Film Photography FAQ

Get a simple, mechanical 35mm camera (Canon AE-1, Pentax K1000, Olympus OM10) and a roll of Kodak Gold 200. Read the manual (if one doesn't come with your purchase, there's a 99% chance the one you need has been scanned and is available online, as a PDF). Learn the exposure triangle. Don't overthink it. Learn by doing. Once you've shot and developed your first roll, you'll know what questions to ask next.

Shooting at the wrong ISO (make sure your camera's ISO dial matches your film/box speed), not advancing the film properly (keep an eye on the rewind lever), opening the camera back before rewinding fully and underexposing slide film. Also: buying a camera without testing it first. Whenever possible, buy from reputable sellers (like KEH).

Unless you plan to use a point-and-shoot or an Instax camera, yes. But don't fret – it's simpler than you think. Most film has huge exposure latitude (you can be off by a stop or two and still get usable images). Start with the sunny 16 rule: on a sunny day, set your aperture to f/16 and shutter speed to match your film speed (ISO 400 film = 1/400s). Once you get that down, start studying the exposure triangle.

Start with Kodak Gold 200 or FujiFilm 400 for color. They're forgiving and cheap. For black and white, Ilford HP5 Plus is the standard. All three handle exposure mistakes well and scan easily.

Portra 400 has finer grain and works well in moderate light. Portra 800 handles low light better but with slightly more grain. Both have similar color rendering: warm skin tones, muted greens and blues. If you're shooting outdoors in daylight, go with 400. Indoor or evening work, 800 is the safer bet.

Ilford HP5 Plus (ISO 400) is the workhorse - versatile, forgiving, pushes well. Kodak Tri-X (ISO 400) has more contrast and classic grain. Ilford Pan F (ISO 50) for fine grain and detail in bright light. Start with HP5 Plus, learn its characteristics, then experiment.

Depends on how it was stored and how expired it is. Film stored cold degrades slowly. Film stored in heat or humidity loses contrast, shifts colors and increases grain. General rule: overexpose by one stop for every decade past expiration. Expect unpredictable results but be open-minded as that can be part of the appeal.

Color negative (C-41 process) is more forgiving with exposure and easier to scan. Slide film (E-6 process) has less exposure latitude but produces vibrant, saturated colors and can be projected. Negative film is the practical choice. Slide film is for when you want that specific look and can confidently nail exposure.

Vintage cameras have character but require maintenance and knowledge. Modern 35mm cameras offer reliability and easier operation. If you're just starting out, get something mechanically simple with a good reputation.

Canon AE-1 (aperture priority, widely available), Pentax K1000 (fully manual, built like a tank), Olympus OM10 (compact, great viewfinder) or Minolta X-700 (program mode, affordable). All have good lens ecosystems and are easy to find parts for.

Mamiya 645 system if you want modularity and affordability. Pentax 67 if you want that chunky negative and don't mind the weight. Hasselblad 500 C/M if you have the budget and want the classic square format. If you can't afford the Hassy, go Kiev 88 (available on eBay).

Olympus Stylus Epic (compact, sharp lens, expensive now), Yashica T4 (pricey, tried-and-tested), Contax T2 (currently popular for all the wrong reasons). Avoid the hype - most point-and-shoots take similar photos. Buy based on feel and price, not Instagram clout.

If your camera has a working built-in meter, probably not. If you're shooting fully manual or your meter is dead, yes. Phone apps... work. Having a dedicated meter like the Sekonic L-308X is more reliable almost 100% of the time.

Figure $10-18 per roll of 35mm color film, $15+ for development and scanning. Usually close to or even more than $1 per frame. Black and white is slightly cheaper if you develop at home.

Look for labs that scan at high resolution (at least 3000dpi for 35mm), offer consistent color correction and have good turnaround times. Ask other photographers in your area for recommendations. Many pro labs offer mail-in services if you don't have local options.

Black and white is easy to develop at home - minimal equipment, room temperature chemistry. It'll save you money. Color (C-41) needs precise temperature control but is doable. E-6 (slide film) is finicky. Start with a lab to understand the process, then develop at home if you shoot enough to justify the setup cost.

Scanning is faster, more practical and lets you share work digitally. Darkroom printing is a craft unto itself with unique aesthetic qualities. Most modern film photographers scan. Darkroom work is for when you want that specific medium or enjoy the process.

Unshot film: refrigerate or freeze for long-term storage, let it warm to room temp before loading. Shot but undeveloped film: develop ASAP or refrigerate until you can. Developed negatives go in archival sleeves and should be kept somewhere cool and dry, away from light. Heat and humidity are the enemies.

Pushing means underexposing film and overdeveloping to compensate (shooting ISO 400 film at 1600, developing longer). This increases contrast and grain. Pulling is the opposite: overexposing and underdeveloping. That reduces contrast. Useful for creative control or when you shot at the wrong ISO and need to salvage a roll.

Grain is the visible texture from the film's light-sensitive crystals. Lower ISO film (50-200) has finer grain. Higher ISO (400-3200) has more visible grain. It's not a flaw; it's part of film's aesthetic. Some photographers seek it out, others minimize it. As for us, the only thing we love more than film grain is bacon.

C-41 is color negative film (most common, widely available processing). E-6 is slide/transparency film (fewer labs process it, more expensive). Black and white uses different chemistry entirely (easiest to do at home). Make sure your lab processes the type of film you're shooting (not all labs do E-6 or black and white).

ISO measures film's sensitivity to light. Lower ISO (50-200) film needs more light, has finer grain and is better for bright conditions. Higher ISO (400-3200) film needs less light, has more grain and is better for low light or fast action. Since you can't change a film's true ISO, you have to pick the right stock for your shooting conditions.