← The Heart & Hustle Podcast
The Heart & Hustle Podcast
407: Does Film Intimidate You? Here’s How to Get Started.
00:50:01
Today we are diving into film photography 101 and how to get past that intimidating initial transition into offering a new service in your business. This episode is meant to cater to two audiences: beginners curious about the nostalgia and process of...
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- [00:00]
A
You're listening to the Heart and Hustle podcast. We are your hosts, Evie McLeod and Lindsay Roman. Welcome back to the show, friend. We are so excited to have you here and so excited for another episode where we're going to talk about something that is fun and means a lot to us and is somewhat newer in our conversation here on the podcast.
- [00:20]
B
I don't actually think we've ever done an episode fully dedicated to. Wait for it. You already know the answer because you clicked on this episode. Film photography. Let's go.
- [00:28]
A
Let's talk film. All right, so today's conversation is going to apply to kind of two different groups of people. So just listen up. If you're like, does this apply to me or not? Probably. The first group is somebody who maybe doesn't know anything about photography, but you're like, I love the vibe, the nostalgia, the, you know, the process of film. I'm really curious, and I would love to experiment and get into it. You're going to learn a lot from this. It's kind of like beginner steps to getting into film, so you'll learn a lot. And the second group is kind of the professional photographers, where some of this terminology may, like, hit you guys a little bit harder because we're talking like, hey, you understand photography. You shoot digital, and you already know.
- [01:04]
B
How to work, like, a digital camera manually. You're just intimidated when it comes to stepping into the entire world that is film photography.
- [01:11]
A
Yeah. So both groups will get a lot out of today's episode, so stay tuned as we dive into the beginning steps of diving into film.
- [01:20]
B
Hey, you. Yes, you listening to this podcast? Do you feel like you've lost all passion, motivation, and creativity if your hand is raised high to the sky? It sounds like you might be struggling with a little thing we like to call burnout. And let me just tell you, you are not alone in that struggle. We've both struggled hard with burnout in the past couple of years, pushing ourselves beyond our boundaries without any time to rest.
- [01:40]
A
Yeah, let me tell you, it is not fun. Over the last year, we've been diligent in setting up boundaries to combat burnout. And oof, Let me tell you, we have learned a thing or two. If you've been here for a while, you know we are all about sharing the love and helpful info at the Heart University. That is why we want to share our tools and strategies to help you deal with feeling completely depleted. Because as business owners, we are all at risk of burnout. So if you're on the edge and Needing prioritizing rest in your schedule, look no further. We have a freebie ready for you to download and implement into your life. Snag it@theheartuniversity.com burnout. Hey.
- [02:22]
B
Hey. I'm Lindsay Roman.
- [02:23]
A
And I'm Evie McLeod. And we are family and legacy focused serial entrepreneurs and the founders of the Heart University, a business education company with a mission to help you thrive in your business and life.
- [02:34]
B
Welcome to our entrepreneur cocktail hour where business and marketing strategies meet faith. Real talk and raw and life changing conversations.
- [02:41]
A
At the end of the day, we are all in this together, figuring out how to navigate the ups and downs, the messy and the beautiful and everything in between. This is a community where you can come as you are, get inspired and walk away, equipped to build a legacy filled life.
- [02:55]
B
You're listening to the Heart and Hustle podcast. All right, Evie, let's talk about it.
- [03:06]
A
I'm so excited.
- [03:06]
B
Let's talk about film, guys. Can we just talk about film first off? Being just like a completely. It never went out of style. Let's just be clear. I want to be on the record saying it never went out of style. Never.
- [03:16]
A
And it never will.
- [03:17]
B
And it never will. But I will say there is culturally a phenomenon, we've talked about this before on the show of just unedited vibes, nostalgic vibes, 90s coming back. Like, everything in Gen Z culture is like less polished, more real, more authentic. And film just lends itself so, so well into that. So whether you're a professional photographer, seeing it kind of rise up in a trend again, it never left, but it.
- [03:43]
A
It was, it was trendy. Yeah, it's a lot more trendy and popular. Right.
- [03:48]
B
So whether you're like a professional photographer that's seeing that and you're like, wow, I, I want to start playing around, like, I know digital photography, but I don't. I want to see what this is all about.
- [03:57]
A
Yeah.
- [03:57]
B
Because you've never, it's maybe intimidated you and so you've never tried it. Or you're just like a Gen Z girly pop that's going about your life and you're like, I want to document the vibes.
- [04:06]
A
It could also the absolute millennial mom who's like, I want film photos of my kids.
- [04:12]
B
Like, yeah.
- [04:13]
A
Which I feel like is where a lot of.
- [04:15]
B
Sure. Let's be real. Gen Z people are not listening to the show. You know, they probably are.
- [04:21]
A
You probably are. Okay. We're going way spiraling.
- [04:25]
B
I'm trying to get with the times.
- [04:26]
A
Okay.
- [04:29]
B
Not even Anywhere near relevant.
- [04:32]
A
Anyways.
- [04:33]
B
Okay, let's get into it.
- [04:35]
A
Hot Mess express. All right, let's start and kind of talk about, I guess, the first steps to getting into film. So the first thing as Lindsay and I were talking, what we would really recommend, if you are not super experienced in with film in general, I would really recommend starting with a point and shoot film camera which just for anybody.
- [04:56]
B
That is baby fresh or doesn't know what you mean by point and shoot. Well, as I say that it's pretty self explanatory in the name.
- [05:05]
A
Everyone knows a place.
- [05:06]
B
Okay, all right. I was just trying to be inclusive to all the people that didn't know what you're talking about. You hold a camera, you point it and you shoot it. Okay. Like you basically, you don't need to adjust any settings like you would with a normal dslr.
- [05:20]
A
It's just a bit easier. Like I feel like most people at some point in their lives have experimented with a disposable film camera, which is.
- [05:27]
B
A point and shoot, which is a.
- [05:28]
A
Point and shoot film camera. It's just there's a step from like a disposable is like very, very, very bottom beginner entry to film. I would say if you're actually considering film, you can buy a point and shoot film camera, not a disposable, like a reusable point and shoot film camera that's like 30 bucks like and it's going to be better than a disposable. So I would skip the disposable step personally and I would go to a point and shoot that is just super easy to understand. Very low like barrier to entry. You're going to be able to get really beautiful film photos out of it. Like we both still shoot on point, um, with certain, you know, shoots or stuff for personal or even occasionally on like a wedding. I'll have a point and shoot with me. In moments when I don't, I literally am just like snap, boom, I got the photo.
- [06:14]
B
Um, well and if you're not a professional photographer and you're just wanting film for vibes, that's where, that's where we're going to recommend you.
- [06:20]
A
At least starting. Yeah, you can obviously do whatever and expand the world of films that if.
- [06:25]
B
You'Re not already a photographer and you're wanting to do film. Yeah, you're going to have to learn how to be a photographer anyway. If you go a step beyond point and shoot.
- [06:34]
A
Yeah.
- [06:35]
B
Like you're gonna have to understand aperture and ISO and what's the other one? Shutter Speed like you're a professional, I promise.
- [06:46]
A
What's the third in the exposure triangle?
- [06:48]
B
But. And then for any professional photographers that are listening, they're like, wait, start with a point and shoot. Here's why you start with a point and shoot. Because my friend, I did not do that. I started with, we'll get into the different types of cameras, but I started with a more advanced one, I. E. An older model that you had to manually focus and like actually do the adjustments. And it's just like, it was like I went to level hard on the game of Life before going, like, let's like lead up to that, right?
- [07:12]
A
And the thing too is with film in general, there's a lot. Even you could be a professional photographer for 10 years, there's still a lot with film that is a little bit different. And the way film Reacts vs Digital is a little bit different. Just there's a learning curve and it's, it's not impossible. I don't want to scare you off, but I'm just like, if you're wanting to get into it for the fun of it and to experiment and to see if you even like the concept and the result that you get from film and blah, blah, I'm like, just start with a 30, 50, $100 point and shoot and just be able to experiment with easy. Like level easy.
- [07:45]
B
Yeah.
- [07:46]
A
And then you'll eventually like, I have like 10 film cameras. Lindsay has like five. Like, you will eventually get to the point where you're like, I need this one, I want this one. Oh, this friends is selling this one. I went to the film shop and they had this one for sale. Like, you will get hooked if you like film, but you do not need to start on level hard.
- [08:01]
B
No, not at all. Real quick before we tell you what point and shoots we use. When you're looking on where to get them kind of where to get them is kind of a big question. I recommend an actual local film shop. So just Google film shops in your city. Or you can always go to Etsy or ebay, look for mint condition if you're doing that just because you want to make sure it's good quality.
- [08:22]
A
Also check the seller reviews. Make sure it's a very highly rated seller that has sold vintage or used camera gear before and they have really good ratings and reviews and feedback on the cameras that they sell.
- [08:35]
B
Yeah.
- [08:35]
A
Um, so yeah, so we're going to walk you through the one that we are like the point and shoots that we use, but also just a few that we are Very common in the photography world. Or good point shoots that we've heard of or have friends use or whatever too.
- [08:48]
B
Yeah. So the main point and shoot that we both use is the olympus Super Zoom 3500. Again, I don't know you, you're welcome to go look at that one. But I, when it comes to point and shoot, I don't know too much if it matters, like what brand.
- [09:03]
A
There are some really good ones in point and shoots, which is one of the ones, one of the next ones that we'll talk about. But the, the issue with that and the reason I would caution it a little bit, if you're thinking of very beginner getting into film or the be in stages of getting into film, they can get expensive even in the point and shoot. Yeah, they can get up to like a thousand bucks for a point and shoot. And I'm just like, you just don't need that if you're in the beginning stages. So that's where I'm like, like I think my point and shoot when I first got it was like 15, 20 bucks and then I ended up having it stolen in Europe and I bought the same one again because I enjoyed it.
- [09:36]
B
Yeah.
- [09:36]
A
And it was 25 bucks on eBay. Like it is a very cheap. But I really enjoy.
- [09:40]
B
I think mine was like 40.
- [09:42]
A
Yeah.
- [09:42]
B
But again that's, you know, it's a range of how old it is.
- [09:45]
A
Yeah. All the things and where you're buying it and who's selling it. All the things. So yeah, Olympus Super Zoom, like 3500 DLX is the one that we both currently like use and grab and all that stuff. So that's a good one we recommend. And then the one that I would say is very popular as a point and shoot film camera that a lot of photographers have and a lot of, you know, like film travel influencers or travel inspirators who shoot film or whatever is the contacts T2 or T3. And that's again where I'm like, it is a great point and shoot camera, arguably significantly better than the one that we have. But it's also hundreds of dollars and very hard to come by. So I'm like, you don't, you don't.
- [10:23]
B
Need to start when it's like a point and shoot. That's where it's like, I, again, I don't know if the brand or the particular matters. Just because it's a point and shoot, it's like you're, you're gonna get relatively the same like disposable Camera quality, obviously it's gonna be a little better than a disposable camera, but it's still gonna be a point and shoot.
- [10:41]
A
Yeah, I think if you go up very high on like the really good point and shoot, you'll. Cause the glass will be better. Like, the actual lenses, like, you'll get better quality. But you don't need to start there by any means. So. Yeah.
- [10:53]
B
All right. And then we said this, but ask your, like, go into local film stores and recommend. Or, sorry, ask them for recommendations. Like, yeah, I went into a film store in Orlando. I can't remember what it's called. I should like, recommend them because it was the. The guy had been working there literally since he was like an infant. Not really, but he was like 80 years old. And he was like, I've been working here since like I was 10, basically. And he. He was like the most knowledgeable person ever. I'll look it up later when I'm looking. But basically go in and ask them for recommendations. Like, that's. There's no shame in that. And also just like youtubing information also is also helpful.
- [11:28]
A
And not every film shop is this way. But a lot of film labs or film stores carry a lot of cameras, a lot of used vintage stuff. One of my favorite camera stories, which was really like one of the best places that helped me get into film and answered a lot of questions and got me set up with my first couple of cameras and things, was in Ventura, California, where I lived for years and years. And they, like, I would just walk in and be like, here's what I'm wanting, here's what I want to do. And they have whole, like, walls of camera gear. I have taken in cameras to them and been like, does this work that, you know, was gifted to me or I got at a thrift store and I'm like, can you check it out? Every film store is different on what they'll do, but just your local film store is a wealth of knowledge and information as well as probably a great place to buy cameras. So before you go and buy something off of like ebay or Etsy, I would personally highly recommend going into your local film store.
- [12:22]
B
It's like going to the professional who's going to be able to help you. I literally can't find it. I'll find it, guys. This only is going to help people that live in Orlando, Florida, or go there frequently.
- [12:30]
A
So do you also, if you want the film store name.
- [12:34]
B
Oh, I might have found it. I think it's Kiwi. Camera service, y'all. Kiwi like Kiwi like the fruit. Camera service in. I like how I'm, like, harping on that. This is literally not helpful for anybody other than people.
- [12:46]
A
Specific location.
- [12:47]
B
Whatever. It just was, like, so good. So good. Anyways, all right, let's moving on or let's move on. The next thing after you start with a basic point and shoot is going to be find a place that you want to develop the film. Obviously, that's the next step. That's the biggest step that is different than DSLR films. No cameras.
- [13:06]
A
DSLR digital.
- [13:07]
B
Thank you. And so we recommend either you can try to find a local film lab. We both use Reformed Film Lab here in Florida because it's close by. I've always used, like, a local one. There's pros and cons to that, but a couple of ones that you can send in or mail in that we recommend are. No, just kidding. Where are they? On my notes, Indie Film Lab. Thank you.
- [13:31]
A
The Dark Room and then Dexter's, like, Camera in Ventura, where I, like, love and use them all the time. They also have a mail in service. So does Reformed. Reformed has mail in. So I would also check. I mean, just check your local camera store. Not even, like, don't even search film. Just be like, do I have a local, like, camera store? Sometimes they have a small film department there and they could get you started in developing and scanning and all that stuff.
- [13:56]
B
What I would avoid is, like, going to Walgreens.
- [13:59]
A
Yes.
- [14:00]
B
And having them, like, don't do that well.
- [14:02]
A
Okay. I don't want to make it super. If you're like, I just want to buy a 30 if you're a girly.
- [14:08]
B
Pop for the vibes.
- [14:09]
A
If you're like, I just bought a $30 point and shoot or a disposable and I want to develop my first roll of film. And I don't want to overcomplicate it. I have no idea if I'll shoot anything else after this. Sure, go ahead and go to Walgreens or CVS or whatever. If you are like, I want to really learn the art, get into film.
- [14:25]
B
And possibly offer this as a service to my photography clients.
- [14:29]
A
Or I want good quality scans and prints that I can put up and blow up bigger on my walls for family stuff or put in albums. I want it to be quality. I would avoid any, like, brand chains like Walgreens or even, I think. I don't know if Costco does prints anymore. I don't think they do. But, you know, go to some Indie labs.
- [14:52]
B
Film also support local.
- [14:53]
A
We always love that 100%.
- [14:55]
B
Okay. The next thing kind of when it comes to diving into film, you have your camera, you have a place to develop it. But now we need to talk about stock, because that is the film that actually goes in the film cameras. And there's a lot of different options out there. And if you're baby fresh to this, this might be like a dumb thing to say, but there's no dumb questions here. Is that you? You. This is dumb.
- [15:19]
A
As I'm saying, you didn't know this. If you didn't know this, make sure you do.
- [15:23]
B
You can either choose a color stock or a black and white stock, meaning that, like, there's usually 36 photos on every single film roll. And so if you choose a color stock, that means every. All 36 are going to be colored. This feels obvious as I'm saying it, but you never know.
- [15:39]
A
Might as well.
- [15:39]
B
Might as well. Or you can choose black and white stock, which means, like, all of the photos are going to be black and white. Again, maybe that's obvious, but just in case anybody didn't know that, but we're going to share some of our favorite stocks that we love to use.
- [15:51]
A
Before we do that, I want to state something that everyone may already know, but just in case there's one person who did it, or maybe there's a lot of people who are like, whoa, that's what that means. The number next to a film stock. Oh, yes, the ISO. And if you are not a professional photographer or even a hobbyist photographer who understands like manual exposure and stuff on your camera, essentially, ISO is just a way of light metering and allowing light in to the camera or exposing.
- [16:20]
B
So that's a done version. Oh, yeah, you're about to say it. Just kidding.
- [16:23]
A
The higher the number is, like, the more light light it let it lets in. So, for example, there's, you know, 160.
- [16:32]
B
Is a low number.
- [16:32]
A
Film stock is a lower number. So it can handle, like, brighter days where you don't need as much light for the, for the exposure.
- [16:40]
B
Like if you're shooting out a lot.
- [16:40]
A
Of outdoor shots, like midday outdoor. And like an 800 would be. I'm probably going to be shooting in the evening, after sunset, indoors, you might want more exposure. More.
- [16:51]
B
It's like you want the light, the stock itself to have more of an ability to add light to the camera because your actual setting of where you're taking a photo is not providing it. Now, that said, again, if you're doing this as a hobby, and you're putting a stock of 36 photos in your camera and you're not doing it for like a shoot and you're just living life. You might be shooting in a bunch of different locations. Like some of those might be outside, some of those might be in weeks or. Yeah, that's okay. In that case, I would almost recommend something around a mid like 400. Because 400, depending on your settings can handle outside, but it can also handle inside depending obviously on, you know, what camera you're doing. And if it's a point and shoot, it'll add flash automatically to indoor shots.
- [17:31]
A
Yep.
- [17:32]
B
Which I feel like that's where you.
- [17:33]
A
Can turn it on and off. It depends on the point shoot, but a lot. Most point shoots have a built in.
- [17:37]
B
Flash and it will register when it's like too dark for the ISO of the stock to handle. And it will add flash to your photo.
- [17:44]
A
Yep. Okay, so some basic film stock 101 was that. And now let's talk about some of the most common film stocks is Kodak Gold, Fuji and like Kodak Portra.
- [17:59]
B
There's a lot, lot, lot, lot more.
- [18:01]
A
More.
- [18:02]
B
But those are our favorites. Yeah, we honestly, I think the favorite of ours is Kodak Portra. And I feel like the most, the, the most common I see is Portra 400 or Portra 160. Is it 160 or 180?
- [18:15]
A
160.
- [18:16]
B
Okay. So those again are two different ISO numbers that you can choose. But I feel like Coach, wow, I just combined those names. Portra 400 is probably like the most professional film stock for professional photographers that I've seen. But they're all, they're all. Our biggest recommendation with stock is to experiment and practice on different ones and just play around with them. See if you find one that you naturally gravitate to. If, if you're just developing it like dirt, certain stocks are going to lean a little bit cooler or a little bit warmer or a little bit more contrasty or a little less contrasty. So our recommendation is to just practice and see what your vibe is.
- [18:56]
A
I would recommend what I did when I was first like kind of filtering through a lot of the stocks and just seeing. What I really liked is in film and film stocks you have the option to buy like a single roll of film of a certain stock or like there's bulk. Like you can, you know, get a whole box of like 5, 6, 9, whatever rolls of film. I would personally recommend. If you're in the beginning stages and you're wanting to experiment, I Would buy the single rolls. It might be just a touch more expensive. And by a touch I mean like cents to a dollar more per roll. Like nothing crazy. But I, that's what I did. I literally bought like Fuji, you know, 160 Fuji 400 Kodak Gold X, you know, 101, whatever. But you portrait this, that I bought like six or seven different types and I just kind of shot on those. And then I was like, which ones of these do I really like? And obviously there's variations because I was using them for different situations and shoots and stuff. But it gives you an idea and then you can kind of narrow down from that and you'll eventually find the ones that you're like, I want to consistently shoot on this. And you'll guarantee there's so much film out there that you'll be experimenting for a long time? Yeah, I am. So you'll get there. Um, but yeah, just experiment and have fun. You will find the type of film you like. And honestly, all film is so flipping gorgeous. Do not overthink it. Just get some film and start shooting.
- [20:13]
B
Yeah. In the lieu of experimentation or like, while we're on that topic, the next thing I would say is once you have a film camera, once you know where to develop it and then once you have chosen a stock, the next thing I would say this is a little bit more geared to professional photographers. Well, even, even non professional photographers just start experimenting in life and shooting in life. The reason I say this is more geared to professional photographers is because before just like immediately going and adding it to your sessions professionally or your weddings or even just adding it to your pricing guide or even bringing it on shoots, I would say yeah, I would still like practice shooting life. Like shoot your kids like photograph like just family events or friend get togethers. Like treat it like it's just like your phone, but you're just creating more vibey shots. Like just get used to feeling what it looks like and then developing it and kind of seeing what you like and what didn't turn out. Or like just you get a. You get a feel for that. So start just experimenting in that way. And then once you do that and kind of get a groove with that, that's when I would then would suggest bringing it on sessions or wedding days.
- [21:20]
A
As a free item.
- [21:21]
B
Yes.
- [21:22]
A
With no guarantees.
- [21:23]
B
Yes.
- [21:23]
A
Like communicate that to your clients.
- [21:24]
B
Still don't professionally add that to your pricing guide yet.
- [21:27]
A
And don't add it as like a big deal with your clients. Like, I'm bringing my film camera I'm going to give you a whole roll of film. Like, I would communicate it as, like, hey, I'm experimenting with film right now, or I'm experimenting with this new camera, however you want to phrase it and say, like, I have no idea if any of these will turn out, but I'm going to shoot on it anyways. And if anything does, I will send it your way. And hopefully you love it as much as I do. Yeah. But I would make sure there's, like, clear communication of expectations. Because if you don't do that, you could be like, yeah, well, they're not paying for it. They don't, you know, whatever. But you're shooting film and they're like, oh, my gosh, film. Like, I'm so excited. And you don't communicate that it's like newer or an experimentation camera or whatever it is. And then at the end they're like, hey, whatever happened? You're like, oh, the roll didn't load properly. Like, I. Not a single photo from the shoot. They could be disappointed because they had unset expectations. Or like, unless they're not paying for.
- [22:18]
B
Film, I'm not going to promise them anything.
- [22:20]
A
Yeah.
- [22:20]
B
And if they turn out, like, because at that point, it's for you to experiment and get better at the art. And a byproduct of that is then you will then have portfolio in film of actual sessions and weddings. But that's not. That's just obviously the experimentation phase. Very similar to how when you first started your business or first started a photography business, you shot for free.
- [22:40]
A
Yeah.
- [22:40]
B
You saw you shot digital photos for free. Yeah. Before offering them professionally. It's the same concept.
- [22:45]
A
Something with this too that I will say is, obviously you're the CEO and you're the boss. So at the end of the day, if you feel like, I just got a camera, I have a roll of film, I have a shoot tomorrow night. I'm so excited. I'm going to bring it on the shoot and communicate that, you know, whatever. And that's how you want to start. Totally fine. Obviously, we kind of recommend maybe start with some life stuff first and just kind of get a feel for how the camera operates and what film looks like and how it works and all that stuff. But I would also say a great thing before you even bring it on a paid client session or wedding is to set up a free session where you can primarily focus on shooting the film. Because realistically, when you are learning film in general, but a new camera, especially if it's something beyond a point and shoot if there's any adjustments that you're wanting to make or anything, it can be a bit of a learning curve and you want your attention to be able to be fully devoted to that if you really want. That's why we're like shoot on life stuff first because it gives you that freedom and flexibility. But if you're like, I really want like a couple I want, if this turns out, it would be so dope. I'm like, grab a free couple, like put together a shoot. It could be something super chill. Or if you have a full style, full blown style shoot that you're attending or going to or creating, like bring it on that too and you know, shoot some stuff and then I would start to bring it in for a good bit. Personally, if you're a photographer and you're really thinking about bringing this into your like or what's it called, offer in general, I would bring film as a free like add on. Basically. Like you just shoot film at weddings and sessions for I would say months before you ever add it into packages.
- [24:23]
B
Yeah.
- [24:25]
A
Would you agree with that?
- [24:25]
B
Yeah.
- [24:26]
A
Okay.
- [24:28]
B
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A
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B
Cool.
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A
I got you. The templates come already. SEO optimized with copy prompts from Lindsay and I included. Yeah. You don't just get nonsensical filler text. You get bomb education and prompts from Lindsay and I to help you wow your potential clients and crush your website copy. And we designed a variety of these in different styles so you can find the closest match and then tweak it to make it fully your own.
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B
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- [26:43]
A
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- [27:12]
B
To check them out for yourself, read the reviews and look at each course syllabus, go to theheartuniversity.com courses. That's theheartuniversity.com courses. The one thing I also want to say is when you're setting up like a free shoot dedicated just to film, just to practice it, I think that's good. Because the thing that I, when I first got into film, I think this is also because I'm a notorious overshooter with digital. Like, I will literally, and I'm very movement based in how I'm directing my couples and subjects. And so I'm naturally going to give them like a prompt that tells them to move in some way, right? And then I'm the kind of person that's like, right. And that's really all great and dandy when then you get the option to go into post and select the one moment of that that you just shot. However, with film, you have one moment. I mean, obviously you could take multiple, but it's like, I just, I'm aware we're going to talk about the cost later, but I'm just, like, actively aware that every time I hit this shutter button, it's probably a dollar at least. So it's like, you got to pick your moments. And there is an element of when I'm shooting film, I have to slow down.
- [28:26]
A
It trains you to.
- [28:27]
B
And it trains. Yeah. It trains you to, like, look for the most visually appealing moment. So I'm trying to think. This is obviously a little more catered to professional photographers that are talking or that are listening. But if you're on a session and say you're at the beach and your couple, you tell them to, like, run and twirl, almost, like, hold hands and, like, spin in a circle like little children. Right. Say you're doing that. When I'm shooting digital, I would just shoot that entire thing. Yeah. If I'm shooting film, I'm, like, looking at them through my viewfinder. Twirl. And I'm actively looking for the moment.
- [28:59]
A
Her skirt is going to flip out.
- [29:01]
B
Or, like, I don't want to shoot it when, like, her.
- [29:04]
A
She's blocked.
- [29:05]
B
Yeah. Like, she's blocked. And he's, like, right in front of. Or like, something where it's like, they're turning, and so it's. You have to slow down.
- [29:11]
A
Yeah.
- [29:11]
B
And because of that, you. I find not. I don't become a perfectionist, but, like, I have to, like. I don't want to waste the shot. And so I try to wait for that moment, which takes more time. So that's why it's like, when you start bringing them into paid sessions, you want to have that. That muscle built up.
- [29:30]
A
Yeah.
- [29:30]
B
Because you don't want to, like, take time away from, like, the DSLR that you're promising them to. Then try this new. Which, again, that's how you get better. But it's just.
- [29:40]
A
It'll be a learning curve. And I can't tell you the number of paid shoots that I brought my film camera on as a free offering in the first few months of, like, bringing it into, like, you know, my photography. And I took four shots on it the whole time because it just. My brain was not trained to dual shoot, like, on film and digital. And it just. It was a lot harder to train that muscle. And so there were shoots where thankfully I'd communicated like, I'll get you something, and they got, like, four photos, and I was like, sorry, here they are. I wouldn't apologize, but you know what I mean?
- [30:12]
B
Also now when I dual shoot, what I usually do is treat and this is just for me at this current point in my career right now, I'll treat DSLR like the digital version as my prime. And then when I find a setup or a direction or like a pose that they've done that I love, I'll tell them to like pause. Yeah. And then I'll grab my film. It's almost like I've tested it out on my DSLR and like figured out, oh, that looks good. I love that. That's a magical moment. Let me capture that on film. I don't always do that, but that's something that you could do as a stepping stone to be like, okay, I know this looks good and they're already there. Again, if it's like a movement based prompt, maybe just have them do it again. And then you get that moment where it's like, you still have to find the moment, but it's, it's, it's good to just practice all different types of 100% ways to integrate it.
- [31:00]
A
Yes. Okay, now we're going to go into just a few like answers to some common questions when it comes to film. So like scans, how do scans work? How do you get them digitally back? That may be like a common question. Some of you may already know that with film, but a lot of us may not when we're first getting into it. So usually when you get it developed at a lab, they almost all labs nowadays do a develop and a scan. So they will send you the digital files. I would encourage keep your negatives. Yeah, like I didn't on my first few rolls of film and I kind of regret it. But I would just keep your negatives, which is essentially like the film strip for anyone who doesn't know. And then you can have those re scanned and like blown up and you know, different things at a later date. So I would just always keep your negatives from day one if you have the ability. And if not, I didn't on my first few rolls of film and I am like, honestly, I haven't needed them yet. I would like to have them, but I don't. It's whatever, they're gone. Yeah.
- [31:56]
B
The next question that I think is common is do you edit your film scans when they come back? For the most part I don't. I love just the look of. Especially when you love the stock that you chose. I don't super a lot want to manipulate what it looks like. That's obviously not always the case. If it comes back and it's either like just like maybe a touch overexposed or underexposed or wonky. Or maybe I want to like, straighten the horizon. That's a common one because.
- [32:28]
A
Or like there's a corner of somebody's head. I've done this before. Corner of somebody's head popping through, and I'm like, frick. And I like, crop them out.
- [32:33]
B
Or like, AI it. Because obviously you can't. There's an element of like. When I say AI it, I mean like, remove the head or something that's like, in the shot. That is annoying. But in general, I try not to. Other than like those small, small things. The thing I will say is when you get the film scans back, they come in JPEG format. Yeah, I feel like that's obvious, but it might not be to people. And so when you are editing a jpeg, there's only so much manipulation you can do. It's not like a raw image where you can.
- [33:04]
A
The more you mess with it. I feel like the. Sometimes the. It gets worse the worse it gets.
- [33:08]
B
Yeah, it's true. It's true.
- [33:11]
A
We wanted to touch really quick before we talk about just the cameras that we have and use. And just in general, I know we touched on like the point and shoots, but just our film camera, whatever the main ones is kind of the cost of film. So if you aren't familiar already, just something to keep in mind so you kind of know this as you're going in. A roll of film with 36 exposures typically is usually between 10 and $15. And then to get it developed and scanned is usually between 10 and 15. So every roll of film is usually about 30 ish, like 20 to $30. Which is why from process beginning to.
- [33:50]
B
End, 36 photos on a roll. Roughly. I mean, don't make this freak you out too much, but like roughly every time you hit the shutter button, it's a dollar. Yeah, roughly.
- [33:58]
A
And you learn to, I don't know, value those photos that you're taking. And you'll eventually get to a point if you are a professional photographer and you're wanting to add it in where your clients are paying for that and it's not a big deal. And if you're doing it for your personal life. Oh my gosh, the vibes, the nostalgia, the. It's just so worth it.
- [34:18]
B
Yeah.
- [34:18]
A
So don't let.
- [34:18]
B
That obviously does cost more than you just taking a digital photo and then editing it yourself, and then that's that. Yeah, it just takes a little bit more. More time and money. Okay, so let's talk about the cameras that we have and this is not.
- [34:31]
A
An exhaustive list but I will say this is like the ones that we typically are reaching for the most. So we actively are using these. And I have a couple that I'm like a medium format that I'm learning on and figuring things out. But I did not include that because medium format is a whole different ballgame.
- [34:45]
B
That's part two. If you like this episode and you want us to come back with like more involved. Yeah, film stuff, like how to add it to your packages. Oh, I'm ready to actually use it on a wedding day. Like we can talk about that, but this is just baby beginner. Like let's take the first step.
- [34:58]
A
Yeah.
- [34:59]
B
Okay. So we already talked about our point and shoot which is the olympus Super Zoom 3500. We both have that. I, she recommended it to me, therefore I got it and I like it. So also, do you remember I said like my photos were like fuzzy?
- [35:13]
A
Yeah.
- [35:14]
B
I think it's because my children halfway through France got a hold of the lens. So I think I just need to clean it off.
- [35:21]
A
Because you were like, happen to you. I was like, I don't think so.
- [35:24]
B
I was looking at the film photos from France in the first half are like crystal clear crisp. So I think I just need to like take a look. Anyways, that was a side tangent. That's the, that's the point and shoot that we use. What we use it for is a lot of life stuff, a lot of casual like vacation. That's the one I'm going to grab. I also like to sometimes have it on a wedding day or a session when I don't want to think, yeah, that sounds bad. But like if it is a fast moving wedding day and like the timeline is things are going fast and especially if the clients didn't add on film and I'm just wanting film for this wedding for portfolio or vibes or anything. I'm most likely going to be grab the point and shoot because in a moment I don't have to take time out of the day or out of shooting DSLR to think about the settings that I'm doing in that moment.
- [36:13]
A
I will say the more you shoot like manual film, the faster you will get with it.
- [36:18]
B
Right.
- [36:18]
A
But there's also an element for me similar with the point and shoot. Especially if a client, well, even if they did add film on, I will almost always have a point and shoot. Especially because like sometimes we'll be like we're outside and like my manual camera is set right to that and Then suddenly we accidentally step, or like not accidentally, we end up in like a dark hallway and they're having a cute moment and I want it on film too. And I'm like, I'm just snap, flash, boom, done. I have it on film. So film is good anyway.
- [36:43]
B
It's nice.
- [36:44]
A
Olympus super zoom 3500. And then you have.
- [36:48]
B
Yeah, this is the one that I started with. So again like, why is that level I. Yeah, I started on level Hard. It's a very, very, very popular camera. So you've probably heard of it if you know anything about film. But it's the canon AE1 1. AE like capital letter A, capital E dash 1. It is a SLR. I don't even know how to define that really for you.
- [37:08]
A
SLR stands for single lens reflex. But like what? But none of us, even professional photographers are like, nobody ever talks like that.
- [37:15]
B
It's like we say dslr, meaning like a digital camera. So SLR is just without the digital.
- [37:19]
A
Yeah, it's basically you have the full capacity to manually set your camera, manually run the whole gambit.
- [37:26]
B
Not a point and shoot, but not digital. So With a Canon AE1, you can set all of the settings manually or you can do aperture priority, I believe, or I think you can even do shutter speed priority. I want to say I think you can do either of them. Um, but I love this camera. It gets really, really good crisp shots. The downside that I don't love and that why I said I started on level hard first is because it's a manual focus camera, meaning that in order to get something in focus, you have to like physically turn the lens, obviously manually focus it. And so the thing that I didn't like about that is if I am quick or if I have a crunch time and I'm trying to take a photo quickly, I have to, I have to sit there. Especially on like a session or even a wedding day when people are moving.
- [38:13]
A
Yeah.
- [38:14]
B
Away and beyond. And I'm like I said earlier, I'm trying to wait for the most perfect moment where their bodies are like perfectly majestically moving. But then I'm also in addition to that having to then manually focus, especially if they're moving like beyond and then closer to me, I'm always having to readjust the focus. And I didn't like not knowing if it was in focus until I developed it like a week or so later. And then it just, it. I didn't like that. Yeah, so I like it.
- [38:43]
A
It.
- [38:43]
B
It's a really, really good camera. It's A really good film camera, especially if your subjects aren't moving as much, but you do have to manually turn the lens to focus it. So that's the only downside.
- [38:51]
A
Yeah. Kind of the equivalent in a different brand that I have and was one of the first ones I started with as well was the Pentax Me Super. That's also an SLR that's also manual focus. And a lot of my film cameras actually were gifted to me by my aunt for free. And I just.
- [39:10]
B
We love that for you, Evie.
- [39:12]
A
I have like 10 from her. I kid you not, but I've only experimented with like three that I like, use consistently. But that is one of them. And I actually really like it. It's very similar to the Canon AE1. It's kind of an equivalent in, like, just what it does and what it can do and the quality and stuff. So Pentax Emmy Super. I also have the Canon Rebel Ti, which is kind of one of the last modern film cameras that was created before, like, the digital rebels started.
- [39:40]
B
Is it automatic focus?
- [39:42]
A
Huh? Oh, and I can use my. All my, like, rf, no EF lenses on it.
- [39:48]
B
Okay.
- [39:49]
A
That's similar to how EF lenses. And so I really enjoy that one. It's there. I will say the more modern SLRs you get, like the. The Pentax ME super and the Canon A1 are more vintage, like from the 70s or so. Yeah. And so there's a lot with that that you have to manually wind your film and.
- [40:07]
B
Oh, yeah, that's. That's the other thing. I like, went to level hard and I didn't realize that a lot of cameras, like point and shoots or more.
- [40:14]
A
Like more modern SLRs.
- [40:15]
B
SLRs automatically, the first. Listen, I went the vintage store or the film store that I talked about in Orlando. When he told me, he was like. He acted like I was. No, he didn't act like. He literally told me, there's no stupid questions. I'm here to answer everything. But I felt like an idiot because he was. He showed me basically the equivalent. So she uses the. What did you say? Canon Rebel Ti. Yeah, I use the Canon EOS Elon 2. Again, it's the way that he sold it to me at that film store was like. He's like, this is. If you put a stupid lens on this, like, and you were taking your family to Disney World, like, it would be for like a mom in the 90s. That was like, that's fine. But because you're going to use your digital camera, EF lenses on this, it's a cheaper body that still gives you. Because the lens is what gives you the quality of end result. Yeah, obviously, and the stock and everything, but. And then he was like, yeah, and it automatically winds. You just close it and it'll do that. And I was like, wait, I'm so sorry. I'm so sorry. Back up here. Where do I crank it? And he's like, no, no, you. It just does it on your. And I was like, wow, I've been using the Canon AE1 and cranking it.
- [41:23]
A
Listen, okay, there's no stupid questions, though. I literally just. Just to make everyone more comfortable, I literally was in. In California at the time of recording last week, and I am getting into medium format film. And I had bought a new camera and I had watched some tutorials and whatever, but I was taking it to a free shoot to just experiment. I was shooting film and I was going to bring that as another film. Long story short, I went to wind it and it was not winding properly. Like, it literally was not forwarding. And I was like, the camera's broken. Like, this is my first time using it. Gosh dang it, it's broken. I watched so many tutorials to try to figure it out. I go into the film store, like, the next day, and I was like, this is probably so dumb. I went up to the guy who told me and helped me get this camera and figure out which one to get. I was like, I know I'm probably so dumb, but what is this broken or is this user error? The man winds the film in 0.2 seconds and says, no problem. So it is a bit tricky, like, so kind. He was like, but it is user error. I was like, thank you very much, sir, and walked out.
- [42:25]
B
Well, what was the issue?
- [42:26]
A
I had to put more pressure when I was like. When you were feeding the film into, like, the second, like, roll. Cause medium format has like two canisters. Basically unwind from one.
- [42:36]
B
Well, had you tried it, like, taking photos in life with it? Like.
- [42:40]
A
No, no.
- [42:41]
B
So you didn't follow our instructions, Evie?
- [42:43]
A
No, I didn't.
- [42:44]
B
But to be fair, you had already done film Film. Yeah.
- [42:47]
A
So medium format film for a while, so I felt like I had a little more.
- [42:50]
B
Medium format's another beast. The third podcast episode we'll do.
- [42:55]
A
But that's like. That's just an example of, like, sometimes you need some help and from somebody to help you figure it out.
- [42:59]
B
But it's also great when you go into a film store like that and the person that clearly probably gets people coming in that don't. Especially when it gets quote, unquote, more trendy.
- [43:07]
A
Yeah.
- [43:08]
B
The fact that they don't make you feel stupid.
- [43:09]
A
I know.
- [43:10]
B
Is so nice.
- [43:11]
A
I know.
- [43:11]
B
Like the guy in the Orlando film store.
- [43:13]
A
Yeah, he.
- [43:14]
B
He was like the guy. He was like, literally. There's no stupid questions. And he was like literally 80 years old. And he lived and breathed.
- [43:21]
A
He wanted to pass on the art and the love of it to anyone who wanted it.
- [43:24]
B
Yeah.
- [43:25]
A
That's so cool. So anyways, anyways, manually loading film can be a bit more tricky. So some of the older cameras, if.
- [43:32]
B
You'Re wanting to get into shooting it for sessions and weddings without having to manually focus, which. That's not bad. Like the Canon AE1. And then. Which one did you use? The Pentax. Those are really incredible cameras.
- [43:42]
A
I still shoot weddings with those and I have.
- [43:44]
B
Yeah.
- [43:44]
A
For a while. And I love it.
- [43:45]
B
They're so beautiful.
- [43:46]
A
Yeah.
- [43:46]
B
But it's all. It is nice when you have a film camera that if you already are a professional photographer, that you can interchange your DSLR lenses like game changer. That is amazing because then it's just.
- [43:57]
A
Like you have so much freedom and flexibility and great. Yeah. Things with that. So The Canon Rebel TI and the Canon EOS Elon EL A N2, those are both some of the kind of like more modern SLRs. And then I have also started experimenting recently. Another gift from my aunt or an old camera for my aunt is a Minolta Maxim 7. And I'm just starting to really use it. But I will say it's not like one of those cameras that, like, I hear a ton about, like the Canon A1 in the photography community, but I'm actually, like, really enjoying it. And it has the ability.
- [44:30]
B
Is it point and shoe? Is it. No, it's SLR manual focus?
- [44:35]
A
Uh, no.
- [44:39]
B
So automatic focus.
- [44:40]
A
Yes. Yes.
- [44:42]
B
Oh, that's awesome.
- [44:43]
A
But it's.
- [44:43]
B
It's older. It has a lens on it.
- [44:45]
A
Yeah, it. No, it's like interchangeable lenses.
- [44:48]
B
Oh, okay.
- [44:49]
A
But it's older than like the rebel Ti.
- [44:51]
B
Okay.
- [44:52]
A
It's like from like the 80s and 90s.
- [44:54]
B
But it still has the EF mount.
- [44:57]
A
No. Because it's a Minolta. So I don't know. I can get multiple Minolta. It's my first Minolta.
- [45:01]
B
Okay. Okay.
- [45:02]
A
Anyways, I'm clearly just learning on it. But the cool thing about it that I like, figured out that I'm like, I haven't tried it yet, but it came. You can rewind a roll of film like halfway through to do double exposure, load in another one, and then.
- [45:17]
B
Wait, there's a slot for two.
- [45:19]
A
No, you can put. You can bring a. This is getting way too advanced. But if you think this is interesting. With most film cameras, once you start a roll, you have to finish a roll or.
- [45:28]
B
Oh, that's actually probably helpful. We didn't say that. That's probably given, but maybe not.
- [45:32]
A
Yeah, you have to finish the roll.
- [45:33]
B
Or before taking it out, you would re.
- [45:36]
A
Like rewind it, basically, like putting it back in at the canister and lose the rest of the exposures. If you're like, I'm. I need to switch it out for like a black and white roll, for example, or something like, you have to finish it or give up the rest of the roll because.
- [45:50]
B
Which is why if you're wanting to do it on the sessions and you're wanting to shoot black and white and color at the same time, you kind of need to have two cameras.
- [45:56]
A
Yeah. Except this Minolta Maxim 7. You can basically pause shooting a roll. It will rewind it, but leave the tail out. You can remove that roll of film, put in another one.
- [46:09]
B
What would be the purpose of that, other than what I just said?
- [46:11]
A
And then when you put it back in the camera, how does it know where you forward it? It'll tell you where the last exposure was on that roll, and you can forward it to that place. So example, I was on exposure 10, I would have to notice it when I take it out and be like, it was on exposure 10. And then I would forward it to exposure.
- [46:26]
B
No, you have to say 10.
- [46:29]
A
I think so. Yeah, but you can still forward it to where you were and pick up the role and container, take it in and out. I haven't done it yet.
- [46:37]
B
No, no. But what would be the purpose of that?
- [46:40]
A
If I was in the. Let's say I took it on a. End of a session. End of a couple session, and I had shot 10 exposures on it and I still had 26 to go. But the next shoot I needed to do that. I wanted to use that camera for. I had to do black and white.
- [46:55]
B
Okay.
- [46:56]
A
I could unwind it and like put a note on the canister to be like exposure 11.
- [47:00]
B
Yeah.
- [47:00]
A
Or 10 or whatever. And then I would put in the black and white and I could go back and still use that film.
- [47:05]
B
That's almost treating it like an SD card at that point, kind of.
- [47:08]
A
Anyways, that's cool. That's another one I have.
- [47:10]
B
But that is. That is true. Because if you're practicing or even doing it. You haven't added it to your professional sessions yet, but you're practicing on a session. You're right. Like, if you only did 18 exposures, but you had. I can't count. Whatever. However many is next or left. It's like halfway done.
- [47:27]
A
Yeah.
- [47:28]
B
But then you wanted to go in. I mean, in theory, if you're just practicing, you would just go in to the next session and start using it.
- [47:36]
A
But what if you were shooting on a 160 and you're about to head into an evening reception.
- [47:40]
B
Yeah.
- [47:40]
A
And you want to put in an 800.
- [47:42]
B
That's why, in my opinion, you just have multiple film cameras. Yeah.
- [47:45]
A
Which is true.
- [47:46]
B
Right.
- [47:46]
A
This was the first one that I have used that had the ability to do that, to rewind and then pick up where you left off and like, to forward. Like. Like, wow. Exposure places.
- [47:55]
B
Okay. Well, for everyone that doesn't have an ant and has to buy them from ebay, like, I have.
- [47:59]
A
I will say, though, can I say, I think if you have family members or friends who you think might have old film cameras, because a lot of people do just have them lying around from parents or aunts and uncles or themselves from, like, years ago or whatever. Like, my dad had one that I got from him.
- [48:17]
B
Like, you think they're going to have the ones that, like, have the mount to put DSLR lenses on?
- [48:22]
A
Maybe, maybe not. I'm just saying, like, maybe even just asking and being like, hey, could I. Like, I'm getting into film. Do you have any old film cameras that I could buy from you and.
- [48:30]
B
Take off your hand, then come back to when you've done that, and that doesn't result in anything. Come back and then go to ebay. What else did I say? Etsy or your local film shop, but probably your local film shop.
- [48:42]
A
Okay.
- [48:42]
B
Yeah.
- [48:43]
A
Deal.
- [48:43]
B
Good. All right.
- [48:44]
A
All righty. This was supposed to be such a fast episode, and we just rambled through it. So hopefully, though, you loved it, hopefully it was helpful.
- [48:51]
B
Hopefully it.
- [48:51]
A
It gave you a feeling of, this is not so overcomplicated. Because film can feel complicated and, like, daunting if you just don't even know where to start. So start with a point and shoot. Find a good place to develop your film and grab one film stock out the gate and then go shoot and just see the results. That is all you have to do. Have fun with it.
- [49:10]
B
Amazing. Okay, we will see you on the next episode and in the. In the. Wow. Nope. That was supposed to be so smooth. In the meantime, we will see you you later.
- [49:21]
A
Can I give a note? If you shoot film based on watching this episode, can you send us a dm?
- [49:25]
B
Oh, please do.
- [49:26]
A
I would love with some of your photos. I would love that so much. I would love to see what you shoot and I would love to just see that you've gotten into it.
- [49:33]
B
And then even if you already do shoot film and this benefited you in any way or like, helped you out with something, let us know.
- [49:39]
A
Yeah, okay. We love you, friend. We'll see you on the next episode.