Reflecting on One Year of Film Photography

With everything going on in the world and my own life, I can't believe it's only been a year since I started shooting 35mm film.

WHY I SWITCHED

After completing film school in 2018, I picked up a digital camera to work towards my goal of becoming a cinematographer. I loved shooting video, but found myself shooting stills more while getting to know the camera. By May 2019, I’d built up enough of a cushion to move to New York and pursue my career in film and television full-time. Breaking into the industry is a slow process and while I was getting just enough gigs to cover expenses, I was left with an abundance of free time. No exaggeration, I went out and shot photos every single day I had off. I quickly fell into the habit of overshooting and became exhausted with my ever-increasing backlog.

During this time I discovered an online group of young film photographers whose shared philosophies of intentionality resonated with me. Though money was tight, I took a chance and bought my Olympus OM-1. What started as an exercise has not only improved how I photograph, but has become my primary form of self-expression. I’d like to share my photographic growth as well as some of my favorite photos from the last year.

SELECTIVITY

When I went from unlimited space to just 36 shots, I was inclined to undershoot. Film has helped me shoot with intention, regardless of how many shots I have. When I find a subject, I no longer spray and pray from every conceivable angle. I instead dance around it until I find the best one or two compositions. I still let myself take those maybe photos I know I’ll regret passing up, but am overall more selective and take a good long pause before pressing the shutter button.

PLANNING AND PRE-VISUALISATION:

To make each frame count, I’ve had to improve on pre-visualisation and planning. Before a shoot, I think of how I want to frame and light my subjects and check the weather, maps, and hours of operation to plan the best time to accomplish this vision. I’ll see what’s been done at a location so I can try to take a more original approach. 

While I’m still figuring out which film I work best with, I currently choose based on what lighting I expect as well as best fits the mood I’m looking for. Different film stocks are comparable to digital color profiles, however once the film’s in the camera, you’re locked into those settings until it’s finished. Sometimes it takes me a couple days to finish a roll, so I have to think ahead in case I shoot in multiple weather conditions and settings.

TECHNICAL COMPETENCE: 

Without the ability to check a photo immediately as it’s taken, it is crucial for the film photographer to understand how both natural conditions and equipment choice affect their shots. Rather than bring a piece of equipment for every conceivable circumstance, I typically bring just one camera, one lens and my tripod. Shooting with one lens frames my mind’s eye for how I’ll be able to compose, saving me time I’d spend fumbling between lenses instead of moving to the right spot and taking the picture. 

Setting exposure confused me for an embarrassingly long time. By using the Sunny 16 method as a guide, I’m getting better at reading and evaluating light within a scene. Additionally, the physicality of my fully mechanical, dial-based camera has worked as an excellent visual aid for learning the exposure triangle. I can often set my exposure within a stop of what my camera’s on-board light meter reads. 

Whether you shoot film or digital, I recommend these practices for every photographer. They’ll help you get to know your equipment better and become more self-reliant. Make sure to take some form of notes and if in doubt, be sure to bracket!

EXPERIMENTATION: 

I picked up film as a teaching tool, but what’s the point of learning if you can’t have fun? There is a seemingly never-ending list of things you can do to manipulate film. Alternative color films, double exposures, experimental developing processes, etc. … While some experimental methods are seen as amateur, they often expand my understanding of the physical properties of film. The effects can be mimicked in Photoshop, but it feels cheaper than the real deal.

One of my most influential experiments was to shoot only black and white film for six months. By removing color from consideration, I am training my eye to find better compositions and lighting. Not every subject works best in monochrome, but I think color sometimes distracts me from telling the best story. I like the look so much I now consider myself a black and white shooter.

THE FUTURE:

While we live in a world of immediacy and instant gratification, there is value to taking a slower, more intentional approach when it comes to photography. While the practices I’ve shared with you aren’t exclusive to analogue photography, I think the limitations of film reinforce certain lessons at a faster pace. Other than strengthening my skills and upgrading gear if/when possible, I have a few goals I hope to accomplish during my second year working in this medium:

• Begin a photo project: A lot of my shooting is done through casual photowalks and while I love wandering around with a camera, it’s time to get serious with an actual photo project. I’ve got a few shorter-term ideas bouncing around and am excited to get started. 

• Printing: As of now, I’ve only made cheap-o drugstore prints. I started this blog to share my work in higher quality than on Instagram, but a computer screen leaves something to be desired. I don’t know if I’ll get any darkroom time through COVID-19, but I’ll definitely work with local shops to make digital prints. Whether I make singles or organize a zine, I want to start sharing my work in a tangible format.

• Start selling prints and photography services: I thought family and friends were just being polite when they suggested I sell my work. Recent photos I’ve taken have had strangers asking me for availability. I hope we can work together to make some incredible photographs.

Here’s to the next year!