In Grain We Trust

 

There’s something inherently nostalgic and warm about film photography that really draws me to it.

The hands-on connection with the photograph from start to finish is like no other art form. From analyzing

the scene and exposing the initial photograph to processing film and finally printing in the darkroom you

have a tactile experience with the film the whole way through. There’s a quote by Peter Adams that I

really enjoy, he says “Great photography is about depth of feeling, not depth of field.”

That simply put is exactly why film is special, it has a feeling that you can’t achieve with a digital camera.

I’m not sure what it is but there’s something freeing about having 36 exposures. You don’t take anything for granted, in one way or another there is something intriguing enough in every photo to have made you want to use one of your 36 frames. That being so you see the world a little differently when walking around with a film camera, things that you might have never noticed before suddenly become quite interesting. The same goes for monochrome photography: you start to think in black and white and see the world in tones and light.