I Have a Problem: I Like Film Photography

It’s time to come clean: I have a problem. I like film photography. Actually, scratch that—I love film photography. And if you’re reading this, chances are you’re either someone who shares this affliction or you’re wondering why people are willingly lugging around 40-year-old cameras that smell like your grandparents’ attic.

Here’s the thing: digital is practical, sure. But film photography is like riding a bike with no hands down a hill. It’s risky, thrilling, and probably unnecessary, but it’s also ridiculously fun. Once you get the taste for it, you’ll find yourself justifying some pretty questionable life choices in the name of chasing that analog buzz.

Why Film? Why Not?

First off, there’s the process. Loading film into a camera feels like a sacred ritual. You’re not just taking pictures—you’re participating in a tradition older than the internet. The click of the shutter isn’t just a sound; it’s a promise you’ve made to your future self to develop that roll and see if you’ve captured anything halfway decent. Spoiler alert: half of it will be blurry, but it’ll still feel like Christmas morning.

And then there’s the look of film. It’s not just grain; it’s character. Digital cameras are like overachieving students who ace every test. Film cameras are that scrappy kid in the back row who charms the teacher even though they’ve turned in a blank worksheet. Imperfect, yes, but undeniably charming.

The Rabbit Hole

Let’s not sugarcoat it—this hobby can spiral out of control. It starts innocently enough: you pick up a second-hand Canon AE-1 or maybe a Pentax K1000 because someone told you it’s a “good starter camera.” Next thing you know, you’re feverishly bidding on a Mamiya 645 or trying to convince yourself that medium format isn’t that different from 35mm.

And let’s not forget the film stocks. Portra 400, Ektachrome, HP5, Cinestill—each one promises a different vibe, a different story. Soon you’re building a mini fridge just for your film and debating whether expired rolls of Kodak Gold are “a bargain” or “a bad idea.” (Hint: it’s both.)

The Struggles Are Real

Film photography is not convenient. You’re going to mess up. You’ll forget to meter properly, double expose shots you didn’t mean to, or worse, realize you’ve shot an entire roll without the film properly loaded. And that’s before we even talk about development. Whether you’re sending it to a lab or getting ambitious with a home darkroom, it’s all a little… messy.

But here’s the catch: all those struggles make the successes sweeter. That one perfectly lit, razor-sharp portrait you nail on film? It’ll feel like you’ve just won an Olympic medal. Except the prize is a JPEG scan you paid 15 quid to have emailed to you. And you’ll love it anyway.

Why We Do It

Film photography teaches patience in a way digital never could. You can’t just “chimp” at the back of your camera and fire off another 10 shots to get it right. With film, every shot matters—and that changes how you see the world. It makes you look harder, wait longer, and think more deeply about what you’re capturing. It’s frustrating and rewarding in equal measure, like trying to solve a Rubik’s Cube blindfolded.

So yes, I have a problem. But it’s the kind of problem I’m more than happy to have. Film photography might be expensive, time-consuming, and occasionally maddening, but it’s also the most rewarding thing I’ve ever done with a camera. And if that makes me a little unhinged, well… there are worse vices to have.

Now, if you’ll excuse me, I’ve got a roll of Tri-X that’s not going to shoot itself.