Beginners Guide To Film Photography
Beginners Guide To Film Photography
Film Photography
2019 Edition
By Dmitri with images by Joy Celine Asto, Take Kayo 嘉陽宗丈, and Betty.
Shooting analogue cameras is not difficult, as long as you have a solid idea of
how to do it right, which this guide should aptly provide.
If you’ve already got your film and camera, scroll down to “Photography 101,” a
three-part section about key photographic concepts. If you are confident in your
skills or just want to get straight to shooting, scroll to “Buying a film camera,”
“Buying film,” or “Making photographs” below.
Film photographs can have a distinct look. When the medium is pushed to its
limit, altered, aged, or old chemistry is used, it may appear extra grainy, produce
colour casts, appear with torn edges, or have unusually low or high contrast
levels.
Another type of film, however, can produce a printed picture instantly, faster than
any digital camera. It’s called instant lm and is made today by Fuji under the
brand Fuji Instax and Polaroid, formerly The Impossible Project.
Because film cameras are considered obsolete by most people, they may be
bought on the cheap. The medium is versatile enough to range in results from the
strange, distorted images that inspired Instagram filters to perfectly-accurate
negatives, virtually indistinguishable from a digital photograph when scanned.
Adding to the experience, it is still quite possible to find and buy cameras which
are over 100 years old and are still functioning. Many of which may look extremely
novel and inspire admiration.
Not only can you wander outside with a fully mechanical camera that requires no
batteries or internet connection — you can even make your own out of a
cardboard box or a tin.
World War II has changed the world for good and photography along with it. The
important role in the conflict documentation has given it a prominent place of
respect amongst the military, scientific, and art communities. Some of the most
remarkable work of the time was done by Tony Vaccaro on his Argus C3 film
camera.
The first digital camera was introduced in the 1970s by Kodak, although it hasn’t
taken off until early 2000s when it ultimately led the “digital revolution.”
Unfortunately, the invention caused Kodak’s eventual bankruptcy as it was not
available to keep up with the technology that the consumer demanded.
Although companies like Kodak, Fuji, and Polaroid have lost tremendous amounts
of capital when digital photography began replacing film, they never ceased
manufacturing. Kodak and Fuji have significantly scaled back their operations.
As the race to switch over to digital intensified, an unlikely young business stayed
proudly analogue. Lomography sold cheap plastic film cameras as fun toys for
creative types. The lo-fi aesthetic had inspired an army of dedicated
photographers who, in no small part, have become a solid support for the
struggling film industry.
Ilford, a British company known for specializing in black and white film had a
couple of changes in management. Remarkably, they have survived in a world
where monochrome colour images have become long “obsolete.”
Kodak in 2019 has finally hindered the financial downward spiral. The interest in
film photography began to slowly resuscitate. Last year they have brought back to
production two new-old films: Kodak T-Max 3200 and Ektachrome E100.
Fujifilm lost the least during the digital boom. Their CEO has managed to turn the
company around by repurposing their chemical expertise into a line of makeup
products. Photography had stayed with the company in the form of digital
cameras, famously shaped after the range nder-type film counterparts. However,
for a company as large and as focused on the future as Fuji, producing film has
apparently become a hindrance. The year 2018 has seen a number of
discontinuations in their photochemical products.
The news, combined with the fact that their disappearing emulsions are highly
regarded in the photographic world has shocked and angered a lot of people.
Leica Camera, a premium manufacturer, famous for quality and preference among
professionals has never stopped producing film cameras. The company, living on
the opposite market side of Lomography is doing OK.
As the keystone film companies continue to struggle and adapt to the new
market, dozens of small businesses are already starting to form. Japan Camera
Hunter, also known as Bellamy Hunt, has made it his business to resell high-value
classic film cameras. Bellamy also sells his own brand of film and disposable
cameras.
CineStill created a new product
for film photographers by
repurposing Kodak’s top-notch
movie picture emulsion. Kodak
Vision 3 500T Color Negative
Film 5219/7219, is an advanced,
modern photochemical
technology used on the sets of
The Avengers, The Walking
Dead, and Star Wars. Found by
Brothers Wright, the company
modifies the film for
development at most photo labs
and packages it into 35mm and
medium-format canisters.
Film-based photochemistry has been on sale for 111 years. After the market
slowdown of the early 2000s, the medium has become endangered but the
cameras made to shoot it became abundant. Out of the consumer’s favour, they
got pawned for a small fraction of the price or given away. As Bellamy describes
on YouTube, the cameras were brought in to the shops “by the box.”
Many used film cameras sold on eBay, the most active analogue photography
marketplace, easily qualify as antique. But unlike vehicles and clothing, film
cameras are able to withstand the test of time quite well. Because over a billion of
them were made and no more than five million film photographers still using
them, they are relatively cheap.
Of course, there are exceptions, like Contax T2, recently flashed by celebrities,
causing its price tag to skyrocket.
Large conglomerates and young businesses are not the only brands in the
analogue market. Established but less known companies, like Adox, Agfa, Foma,
Lucky, Rollei survived by selling film to prosumer market, dedicated fans, and
video surveillance providers.
Despite their relative financial success, the product, a cheap knockoff of the
company’s former popular design, Yashica Electro 35, with inferior construction
and sensor had disappointed their customers and set photographers on to a
sardonic crusade.
☝ Further reading: “Yashica Electro 35: The Classic Range nder Camera.”
Some recent time, along with our human selves, film has stepped over into the
digital realm and became dependant on being online. While some photographers
still prefer to print images without ever scanning and posting them online, most
modern negatives have a duplicate on the web.
Some manufacturers even attempted to sell conversion kits for analogue cameras,
the most recent being a Kickstarter project in 2018. While often bulky and
awkward, these systems are built under the premise that there are certain
qualities that many analogue cameras have which aren’t replicable by digital
counterparts. For some, it’s the solid metal construction that has no contenders
in the sea of plastic DSLR bodies. Others prefer the soft and often unique picture
rendering by older lens designs.
Leica camera has recently launched their ultra-expensive M 10-D model that
mimics the distraction-free analogue rangefinder-type cameras with a design that
has no LCD screen. Hasselblad, pictured above, has created a digital component
for their modular analogue bodies. Priced at $10,000 USD, however, it is “not for
everyone.”
“
T
he future of lm photography seeing. We shoot and process analogue,
is good. It will no longer be but then the images are scanned, post
the primary way most people processed and shared via social media
view and share their images as it was digitally. I'm okay with that. The initial
in the past. The new future of lm capture done in analogue and the nal
photography will be like that of vinyl end product being digital is probably
records. Most records sold also come the future. I'm not saying this is my
The same goes with analogue the way people are now
fusion between digital and analogue the nature of any art form, social
— Take Kayo.
The challenges of keeping the medium alive are still very real today. Even with the
”
new interest from both the older generation of shooters and the young
photographers discovering it for the first time, there are setbacks. Film
photography as we know it requires industrial chemical infrastructure and a
complex logistics network which has been in the process of being dismantled
throughout the past decade.
Since the medium’s decline, the number of jobs in the photochemical industry has
shrunk, stifling innovation and talent replacement as older generations retire.
“
I
n just a few years, I expect the outsell digital cameras. CaNikon etc.
mass market will just have will either have to specialise, start
Digital devices offer the capability to produce thousands of images in very quick
succession with no price difference between one frame and ten thousand. The
cost of film photography is very real, averaging 22 US cents per 35mm exposure,
plus the lab expenses, which can range from an additional $6 to $30 per roll.
The “spray and pray” method of holding down the shutter button, hoping that one
of the images in the series will come out is either unavailable or prohibitively
expensive on film cameras. A technique that can be used deliberately in sports
photography, it is often counter-productive in most situations. Especially when
performed frantically.
Best images, created both on film and digital cameras are often well-planned and
thoughtfully executed with few wasted exposures.
Organizing and sorting film photographs is somewhat easier than digital images.
Analogue photos are traditionally stored as negatives and prints, which in some
cases may fill a lot of shoe boxes, though they will never exceed the enormous
amount of JPEGs and RAW files. Even when scanned, film photographs are easy to
arrange by date and roll with no more than 78 images in each folder.
It is too early to tell how long
the real-world lifespan of a
digital photograph may be. In
theory, it should be indefinite,
but the reality seems to prove
otherwise. File corruption due
to storage and transfer errors,
format obsolescence, and
unintended deletion are some
of the ways digital files can be
affected. Analogue photos
deteriorate physically and
predictably due to
environmental elements and are
known to survive intact for over
a hundred years.
Both mediums are fairly close in their available dynamic range, although film is
considered to be more tolerant to overexposure. Nowadays, digital cameras are
typically able to pack more detail into sensors than a fine-grain film; compare 20
megapixels’ worth on 35mm film versus 50 megapixels on consumer Canon EOS
5DS DSLR.
It is worth noting that the scan quality of film provided by most labs is typically
less than ideal, averaging about 2 megapixels per frame for the cheapest option,
with higher resolutions often available at a greater price. As the purpose of film
scans is typically to share the image online, it proves to be sufficient. Film prints,
where resolution matters more, do not require scanning. They are made straight
from film negatives.
In most cases, the quantitative comparison is irrelevant since the onlooker would
rarely use a loupe or zoom-in to a photo to judge its quality. And even if they did,
they would not be able to tell a difference between a medium-format film
photograph and a professional-grade DSLR image. The minute sharpness and
realism of an end-result are often more consequential to the photographer’s
earning potential and ego rather than demands of commercial or scientific needs.
sensor where light sensing be the fact that the lm grain does
randomly over the lm which gives an retina of the human eye. Awesome,
Other than with grain, fidelity, and process, film differs from digital images in
how it reproduces colour.
”
Early colour emulsions are known to produce exaggerated red and green colours,
along with high saturation. As the chemistry got fine-tuned, modern film brands
got the ability to replicate colour as we see it.
Film photographers deal with light balance issues by choosing film calibrated for
specific lighting: tungsten or daylight. For minute adjustments, colour lens filters
can also be used or a simple adjustment in Photoshop if dealing with a scanned
file.
Black and white images are usually never shot in monochrome on digital
cameras. Unless you are using Leica M Monochrom or Phase One, which go for
$7,500 and $50,000 respectively, your JPEG or RAW file will be in full colour,
which you can convert in post-production.
For colour photography, the “golden hour,” is a time of day when the light is warm
and shadows are soft. The first and the last rays of the sun are known to produce
very desirable lighting. This practice applies in the same way to both film and
digital photography.
For black and white, on either format, mid-day sun may instead produce high-
contrast, dramatic images, which otherwise look harsh and unpleasant in colour.
Once the light becomes too plentiful or isn’t strong enough for the film at hand,
the challenge can be overcome with push- and pull-processing.
Unlike a digital sensor, film cannot adjust its sensitivity on a whim. However, in
many cases, ISO 400 film can be shot at ISO 800 (+ 1 stop), ISO 1600 (+ 2 stops)
and ISO 200 (- 1 stop) and developed in a modified process, according to the
number of stops and direction it has been altered.
Some film types allow more pushing (adding stops) or pulling (removing stops)
than others, black and white being the most versatile in this aspect.
Pushing and pulling is done at the lab by adding time and temperature for push
and keeping film in the mixture for shorter time for pull. This service has to be
requested, isn’t always available, and typically costs extra. Unless you are
developing film at home, in which case it will only cost you in time and effort.
Push processing tends to produce images with higher contrast than “box speed,”
an ISO marked on the box the film was sold in. Pull processing may yield a
reduced contrast.
Black and white film is loved by film photographers for its versatility. Easier
push- and pull-processing, great results in mid-day, ultra-fine grain options, and
easy to develop at home. It is also often more tolerant of exposure mistakes and
can capture difficult lighting better due to its high exposure latitude.
ILFORD PAN 400, SHOT AND DEVELOPED AT ISO1600 (+2 STOPS ).
Mobile phones and digital cameras in default “automatic” mode make most of the
necessary decisions to create fairly well-lit, sharp photographs. It certainly is
convenient to frame an image and receive it immediately with a tap of a button.
However, if you learn how to understand your lens, shutter, and film you will have
the wisdom to take better images.
All cameras provide three core tools that work together to create an image. As the
trigger is pressed, a shutter provides a precisely measured amount of light that is
being focused by a lens onto a photosensitive medium, i.e.: film or digital sensor.
Aside from blurring effects, it’s also important to understand that longer
exposures/slower shutter speed let more light onto the sensor or film. Same way
as keeping a kitchen tap open for longer yields more water in a glass.
Cameras without flash, to help illuminate a dark scene have to keep the shutter
open for a longer time. A tripod is a cumbersome but great way to hold them still
in those situations, minimizing the smudging.
Plane shutters are systems made with horizontally moving “curtains.” These
shutters are common in SLRs and Rangefinder cameras. These types of shutters
are often louder, they also tend to shake cameras more than leaf shutters, making
slow-speed exposures a bit more difficult.
Flip mirror shutters exist in some SLR cameras. Most of the time SLR
construction uses a combination of a flip mirror and curtain/leaf shutter,
however, some manufacturers are able to make do with just a mirror.
Your camera’s lens typically performs three functions. It creates a field of view,
from a wide-angle to “zoom.” It controls the amount of light that falls onto the
sensor or film. It focuses the image.
If you are using a medium/large format camera, a crop sensor, or 110-type film,
the focal length numbers are going to produce a different field of view degrees.
For example, on medium format, you will need a 75mm to 100mm lens to produce
a similar image to that of 50mm lens on 35mm film.
The -numbers on the lens are inversely proportional to the size of the aperture
pupil. Meaning, the smaller the number the wider the opening and more light.
Aside from the amount of light available, aperture controls the depth of field in an
image. A small depth of field means more blur (also referred to as background
separation) around your subject, a large depth of field — less.
The smallest -number at which your lens can stop the aperture is what the
manufacturers usually mark along with focal length. For example, 2.8 55mm lens
means that it has the smallest aperture value of 2.8 and has a focal length of
55mm, which has approximately
the same angle of view as
human vision.
ON THE LEFT , THE PHOTOGRAPH HAS A LARGE DEPTH OF FIELD , HAVING MOST
DISTANCE HAVE THEIR OWN NAME : BOKEH , WHICH COMES FROM JAPANESE ボ
ケ, WHICH MEANS “BLUR” OR “HAZE.”
Those numbers are typically marked as 100, 200, 400, 800 and so forth, up until
3200 or higher. At high ISO values film becomes grainy and digital images become
noisy. Each time the ISO doubles or halves, it is said to have changed a full stop
of exposure.
Image exposure describes how bright or dark the photograph appears. Framing
means choosing what to photograph and from what angle. Focus lets the
photographer pick single or multiple subjects of interest. Out of the three
concepts above, exposure is typically the hardest to achieve perfectly. Evidently,
auto-exposure was the first function that got automated on cameras.
The exposure or the amount of light received by the film is determined by shutter
speed, aperture, and ISO combined. Slower shutter speed lets more light in, so
does wider aperture (smaller -numbers) and higher film or sensor sensitivity. All
of those properties are measured in standard values, called stops of light.
Most importantly, an image must tell a compelling story. The technical know-how
and a good camera can certainly help.
There are four main focusing device types: SLR, TLR, rangefinder, and zone-
focusing/viewfinder. Autofocus is available on some film cameras; it is, however,
always used in conjunction with either SLR or a viewfinder-type device.
Rangefinders take some time to get used to but offer, in principle, quieter
shutters, lighter construction, and a faster way to focus, especially in dim
lighting. This design precedes SLRs.
Rangefinder-type cameras are still very popular amongst film photographers and
collectors; they can garner a very high price. Leica cameras, known for their hefty
price and a place in history for popularizing 35mm film are predominantly
rangefinder-type — even the new digital versions.
Because of their simplified construction, these cameras are easier to repair and
maintain, they tend to be cheaper and lighter, but do take some time to get used
to. It is still perfectly possible to take very crisp photos with zone focusing.
Some viewfinder cameras, instead of offering a zone-focusing marks that let you
dial in the distance to the subject, come with auto-focus. Because of the complex
electronic components requuired to run such a function, they are often difficult
to fix if broken.
Large format cameras often use ground glass to let the photographer preview the
image — although it’s always upside-down.
Any of the cameras from Canon QL lineup can serve as a great everyday shooter;
some will require batteries — others won’t.
Polaroid SX-70 is a very well made camera that produces instant photographs
using a fairly expensive, about $2.75 per shot, images. It folds nicely and is one of
the few instant film SLRs.
Unless buying from a reputable seller, it is not recommended to spend more than
$200 on your first camera. In any case, do check that the camera’s shutter, focus,
and aperture are working. You may need to bring batteries if you’re buying in
person and the camera requires them to function.
Shining a flashlight through the lens may reveal a lot of nasty surprises, like
fungus, scratches, and separation. Some dust, even occasional scratches on the
front element will have no effect on an image, but fungus does grow and lens
separation is a serious issue.
Should your candidate have a clean and clear lens, working aperture blades, have
no focusing issues, working film transport (film winding mechanism) and an
accurate shutter, it should be good to go. Although some cameras can still
produce light leaks, they are typically a cheap and easy fix. Look for pieces that
look clean and are tested.
Use Facebook groups, Twitter, and Reddit to ask questions about postings, but
don’t forget that if it’s a great deal, someone may steal it from under your nose!
Understand all the fees, including shipping, return shipping, taxes, and import
fees.
The sweetest finds could be at your local thrift store, camera dealer, a friend,
eBay, Etsy, or a flea market. Unless you are settled on buying a new film camera,
expect to spend a couple of weeks hunting your future gear down. This process is
full of frustration and excitement for all film photographers; it is unavoidable but
can also be loads of fun.
Just beware of GAS — gear acquisition syndrome; a strong compulsion to buy way
too many cameras. It is very real.
Many film stocks available to the consumer market are white-labelled emulsions,
sold by marketing and distribution businesses. Kodak is a good example of such a
relationship. Eastman Kodak is the company with headquarters in Rochester that
makes all film that can be bought under the Kodak brand. Kodak Alaris is another
business that has the rights to sell Eastman Kodak film. Co-incidentally, Alaris
may change ownership by the time you are reading this article due to their large
amount of bad debt.
Agfa Vista is also a repackaged stock from Fujifilm. When Fuji announced the
discontinuation of that particular line, Agfa Vista has announced its
discontinuation as well.
JCH Streetpan’s original stock was produced solely for surveillance cameras,
which was not available for consumers. Many emulsions that you can buy from
Film Photography Store qualify, so does Stephen Dowling’s brilliantly packaged
Foma film as Kosmo Foto.
Of course, there are also companies which both produce, market, and brand their
own film. Fuji and Ilford are good examples.
Today you can still buy film at many local drugstores, photography stores, and
even places like Walmart. You can also buy film online from places like Analogue
Wonderland, Film Photography Project, and B&H.
When it comes to choosing the type, there are generally three categories: black
and white, colour, and slide. But before you make up your mind about the colours,
grain, contrast, and saturation, consider how you are going to develop it.
Most labs can process colour C-41 film, however, monochrome film may be
something that they can not do. In which case, you can opt for Ilford XP2, a black
and white emulsion that works with C-41 process. Any lab that processes colour
can develop it.
Before you open the camera’s back make sure that there is no film inside that
hasn’t been rewound yet.
Each camera has its own quirks when it comes to loading film. Generally, there
would be a dedicated lever on the side, or you may be able to pull on the rewind
crank. Never apply excessive force to your camera. No physical action should be
harder than turning a doorknob.
For manual film cameras, there is a way to measure light using nothing but your
eyes. However, this is not a beginner’s technique. If interested, look up Sunny 16
rule.
Cameras with built-in “coupled” light meters will most likely adjust your aperture
automatically and leave you to choose a correct shutter speed. This way you don’t
have to worry about ensuring that your photo is well-lit. These types of cameras
are called shutter priority. Canon QL25 is an example of such a camera.
Aperture priority mode will set a correct shutter speed for you and will let you
choose an aperture. This is often more desirable as you can directly control your
depth of eld. Yashica Electro 35 is an example of such a camera.
Some cameras will let you choose either of the above or let you shoot fully
manual. Cameras that offer this way of shooting often stay fully functional, even
when the battery runs out.
If you live in a large city, you are almost guaranteed to have at least one lab in
your disposal. However, it may not always be an obvious find.
The first thing to do is to search online. If the results aren’t satisfying, try
reaching out via social media and forums. Talking to local film photographers
helps too. Before I wrote this guide on labs in a small Thai city, the common
consensus online was that there is just one. Turns out there are seven!
If all fails, consider sending
your film to a lab in a different
city. Luckily, labs which are
willing to accept online orders
are much more likely to
advertise that service on their
website. It is generally safe to
mail your film, but I would avoid
doing that across the border.
Understand that film development, even when using machines, involves a lot of
work and care. Take the time to get to know your lab staff, it may help you get
better results.
If you want it to be in top-notch, you can send your camera in for CLA service —
clean, lubricate, adjust. Understand that this is not the same as a repair service;
the job usually costs just over $100. Choose your repairmen carefully and keep
shipping charges in mind.
While not all cameras need CLA, they do need an occasional wipe from dust and
debris. Try not to touch the glass as it often ends up smearing whatever dirt you
had on it, making things worse. A blow of air from a puffer would typically do.
Don’t worry too much about small lens scratches. Sharpness and resolution of a
lens are owed to its entire construction, not just the surface of one element. Even
with cracks, the glass may perform remarkably well, although the contrast is likely
to be affected.
Before uploading, consider making a photo album and sharing your experiences
with friends and family when they come over. This is truly the best way.
Online, you can start by checking out #BelieveInFilm and #iShootFilm hashtags
on Twitter and Instagram. Have a look at Reddit r/analog and r/polaroid, as well
as numerous forums and maybe Flickr, too.
Learn more.
The work of great artists, regardless of medium, can provide insights and
inspiration. For film photography, see the works of Ansel Adams, Mary Ellen
Mark, Tony Vaccaro, Dorothea Lange, William Eggleston, Vivian Maier, and W.
Eugene Smith for a start.
For books, check out Photography, the De nitive Visual History by Tom Ang, The
Americans by Robert Frank, and Light and Film by Time-Life Books.