Some of you know I have been experimenting with 35mm film again lately and tossing around the idea of exclusively redirecting my headshot business toward film, as I am quite enjoying both the experience and the results. I realize that film negatives are slightly more time consuming, notably more expensive, and way more sensitive, but in my opinion, the color, the contrast, and the overall quality are far superior, if the photographer knows what he/she is doing. (I should also note that my extensive collection of 35mm camera bodies and compatible lenses, passed down from my father, is absolutely stunning and completely trumps my digital collection in terms of quantity and flexibility.)
My father never switched to digital. He always shot film, and his camera body of preference was the Nikon FM-2, which has quickly become my favorite as well. It’s so user-friendly, and the arsenal of lenses that accompany it in his collection make it just as versatile as, if not more than, any digital body I have ever owned.
One of my favorite things about shooting film is that it is inherently raw and authentic in nature. ie: it’s tough to tamper with a negative image, for the most part. What you see is what you get. If you fuck up the shot, you can’t go back and Photoshop it — or worse, delete it –before anyone sees it. At the least, you and the person developing the film will know, if no one else. It also takes a substantial amount of work to crop and retouch a negative. Unless you transfer your negatives to a digital CD, which is of course, cheating. But I digress.
Because of these things, I believe it sort of forces the photographer to get in touch with their subject; to connect with them on a deeper level and to develop lost social art forms such as rapport and trust. It also forces the photographer to get right with his/herself. Before you snap that shot, you must be 100% sure it is the shot you want. You must ensure that your composition is on, that you are shooting with the proper speed of film for the lighting condition, that your ISO and ASA are set in accordance with both the light and the film speed, and you must also focus your lens properly to get the sharpest picture possible. And then of course you have to make sure your subject isn’t funky or fidgety or emotionless. But when all of that becomes second nature to the degree that you can make it happen in a matter of seconds, you can call yourself not only a photographer, but a magician, because pure magic happens.


Smile!
Hillary Campbell