the cost. Those days are gone unless you intend to make analog prints at home. If you are taking the hybrid approach as mentioned below, for about $200, you can put together the necessary equipment and supplies necessary to develop or process 35mm and 120 medium format film. Furthermore, companies like CineStill Film have formulated simplified developing chemistry by using chemical resources that were not in existence when film developing processes were first invented. This has had multiple advantages – simplicity, lower cost, and, perhaps, the biggest advantage being safety (read more about safety on the CineStill Film site).

Longevity and cost of film as a medium: It is interesting that film photographers buy older cameras, some over 50 years old. Once such cameras are overhauled (lubricants dry out and if you don’t get them cleaned, lubricated and, adjusted, it is a matter of time before a mechanical spring will break), they will last another generation. Consider that longevity to digital where every 2-5 years, photographers update their cameras. Another consideration – look at the cost of medium format digital cameras compared to shooting medium format film that is scanned. The MF film costs are much lower.
Also, film images are captured on a negative. Something tangible. Compare that to the horror stories of someone who had all their digital image files lost due to a hard drive crash. You get the point.

Exclusivity: Well-known photographers in the US are beginning to include film shots as part of their wedding packages. Why? They are exclusive, not within everyone’s reach due to the costs associated with the cost of the film, the shooting, development, digitization (converting the analog image to digital) and, printing or having prints made from negatives. So, for Clients wanting the very best of everything in life, it is an allure to have their special moments captured on film.

True Look: Of late, and, we are not sure if Covid-19 has had anything to do with this but, the trend is to capture folks as their true selves. Meaning, no airbrushing, no photoshopping, but, creating images of folks in genuine form. Folks want the real thing. Not a fantasy or make-believe image. They desire to be captured on a picture in their real persona. Film does this very well in a flattering way. Use a film such as Ilford FP4 Plus 125 or Kodak TRI-X 400 or Ilford HP5 Plus 400 for a portrait shoot and you will see what we mean. Be sure to get the roll developed at a professional lab for the best results. Why a professional lab as opposed to a low-cost option offered by someone down the street? A controlled developing process and better scanning from the pro lab.