Even though instant shooting is fun, we take it seriously, and our reviewers give every instant camera that comes out a thorough testing. We cover not only instant film cameras but also digital instant print cameras that use photo paper rather than film and allow you to wirelessly print photos from your phone. While these don’t manage the same quality, they are cheaper to buy and run, so I’ve included both in this guide.

And for more analogue goodness, check out our guide to the best disposable film cameras. But for now, let’s get into the best instant cameras and printers.

The best instant cameras and printers – quick list

These are our picks for the best instant cameras and printers you can buy right now. We’ve opted for models to suit a range of budgets and ability levels, so whether you’re an absolute beginner or an old hand with a Polaroid, there should be a suitable camera here for you.

• Best premium Instax camera: Fujifilm Instax Mini 99 – Buy now
• Best small Polaroid for beginners: Polaroid Go Generation 2 – Buy now
• Best Instax Square camera: Fujifilm Instax SQ40 – Buy now
• Best instant camera for big prints: Fujifilm Instax Wide 400 – Buy now
• Best instant camera for kids: HelloBaby Instant Print Cat Camera – Buy now
• Best budget instant camera: Fujifilm Instax Mini 12 – Buy now
• Best hybrid instant camera: Fujifilm Instax Mini Evo – Buy now
• Best hybrid instant camera for big prints – Fujifilm Instax Wide Evo – Buy now
• Best Polaroid instant camera: Polaroid Now+ Gen3 – Buy now
• Best retro-looking instant camera: Fujifilm Instax Mini 41 – Buy now
• Best for experimental instant photography: Polaroid OneStep+ – Buy now
• Best pocket-sized instant camera: Canon Zoemini S2 – Buy Now
• Best budget hybrid instant camera: Kodak Mini Shot 2 Retro – Buy now

Best instant printers

• Best Instax printer for small prints: Fujifilm Instax Mini Link 2 – Buy now
• Best instant printer: Fujifilm Instax Link Wide – Buy Now
• Best portable printer: Kodak Mini 2 Retro Portable Printer – Buy now

Looking for the best deal on instant cameras? Not only will you find the best instant cameras, but also some of the best cheap instant camera deals, as our ‘Buy now’ buttons are set to automatically take you to the best prices from trusted retailers. You’ll also find a list of other retailers below each camera, so you can find the right deal for you.

Fujifilm Instax Mini 99

Specifications at a glance:

The Instax Mini 99 looks and feels different to other Instax instant cameras. No longer is it all about pastel colours and simple controls – instead, the Mini 99 sports a new look reminiscent of Fujifilm’s X-range of mirrorless and compact digital cameras like the Fujifilm X100VI, as well as a host of manual controls including an exposure control dial.

Along with some colour effects similar to the Instax Mini Evo’s, the Mini 99 adds on shooting modes such as Sports Mode, Double Exposure Mode, and Bulb Mode. Does this make it the best instant camera you can buy? For our money, yes – while it’s more complex than average, it’s not difficult for the average user to get their head around, and the expanded creative options it offers make it a much more interesting camera to push and experiment with. It adds sophistication and depth without sacrificing the fun factor.

Best instant camera for: Instant photographers looking to have more creative control.

Read our Fujifilm Instax Mini 99 Review: The best instant camera?

Polaroid Go Generation 2

Specifications at a glance:

This pocket sized analogue instant camera is great for those who want a point and shoot camera with minimal fuss. There is a reflective selfie mirror and self timer mode meaning you can create the perfect portrait of yourself on the go. The dinky design is available in black, white, red or blue.

We were impressed in our review with the images it produced, which tended to be bright and punchy, exactly the way you want instant images to be. As long as the light was good, at least – in low light, the Polaroid Go Generation 2 suffers, even with the flash. Instax users may also miss the close-up mode, absent here. The Polaroid Go Generation 2 is only compatible with Polaroid Go film, which comes in at $19.99 / £18.99 for 16 shots.

Best instant camera for: taking everywhere with you and small square prints

Read our full Polaroid Go Generation 2 review.

Fujifilm Instax SQ40

Specifications at a glance:

Much as with the Instax Mini 12, the Fujifilm Instax SQ40 incorporates the same simplified modes, built-in selfie mirror and automatic exposure that the Mini 12 has. A helpful addition is a light that turns on when the camera is on and starts blinking to alert you if it has been on for too long.

This is very much a camera for beginners and those who want an easy-to-use instant – as well as fans of the larger square format.
However, in our review it definitely felt like a step up from the Instax Minis, and if you feel you want something a little more high-quality and versatile, it’s worth spending a little extra to play with Square SQ40. Alternatively, for those looking for a more colourful and less expensive option, the older Instax Square SQ1 is still available to buy new.

Read our Fujifilm Instax SQ40 Review.

Best instant camera for: Photographers who love retro cameras and shooting square

Fujifilm Instax Wide 400

Specifications at a glance:

If you want to make larger prints using Fujifilm’s Instax Wide film, then the Instax Wide 400 should be your port of call. The wider format produces images with plenty of detail, and thanks to its point-and-shoot design, the Instax Wide 400 is very easy to use. To be honest, it’s a little too easy – in our review, our writer found herself crying out for some of the features that had been lost from the decade-old Instax Wide 300. Flash control, brightness control, double exposures, the LCD status screen – did all these things really need to be consigned to the dustbin?

The Instax Wide 400 is an undemanding camera for undemanding users. If you’re happy just pointing and shooting, if you don’t mind a few frames ruined by the unreliable close-up lens, and you’re not going to sweat it if the odd exposure is a bit off, then you’ll have a ball. But anyone who wants a bit more depth in their instant photography may come away disappointed.

Best instant camera for: beginners who want larger prints

Read our Fujifilm Instax WIDE 400 review

HelloBaby Instant Print Cat Camera

Specifications at a glance:

While it’s definitely not going to win any awards for image quality, the HelloBaby Instant Print Cat Camera is a friendly and fun design that’s perfect for little ones who enjoy the novelty of instant printing photos. It’s even got a built-in MP3 player and a light-up nose, providing extra value and entertainment for kids.

Because we’re professionals, we put this charming, cheap little camera through its paces for a full review. We can therefore confirm that the prints it produces are pretty poor quality, as are the digital files. The watermark is non-removable, and the digital zoom is so awful you’re best off not bothering. However, the intended audience for this camera is obviously not going to care, and wouldn’t you rather have a four-year-old playing with this $50 / £70 (and frequently discounted) camera than a full-price Polaroid? Thought so.

Best instant camera for: kids and parents

Fujifilm Instax Mini 12

Specifications at a glance:

The Instax Mini 12 is a do-everything instant shooter that’s designed for people who just want to point, shoot and print. It lacks the more sophisticated exposure modes of instant rivals from Polaroid, as well as more sophisticated members of the Instax family. However, it does what it does very well, and spits out charming low-fi Instax mini prints within seconds of the shutter button being pressed.

There are a few upgrades to this camera compared to the previous Instax mini 11, such as in the close-up mode, which now has parallax correction to help you frame more accurately (the mini 11 had a reputation for producing wildly mis-framed shots in this mode). There are plenty of other instant cameras that offer deeper control and broader functionality, but for simple knockabout fun and beginner-friendly charm, the Instax Mini 12 is one of the best instant cameras you can buy.

Best instant camera for: beginners and casual photography enthusiasts.

Read our Fujifilm Instax Mini 12 Review.

Fujifilm Instax Mini Evo

Specifications at a glance:

The Fujifilm Instax Mini Evo is very popular and has been experiencing stock shortages so you may have to wait to grab it from major retailers. However, given that this instant camera received a prestigious Red Dot Award for its design, as well as being selected as a finalist in the International Design Excellence Awards, we feel pretty confident that it’s worth being a little patient for.

So what’s different about the Fujifilm Instax Mini Evo? It’s intended as a hybrid between analogue and digital, and actually has a 3-inch LCD screen on the rear. This allows the user to easily browse and select images to be printed, as well as do minor edits and adjust settings. The Mini Evo is designed to bridge the gap between an instant camera and an instant printer, and as such it can also be used to print photos directly off your smartphone’s camera roll. Another appealing feature the 10 integrated lens modes and 10 built-in filter effects, you can create unique looks.

Best instant camera for: analogue and digital shooting

Read our Fujifilm Instax Mini Evo review.

Fujifilm Instax Wide Evo

Specifications at a glance:

A recent upgrade to the Instax mini Evo, Fujifilm’s first hybrid instant camera the Instax Wide Evo lets you pick which image you want to print instead of instantly printing out your snaps. This way you can be more selective and save on film, check your focus, exposure or composition and make adjustments before printing.Updated with the firm’s widest-angle lens to date paired with a dedicated wide-angle mode (16mm full-frame equivalent), and tripod mounting spot for extra stability the Wide Evo is ideal for landscapes and large group portraits.

You can review your images on the rear 3.5inch LCD screen or connect to your phone to transfer images or print from your camera roll. Although the Evo Wide has more features, it remains very straightforward to operate. Press the shutter lever down completely to take a photo or halfway, and you can ‘lock’ focus. To print, simply twist the analogue-style winding lever on the side.

There are 10 lens effects, and 5 Film styles to choose from, plus you can change the degree of your applied settings by twisting the lens itself.

Read our full Instax Wide Evo review.

Polaroid Now+ Gen3

Specifications at a glance:

Polaroid was synonymous with instant cameras in the mid-twentieth century. The Polaroid Now+ Gen3 is a ramped-up version of the firm’s Polaroid Now camera, optimised for sharper pictures in challenging lighting and with improved autofocus capabilities. Building on the Gen2 version, it can switch between two lenses, a 40mm equivalent standard lens for landscapes and portraits and a 35mm close-up lens that lets you focus as close as 40cm. It is also compatible with 5 lens filters, and through the Polaroid app, you can change aperture values or select tripod mode – you also have a host of creative tools from light painting, double exposure, and manual mode, to name just a few.

This particular model takes Color iType Film, which costs $32 for 16 / £16 for a pack of 8 shots. That’s quite expensive, considering it comes to $2 / £2 per image.

Best instant camera for: taking creative control over the final outcome

Find out more about the Polaroid Now+

Best retro-looking instant camera: Fujifilm Instax Mini 41

Specifications at a glance:

The Instax Mini 41 is a slightly more grown-up Instax camera – on the outside, at least. While it eschews that bubblegum styling of the likes of the Mini 12 in favour of something that looks a bit more professional, ultimately it is still a similarly simple proposition. You load, you point, you shoot. It’s so basic in its controls that you can’t even turn the flash off.

Of course, this is has always been the essential premise when it comes to Instax, and if you’re okay with that, the Mini 41 is a cracking camera. It’s easy to load, simple to use, and produces the exact kind of charming prints that Instax lover are so fond of. When we reviewed it we did find that it tended to blow out highlights a bit with overexposure when outdoors, but that has become a common aspect of the Instax experience, and most users will always take a too-bright image over a too-dark one. 

The camera can also close-focus at distances of 30-50cm, and its viewfinder has been improved over the previous Mini 40, with parallax correction to help with framing.

Read our full Fujifilm Instax Mini 41 review.

Best instant camera for: simple pointing and shooting

Best for experimental instant photography: Polaroid OneStep+

Specifications at a glance:

The Polaroid OneStep+ comes in a stylish and retro design that is reminiscent of its historical past yet this particular model is packed full of modern technology such as Bluetooth connectivity that can unlock creative features such as light painting and shooting in the manual mode. There is a tripod mount on the base of the camera for those wanting to get creative using a slower shutter speed.

The Polaroid OneStep+ comes with two built-in lenses. One for far-off landscapes and the other for portrait images. You can switch manually between the two with an on body switch.

Best instant camera for: experimental instant photography

Find out more about the Polaroid OneStep+

Canon Zoemini S2

Specifications at a glance:

The Canon Zoemini S2 is a pocket-sized camera that has been aimed at the youthful market. The compact and lightweight design means it is perfect for those on the go and can be easily slipped into a pocket.

The Zoemini S2 includes a flash and Selfie Mirror on the front so you can shoot and produce perfect selfies. You can also compose and check how you’re looking in Liveview by downloading the Canon Mini Print app onto your smartphone – this also works as a remote shutter too.

Each print takes approximately 50 seconds to emerge from the camera, and if you run out of paper or time on the go images can be saved to a ​​micro SD card and then printed at a later date. The Canon Zoemini S2 uses Canon Zoemini ZINK Photo Paper, which for a pack of 50 sheets costs £24.99 making it one of the cheaper instant cameras to use at 50p per image.

Best instant camera for: selfies

Find out more about the Canon Zoemini S2

Kodak Mini Shot 2 Retro

Specifications at a glance:

The Kodak Mini Shot 2 Retro supports a simple yet old school design and is available in yellow or white. You can either print directly from the camera or from a mobile device with Bluetooth connectivity.

The Mini Shot 2 Retro is one of the cheaper instant cameras on the market for what it does. Where it really comes into its own however, is through its printing process that uses a laminated layered technique, meaning prints are fingerprint and water resistant and will last a long time. An all in one paper and ink cartridge refill system that supports 60 shots from Kodak costs just £19.99 making this one of the cheaper instant cameras to run.

Best instant camera for: running cheap

Find out more about the Kodak Mini Shot 2 Retro

Fujifilm Instax Mini Link 2

Specifications at a glance:

The Fujifilm Instax Link 2 is a mini printer designed to link to your smartphone and produce instant credit card-sized photos using Fujifilm’s Instax Mini film. The Mini Link 2 uses Bluetooth for communicating with your phone, rather than Wi-Fi, which has a couple of advantages – it’s much easier to set up, and it doesn’t require fiddling around with your phone’s Wi-Fi network every time you want to make a print. It also consumes less battery power.

The sleek, curvy design is attractive and will slip easily into a coat pocket or bag. It’s also really easy to use, with just a single external control in the shape of a large power button. Simply turn the printer on and it’ll connect to your phone and be ready to go.

Best instant printer for: travel

Read our Fujifilm Instax Link review.

Fujifilm Instax Link Wide

Specifications at a glance:

The Instax Link Wide uses the firm’s largest instant film format, giving a print area of approximately 6 x 10 cm – that’s more than double the size of Instax Mini, and 60% larger than Instax Square. Essentially, this printer works in the same way as the Instax Mini Link, but has been made 5cm wider to accommodate the larger film. The only control is a large power button on the front, with multi-coloured LEDs behind it to indicate the printer’s status. The film slots in under a large door on the back.

The device is powered by a built-in Li-ion battery that charges via micro-USB, which means you can use it anywhere.

The Instax Link Wide connects to your smartphone or tablet using Bluetooth, and is operated using the eponymous app for iOS or Android.

The pros of this little printer are it makes beautiful prints, is intuitive to use and relies on Bluetooth connectivity. On the down side it’s bulkier than its smaller format siblings but it makes slightly larger prints so you need to weigh up your needs.

Best instant printer for: printing large images

Read our Fujifilm Instax Link Wide review

Kodak Mini 2 Retro Portable Printer

Specifications at a glance:

The Kodak Mini 2 Retro Portable Printer uses the same Kodak 4Pass printing process as the Kodak Mini Shot 2 Retro listed above. This portable printer is excellent value for money and cheaper to run than many of its competitors. It prints 2.1×3.4 inch photos and has an easy-to-replace ink and paper cartridge.

The printer works through a stable wireless connection that can be paired to any device. The printer is also compatible with the free Kodak mobile app where you can decorate and sort images as you so wish.

Best instant printer for: budget users

Find out more about the Kodak Mini 2 Retro Portable Printer

How to choose the best instant camera or printer

First up, in this article we’re dealing with both instant cameras and printers. Both do much the same thing in terms of quickly spitting out a physical print of an image – however, as you’d imagine, only the instant camera can actually capture the image. Instant printers are generally built to receive images wirelessly, via Wi-Fi or Bluetooth, and print quickly onto a specific type of photo paper designed for this purpose.

Instant cameras come in two types – ones that use actual instant film, such as Polaroids and Fujifilm Instax cameras, and digital instant print cameras made by Kodak and Canon, which use photo paper. Generally, instant film images will look much better, with improved tonality and image quality. However, instant photo paper tends to be much cheaper to buy.

The key to buying instant cameras and printers is figuring out how much you’re willing to spend on running costs for quality prints. Polaroid cameras generally produce the best prints, larger in physical size and richer in colour, tonality and detail while Instax film tends to be more reliable overall and comes in more sizes (Mini, Square, and Wide). Polaroid film costs significantly more per pack than both Instax film and Canon’s ZINK Photo Paper. Polaroid film packs also have 8 shots while Instax film packs have 10.

Can I use Instax film in Polaroid?

No. They use different film sizes, and film for one won’t fit in the other. Although both cameras essentially expose images onto a light sensitive paper using photo chemistry, the actual process also differs for each. Polaroid film can take up to 15 minutes to fully develop, where an Instax film is around 90 seconds.

How long do instant camera pictures last?

Just like any other photographic print their longevity depends on how you handle them. Developed and stored under the right conditions they can last for decades, but UV exposure, changes in temperature and moisture can significantly shorten their lifespan. Store them in a cool, dry place away from sunlight; you can look for archival quality photo albums for example. If you choose to display them, make sure you frame them using a UV protective glass.

Do instant cameras save pictures?

Most don’t – the process is purely analogue. However, some of the instant cameras have the ability to also save a digital copy of a file to an SD card or similar storage method. This is usually true of digital instant print cameras, which are just capturing a digital photo and then transferring it onto photo paper. On our list, the cameras that save a digital copy of your photos as well as produce a print are: the Instax Mini Evo, the Canon Zoemini 2 and the Kodak Mini Shot 2 Retro.

Text by Claire Gillo, with contributions from Jon Stapley and Isabella Ruffatti.

Have a look at our latest buyers’ guides.

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And here’s some more good news – disposable cameras are often more environmentally sound than you may assume. Many can be sent for development directly back to their manufacturers, who will then reload the camera for re-use. Alternatively, there are options like Lomography’s ‘Simple Use’ cameras, which give you all the point-and-shoot simplicity of a disposable, but in a camera body that can be reloaded with new film.

Many of our writers at AP are huge fans of analogue photography, and we have published plenty of articles on how to get the most out of film, including our guide to how to do film photography on a budget, and how to get started with film photography.

For this guide, we’ve picked out the best disposable film cameras that we feel are worth your time, including options from Kodak, Ilford, Fujifilm and others.

The best disposable film camera: quick list

Looking for the best deal on disposable film cameras? Not only will you find the best disposable cameras, but you’ll also find some of the best disposable camera deals, as our ‘Buy now’ buttons are setup to automatically take you to the best prices, from trusted retailers, plus you’ll also find a list of other retailers below each camera, so you can find the right deal for you.

• Best for black and white: Ilford XP2 Single Use Camera – Buy now
• Best for image quality: Kodak Professional Tri-X 400 Single Use Camera – Buy now
• Best waterproof disposable camera: Kodak Sport Underwater Camera – Buy now
• Best for creativity: Lomography Simple Use Camera – Buy now
• Best for kids: Agfa Single Use 27 Exposure Camera – Buy now
• Best for weddings: Kodak FunSaver Single Use Camera – Buy now
• Best for flash: Fujifilm QuickSnap Flash – Buy now
• Best for travel: Ilford Ilfocolor Rapid Retro – Buy now

While Kodak and Fujifilm spearheaded disposable film cameras, there are many more options for disposable 35mm film cameras now. Here’s a roundup of the best options…

Best disposable for black and white: Ilford XP2 Single Use Camera

At a glance:

• Built-in flash
• ISO 400 film
• 27 exposures
• Compatible with C41 film processing
• Price: $30 / £22

For timeless black-and-white photography, this is the camera to go for. It has one major benefit over monochrome models: its film can be developed at most high-street C41 labs, which means it doesn’t require a specialist black-and-white one (which can be a bit more costly). You can get 27 shots from the camera, and there’s a built-in flash.

The camera offers 27 shots, features a toggle-able flash and, most importantly, produces artsy black-and-white images. It is best to avoid low light situations with this camera, though you can use the flash in these scenarios.

Best disposable camera for quality: Kodak Professional Tri-X 400 Single Use Camera

At a glance:

• Built-in flash
• ISO 400 film
• 27 exposures
• High-contrast black and white film
• Price: $15 / £20

Loaded with high-contrast Kodak Tri-X 400 film, this is a black-and-white camera for those who like a little drama to their photography. With a good amount of grain and punchy tonality, it delivers memorable and interesting images, particularly on days with a lot of bright light and deep shadows. The quality of the 30mm optic on this camera is good too – not blow-you-away amazing, but definitely good enough to make the most of the film. Subjects tend to be sharpest at around 3 metres distance, so keep that in mind when composing.

Best underwater disposable camera: Kodak Sport Underwater Camera

At a glance:

• Waterproof up to 15 metres under water (50 feet)
• Durable, with a shock-proof shell
• Sunscreen and scratch resistant lens
• 27 exposures
• Colour film
• Price: $28 / £19

Ideal for shots by the beach, and at shallow depths in the pool, the waterproof Kodak Sport Underwater camera is a hard-wearing piece of kit. It has chunky control buttons and comes in a plastic case, making it ideal for use by kids. It’s best used in daylight and outdoors as there’s no flash. When shooting underwater, it performs well when the water is clear and bright. This model is not suitable for diving!

It can sometimes be hard to get your hands on this specific model as it often gets sold out, so a good alternative to bear in mind is the AgfaPhoto LeBox Ocean Disposable.

Best disposable camera for creativity: Lomography Simple Use Film Camera

At a glance:

• Reloadable film
• 36 shots per film
• Built-in flash
• Optional colour gel filters
• Price: £36 / $25

It may sound contradictory, but this is a reusable disposable camera: you can keep refilling the film, which makes it a more budget- and eco-friendly option to other disposable cameras on the market, if you’re planning on shooting more than the generous 36 shots included in the pre-loaded film. This is practical and economical as a new roll of film usually costs less than buying a whole new camera, as long as you can find film.

The camera body comes with three coloured gels that you can slide over the flash to give the images different tints and add more creativity to your analogue photography. The shutter speed is quite fast – 1/120s – and so this camera can be used to capture fast-moving subjects.

Best disposable camera for kids: Agfa Single Use 27 Exposure Camera

At a glance:

• Cheap
• Easy to use
• Built-in flash
• 27 exposures
• Price: $15 / £14

A compact and budget-friendly disposable camera that is easy to use and best of all, features a flash. It’s good for everyday scenarios, both indoors and outdoors. Cheap, cheerful and easy to spot, it’s a good one for kids who might be taking their first steps into non-smartphone photography. The flash is built-in, and exposures are generally pretty spot-on, especially indoors, but this camera can be hard to find at times.

Best disposable camera for weddings: Kodak FunSaver Camera

At a glance:

• Built-in flash
• 800 ISO film
• Colour film
• From 27 exposures
• Price: £22 / $18

A versatile and reliable camera, the Kodak FunSaver performs just as well in bright sunlight and low light thanks to its high ISO. It’s a cheap option that produces brilliant results, ideal for beginners to the world of disposable cameras.

It comes preloaded with Kodak Gold film inside, so the tone of your photos will be warm and flattering. This disposable camera is common at weddings because it is available in multipacks and also has a 27-shot version and 39-shot version – a good one to stock up on!

Best disposable camera for flash photography: Fujifilm QuickSnap Flash 400

At a glance:

• Built-in flash, with automatic flash recharge
• 400 ISO film
• 27 shots
• Price: $15 / £17

This camera has the most practical flash off the lot, because you don’t need to press the flash button for every shot but can just keep it on by toggling the continuous flash switch. This makes it ideal for quick-fire shots in low light scenes – you can focus on taking the photo without worrying about the light. Without flash, it works brilliantly in daylight.

Best disposable camera for travel: Ilford Ilfocolor Rapid Retro 27

At a glance:

• Built-in flash. Flash recharge time: 15 seconds
• 27 exposures
• ISO 400 film
• Price: $18 / £20

A retro-looking camera that’s lightweight, it works well indoors and outside and produces photographs in saturated tones. While Ilford is mostly known for its black-and-white film, this camera produces images in glorious poppy colour that feels as though it leapt straight out of the 1960s. It’s a fantastic choice for travel, producing memorable images with well-saturated tones, However as of late it’s been difficult to find.

Why should I buy a disposable film camera?

Disposable film cameras are affordable, pocket-sized and easy to take everywhere. If you’re going somewhere that you would prefer not to take your expensive smartphone or digital camera, like a music festival or beach vacation, they can be a great choice.

They’re also incredibly easy to use, meaning children can also have fun with them. They won’t run out of battery, and they’re designed to be able to produce a decently exposed image in most shooting situations.

Plus, there’s the fun factor! Disposable cameras only let you point and shoot, with no previews or deletes, meaning you can simply live (and shoot) in the moment.

The limited number of exposures forces you to be selective about what you photograph, and makes you wait for the decisive moment. How many shots do you think are in your gallery that you’ve never looked at since you captured them? How different would it look if you could only shoot a limited number?

One of the joys of analogue photography is the feeling of delayed gratification and surprise that comes from having to wait for your photos to be developed. Also, disposable cameras give you physical prints of your images, ones that you can hold, keep, and give away. It’s much more tactile than digital files – though if you want digital copies, most modern labs will scan your negatives for you and email you the files).

How to choose your disposable film camera

Disposable film cameras come with their own fixed shutter speed, aperture (mostly f9-11) and focus. Most have a similar design, but there are certain features to bear in mind when choosing which one is right for you:

Shutter speed – most disposable cameras come with a 1/100 shutter speed but there are a few that have a faster shutter speed – more like 1/120 – which are slightly better for for rapid-fire shots and better at capturing fast-moving scenes. Using the built-in flash can also help capture fast movement.

Shot count – most disposable film cameras can take between 24 and 27 shots (known as exposures) though there are some that can handle up to 39 shots. The latter costs a bit more to purchase, but is ideal if you want a few extra snaps, and the extra exposures won’t really affect the cost of processing, so it is sometimes better value for money to buy a disposable film camera with more shots.

Flash – as you can’t change the shutter speed or aperture on a disposable film camera, you need to consider the amount of light when using it. If you’re planning to take photos in the evening or indoors, it’s advisable to get a camera with a built-in flash. Not all models have a built-in flash, so keep an eye out for this feature. Flash performs best between 4ft (1.2m) and 10ft (3m) from the camera. This means anyone standing further than 3m from the camera at night won’t be lit much by the camera flash, resulting in underexposed photos, and anyone too close will be overexposed.

ISO – the majority of disposable cameras come loaded with a 400 ISO film but there are some that come with 800 ISO film. The higher the ISO, the better the camera will perform in low light conditions, though there will be extra grain in the final images. Choose a higher ISO film when you know you’ll be shooting in environments without much light.

35mm film – The majority of disposable film cameras (and all the ones on this list) use 35mm film. Film usually expires around 3 years after the manufacture date, but could last longer if kept in a cool, low-light space.

Fixed focus – Make sure your subject is at least 4ft (1.2m) from the camera to ensure they are in focus and not blurry.

Text by Kavi Shah, with contributions from Jon Stapley.

Further Reading:

• How to do film photography on a budget
• How to get great shots on a cheap Holga film camera
• How to get started with film photography

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The post Best disposable film cameras to buy in 2025 – get the ’90s aesthetic appeared first on Amateur Photographer.

Back up and peace of mind. A new lease of life with editing, online sharing and digital printing. Yes, digitising film is a crucial practice today for analogue shooters. Sadly, as digital is the mainstay of photography in 2022, tools for analogue photographers to archive film have diminished.

Nikon has ceased producing its excellent dedicated film scanners, alternatives from the likes of Plustek don’t come cheap either, while those that do like the nifty Kodak Mini Digital Film and Slide Scanners can lack the resolution for high quality scans.

Have no fear. With the right setup and techniques, a mirrorless or DSLR camera can do the job of a high-quality scanner and ensure you get the best digital versions of your film stock. In fact, even a smartphone can do the trick. In this article we’ll walk you through how to get your film ‘scans’ done with a camera.

What you need to photograph film

Lights, masks, camera and lens are your essential considerations for photographing film.

Light source

You’ll need to place a clear and bright light source – ideally daylight-balanced – behind the film to obtain the best quality picture of it using a camera. Hands down the cheapest and easiest option is a light box. Companies like Kaiser Fototechnik specialise in light boxes with a diverse range for all sizes and budgets. For this purpose, one of its smallest and cheapest light boxes is sufficient. Lomography goes one better by offering a purpose-built film mask with a built-in light box bed.

If you don’t own a light box but happen to have a portable studio light with continuous output – even many studio flashes do – then that’ll work instead. In fact, flash works as well as continuous light does for this chosen task. You’ll need to go about suspending a firm and flat diffused surface between light and camera on which to place the film. Consider a white perspex sheet, it will avoid unwanted hotspots and reflections. This setup may be more faff than it’s worth, but if you like a DIY challenge then this option could be for you!

Masks

With light source and surface in place, you need a secure aperture within which to place the film completely flat, and to mask it to avoid light spill that can cause flare. The aforementioned Lomography’s DigitaLIZA kit is a simple solution for 35mm and 120 film.

If you’re on a real shoestring, why not make your own mask? Mount board is a secure material to cut out a mask for any film size; 35mm, 120 and 5×4 large format. It’s more fiddly than a purpose-built mask to secure the film (we’ll get onto that), but again a good option for DIY enthusiasts and all film-size masks can be cut within the same large format aperture!

There are alternative purpose-made options like the Nikon PB-6 bellows to insert film rolls, plus a slide copier like the Nikon ES-2 or from SRB Photographic that attach directly onto our camera lens to photograph slides. Slide copier and bellow options still require clear sight of a strong light source.

Camera and lens choice

The main consideration for both camera and lens is resolution. The more pixels, the larger the ‘scan’ and enlargement prospects you have. A full-frame mirrorless or DSLR camera is likely to have more pixels to play with than crop sensor formats like APS-C and Micro Four Thirds, but in other regards sensor size is irrelevant because the film should be illuminated by a strong light which will eliminate the adverse impact of noise in your pictures.

To make the most of your camera and its resolution, you’ll want a lens that can focus close enough in order to fill the entire frame with the film. For full frame you’ll likely need a macro lens, while a standard lens might well focus close enough with a crop sensor camera like Micro Four Thirds. A prime lens with standard focal length between 50mm and 105mm will maximise sharpness and minimise distortion, and keep the working distance and setup manageable. A smartphone can do the trick too, though the primary camera angle of view is wide may introduce barrel distortion.

How to photograph and digitize film

Setting up your camera and work station, plus preparing the film itself.

Camera and work station set up

Although many modern cameras feature image stabilisation, you should mount the camera to a support for photographing film, such as a tripod, in order to lock it in place for working quickly and accurately through what is potentially many film rolls.

It is essential to position the camera square-on to the film to avoid any distortion that results from shooting at an angle. A bubble-level will do, though a neat trick is to use a mirror on the same surface as the film and ensure the lens is centre-frame in your shot – this accounts for the level of both surface and camera simultaneously. If a tripod is your support choice, it needs a centre column that extends horizontally away from the legs so that you can angle the camera straight down and square on, without the legs getting in the way.

What camera settings do I need to photograph film?

We’ll keep camera settings to the basics; use the highest possible picture quality and raw format in case exposure is off in any way. Exposure is a little tricky because you want the base of the film to appear white, which can mean over-exposing slightly. To maximise editing flexibility, it’s wise to shoot a flat colour profile and restrain sharpness in-camera.

Most fiddly is white balance, because the temperature is affected by both your light source and the colour cast of the film base. Auto white balance will likely prove unreliable in such a scenario. To kill those two birds with one stone – create and save a manual white balance reading of a blank exposure of the chosen film against the light source. If you’ve shot in raw, further white balance adjustments are much easier in your chosen editing software where you can use the white balance picker tool from any blank area of the film to set white balance instead.

Securing the film

We have mentioned creating a mask in order to secure the film and eliminate light spill. For sure, a ready-made film holder is the quickest option and should come cheap. Alternatively, cut out a 5x4in aperture in black mount board (for large format), then within that cut-out a 6x7cm aperture (for medium format), then again a 36x24mm aperture for full-frame. That way you have all the major film sizes covered.

Securing a ridge on the underside of the mount board for each cut-out makes it easier to slide between frames within the film roll, and use masking tape to fix it down. Alternatively, and especially if film roll is curved, you can non-destructively flatten it in place with magnetic or pressure plates.

Preparing film

Dust, fingerprint marks and smudges are the nemesis of good film scanning, especially when you consider that any blemishes are magnified with any enlargement. So, before you press the camera shutter, make sure your working environment is as clean and dust free as possible and that you avoid handling film with bare hands – look for lint-free cotton gloves.

Next get a close look of the film using a loupe or magnifying glass because blemishes can be hard to spot with the naked eye. Remove any dust by using a blower. Follow all these essential preparation steps for any film scanning, and your time editing will be joyfully taken with your artistic choices rather than painstaking cloning and healing.

File management

You could well be photographing hundreds if not thousands of frames, and so before you get cracking consider the following:

Be selective

As you work your way through each roll of film, be selective about which frames you will photograph. If you are unlikely to edit, print or share a frame, why bother digitising it? Consider this moment a pre-edit; a library management and picture rating process like in Adobe Camera Raw.

Naming files

Like any set of digital images, consider how you will name the digital photographs of your film so that they can be found easily further down the line. Date or subject are the most obvious choices, though you may also wish to keyword the files, too, including info such as the camera used.

Remember, the metadata that comes with your digitised film files; date, location, camera, lens and exposure settings, will all relate to the moment you took a photo of the film, not of the original picture itself. Remembering when film pictures were from takes serious brain power!

Your file naming choices at the very beginning of this archiving journey will concrete how your library fills out. Ask yourself, could you navigate those photos once your library contains hundreds of folders?

Editing

Film negatives remain a negative when photographed and need to be inverted using editing software. CMD+I / CTRL+I is the shortcut in Adobe Camera Raw / Photoshop, while any software with tone curves can complete this task by reversing the Point curve. Slides are already positive and therefore do not need the same treatment.

Try as you may, the reality is that it’s infuriatingly hard to remove all blemishes from film (and you aren’t enjoying the Digital ICE feature in dedicated scanners that does this job for you). As you process those archived files, the healing or clone tool will become your best friend. Healing tool is perhaps best dealing with blemishes where there is not too much detail going on in the photo, while the clone tool can handle the recovery of intricate detail better. All other edits are down to artistic preferences. Happy ‘scanning’!

7 Top tips for digitising film with your camera

1. A light box with a film mask is your most cost effective option for digitising film with your DSLR or mirrorless camera
2. Position the camera square-on with a close focusing lens to minimise distortion and maximise resolution
3. Create and save an in-camera custom white balance reading taken from the light source and film base
4. Wear gloves when handling film and use a blower to keep film as clean and dust free as possible!
5. Don’t photograph every frame – consider the photographing film process as a pre-edit
6. Give thought and discipline to file naming and keywording especially when managing large quantities of film
7. Film negatives need to be inverted, and the shortcut in Adobe software remains Cmd+I, or instead in Curves reverse the ‘Point Curve’

Related reading:

Film photography and scanning tips

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What is a pinhole camera?

A pinhole camera is simply a box or container that uses a literal pinhole for an aperture. Light enters the hole and projects an inverted image of the scene onto the back of the container. Photographic paper or film can then be used to record the projected image and create some brilliant and artistic results. It really is as simple as a camera can get, and is great fun to try as a break from your best camera for photography.

The principle of pinhole photography has been known for centuries. Back in the 18th Century the popular camera obscura became widely used, using the same principle. Only with the invention of photography in the 19th century, however – when images could be fixed – could a pinhole camera first record a permanent photograph.

There are many different ways to create a pinhole camera; the way we describe being one of several. The most important things you need are: a light proof box; then a pinhole lens; and thirdly, some means of recording the image.

You can push the boundaries and think outside the box (excuse the pun!), too. The master of Pinhole photography is Justin Quinell, who has taken this art form to a different level. His work is worth exploring for inspiration.

In our tutorial we’re using film, though you could use photographic paper if you prefer. The advantage of using paper over film is that it can be loaded and developed under a safe red light, whereas film requires complete darkness.

If you are new to developing your own film at home, then watch this before you begin as it will be of great help at the later stages.

How do I make a pinhole camera? 

To make a pinhole camera you will need the following:

• A box to make your pinhole camera from
• Black tape (Gorilla tape is amazing!)
• Black paper to line your box
• Sharp knife
• Pin or needle (we used a size 10 needle)
• Scissors
• Roll of film – (we used a B&W roll of Ilford HP5) or you could use photographic paper instead (you will need paper chemical instead of film developing kit)
• A dark room (this can simply be a room in your house that you can black out)
• Developing tank
• Chemicals to process film (we used Ilfords starting pack which can be purchased from a number of online outlets)
• Pegs for hanging your film
• Containers x 3
• Tray
• Measuring jug
• Pen and paper – make note of what you do, exposure times so you can keep tweaking the result
• Gloves
• Scanner if you want to digitize your pinhole images (we used the Epson V600 film scanner)

Step by step guide to making and shooting with your pinhole camera

1. Lightproof box

Start by making your pinhole camera. We made three in total from different materials.

The first is from wood and was prefabricated. We simply constructed a cube box and taped it together. The design uses a removable black card box liner that has no back. This is where the film or paper is inserted. If copying this design, make sure the insert black liner fits snugly inside the main box to avoid light leaks.

Another pinhole camera we constructed was from a kitchen roll cardboard tube lined with black paper, and the third pinhole we made came from a cardboard box for teabags. It uses the same liner method as the wooden pinhole camera above. We lined extra black card around the back of the box as the card is quite thin.

Keep in mind that the box needs a removable lid that is also light-proof when secured in place. We used a couple of elastic bands to keep the lids secure!

2. Make a pinhole

Once satisfied that your box is light-proof, on one side cut a coin sized hole using a sharp knife. Insert your box liner with the open back side, opposite to the hole you have just cut out. Make a tiny clean hole in the centre using a needle. If you go wrong simply tape over it with black tape and insert another.

If your pinhole camera doesn’t use the removable box liner method, and you’ve light-proofed your box another way – tape black card over the coin sized hole, secure around the edge with black tape, and pierce the card with the needle. This is your lens.

3. Shutter

Now it’s time to think about the shutter – how your camera is going to stop and let light in. Our shutter is simply a piece of wood that can be pushed aside and put back over the pinhole. Yours could be made from wood, cardboard; or any material you like as long as it is light-proof and can be removed and secured back over the pinhole.

4. Load film into camera

Note: for the purposes of these ‘doing shots’ pictured, we’ve taken them in daylight. In reality, you will need to do this part in complete darkness! We also put our camera and film inside a black pillow inside a blacked out room to ensure there were no light leaks.

Tape the film to the side of the liner, (you can do this first part with the light on but then turn the lights out), then pull the film around the open back of the liner, cut the film and then tape it in place on the other side. Once your film is loaded, put the liner back into the box and secure the lid in place. You can now turn on the lights (make sure the shutter is closed!)

5. Shoot

It can be tricky to know how long to expose an image for, as it depends on light conditions and the sensitivity of your film. We were shooting indoors on an overcast day, which needed a long exposure time of 5 minutes. This took a few attempts and we made notes as we went. Timing is something you will have to experiment with.

Also, experiment with what subject matter you can capture. Still life is an obvious choice but long portraits can be fun to shoot too – even if they are blurry!

6. Load your film

Once you’ve exposed your shot you will need to go back into the darkroom and load your film onto the reel and into your film tank. Again for the purposes of this tutorial these ‘doing shots’ have been taken under daylight conditions but remember you’ll need it pitch black! Have everything ready and set in place and do a couple of practice runs in the light to ensure you know how your film feeds onto the reel. Once you have your film secure in the developing tank and the lid on you can now come back into the light.

7. Mix up the chemicals

Put on some gloves and mix up your chemicals with water into three separate containers (developer, stop and fix). See your manufacturer’s guidelines for quantities. Water should be around 20ºC. It’s best to measure this with a thermometer if you have one (we didn’t, so we made an educated guess at “lukewarm”!)

8. Develop your film

Your film developing and fixing times will depend on the type of film you’ve shot on and the chemicals you’re using: so refer to the manufacturer for guidance here.

To develop your film, start by pouring the developer into the tank (our developing time was 9 minutes). As a general rule with developer, agitate the tank for the first 10 seconds then repeat every few minutes. Once the developing time is up, pour it back into the same container and rinse the film with some clean water of 20ºC – this stops the chemicals getting mixed together so that you can re-use them several times.

Next add the stop mixture – we did 10 seconds stop time whilst agitating the tank – and again rinse with water. Then add the fix (ours took 5 minutes).

Once you have finished with the chemicals DO NOT pour them down the sink. The fixer, especially, is toxic to aquatic life and must be disposed of properly. Wear gloves at all times as the chemicals are irritating to the skin and smell bad.

9. Dry your negatives

Once you have developed and washed your film you can now hang the negatives to dry. Negatives are extremely delicate after they have been processed so be careful not to scratch them. We made a makeshift drying rack from a hanger, some pegs and a warm boiler room.

10. Scan your negatives

As soon as the negatives are dry you can either scan them like we did, or if you have a darkroom you can print your pinhole images the old fashioned way! We didn’t have the latter so decided to digitise our results. We made a final few edits to the end result like cleaning up the dust marks and boosting the contrast.

You can also photograph your film using a DSLR or mirrorless camera.

End pinhole camera result

Common Pinhole camera problems

• Foggy film. If you have any light leaks in your camera or when loading your film or in your camera your film will look foggy and not crisp.
• The negative is dark. This image has had too much light so it is over exposed. You’ll find when you scan it the dark areas will become light and therefore too light! Reduce your exposure time.
• The negative is light. This means the image is underexposed. You’ll need to increase the exposure time.
• No image! This could be down to a number of things. First check is your pinhole clear of any obstacles and the light is definitely getting through. It could also mean you need a much longer exposure time.

Top pinhole camera tips

• Have patience! This is a trial and error technique and it’s unlikely that you will get it right on the first attempt.
• It can be a challenge to completely black out a room in your home. We made the room as dark as we could and then got a thick black pillow case and put our film and camera inside the bag to do the loading. Before we did this we had a couple of foggy films due to light leaks in the not-so-dark dark room.
• Black Gorilla tape is made for pinhole photography! We had a roll of it to hand and it’s great for securing film in place and for light proofing your camera.
• When loading film into your camera or a developing tank in the dark it can be tricky. Have a practice run first with the lights on so you know exactly what you’re doing.
• When taking long exposures you want to keep your camera as still as possible. If your camera is not weighted don’t shoot with it outside on a windy day!

See more film photography guidance and inspiration here.

Further reading:

• Guinness confirms ‘largest pinhole camera’ world record
• Thingyfy Pinhole Pro review
• The world’s most advanced Pinhole lens: Kickstarter launches

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35mm film photography has been around since the early 1900s and doesn’t need to be complicated. It can be as simple as using a disposable point and shoot camera, or as complicated as using a manual focus SLR with manual settings and a light-meter. Whichever option you go for, this guide to film photography will help get you started, so you can enjoy creative photography.

The slower and more thoughtful pace of analogue photography is a magical experience. Lacking the “digital” feel of modern cameras, some film cameras of the past exude “feel”; you could even say soul…

We have several articles that take readers from the beginnings of photography through to a broader appreciation of the craft. These introduce different shooting skills and styles that will see you grow as a photographer and enjoy producing amazing photography (and video). From there you will have the scope and knowledge to go your own way: be it to master the art form, try to make money from it, or specialise in a certain genre.

Have fun exploring these guides and creating great images as you do. If you find our articles helpful, don’t forget to share them with people you know who may be interested in learning new photography skills. There is a list of others at the foot of this article.

In this introduction to analogue film photography for beginners, we cover all you need to know to get started, and explain some of the jargon involved with film photography…

How does film photography work?

Film is a strip of plastic (or similar material) that is coated with light-sensitive emulsion and when this is exposed to light, there is a chemical reaction that records the image in the emulsion on the film. As long as this isn’t exposed to light again, it remains stable, and can then be developed (processed) and printed or scanned to show you the photo you’ve taken. It’s a bit like magic, but it’s actually been refined over 100+ years by people like Kodak, Fujifilm, Ilford and others.

Analog vs Digital photography

Digital photography makes taking photographs easy, with little concern for cost per photo. In fact, once you have a camera and memory card, photos cost you nothing. You could take thousands upon thousands – and then be left with the arduous task of going through them to find the best ones.

Film photography changes this, because you have a limited number of shots (24 or 36), and each one costs money; both for the film cost, and then the development of those photos. With all this in mind, you’re forced to slow down, and make each shot count. It sharpens one’s own focus to try to optimise each and every shot, or capture a special moment in front of you – moments you want to remember.

Why shoot film photographs?

Shooting with film is a slower process, with more time to think; especially if you’re using a manual camera, and remember how much film and film processing costs. However, shooting with a point and shoot is a fun experience as you capture memorable moments that mean something, without having to worry about expensive camera kit.

If you’re looking for a fresh challenge, and want to learn how photography was done before digital cameras, it is a useful experience. There are also excitement and suspense as you wait to see how your photos will turn out.

Getting started in film photography, you’ll need:

• A film camera
• Film
• Batteries (if the camera uses them)
• Once you’ve finished shooting, you’ll need to develop the film roll

The simplest way to start is with 35mm film. It’s the most widely available, and the most easily developed, processed and printed. It’s also the most cost effective, with cheap films available from around £5 / $5, as well as a wide range of 35mm film cameras from simple point and shoots, to more advanced options, from as little as £10-15 / $10 (used).

1. Finding a film camera

You’ll find film cameras in almost every charity shop you go past, sometimes with a neat carry case and additional lenses. There are also a wide range of places you can find them online, but before you start, here’s a quick look at some of the most popular choices to get you started.

New film cameras:

There are a small number of new film cameras available, and most of these are budget or “toy” cameras, where quality is not of paramount importance. They can be a good option if you just want a point and shoot camera, and don’t want a disposable camera, but most offer only one shutter speed, and a slow lens, and there are better second-hand options for less money (see below).

• Reto Ultra Wide and Slim (£35)
• Lomography Simple Use Film Camera (£35)
• Ilford Sprime 35-II (£39)

However, one of the cheapest and easiest ways to get a taste for film photography, is to look at a cheap disposable camera, often these can be cheaper than buying some film, and if you just want to dip your toes in, then have a look at our guide to the best disposable film cameras.

Used film cameras:

For a high-quality 35mm film camera, you’ll need to look at second-hand and used options. With this there are several things to be aware of. The older the camera, the more likely it is to not work properly, or there may be light leaks, as seals degrade over time.

You’ll also need to decide if you’re going to go for a compact camera, a manual SLR camera, with manual focus and controls, or a more modern SLR with auto focus and controls.

Compact 35mm cameras:

You can go for a compact 35mm film camera, and there are plenty of point and shoot options, with either a fixed lens, or a zoom lens. Look for models with a large optical viewfinder, and built-in flash, as well as autofocus and you’ll most likely find a camera that’s easy to use. Zoom cameras tend to offer slower operation, and the lenses aren’t as bright as fixed focal length cameras.

For more 35mm film compact cameras have a look at our guide to the best compact film cameras.

Fixed focal length film cameras:

You can go for a classic film camera with a metal body, such as the Olympus 35 RC, shown above, or look for a budget point and shoot, such as the Pentax PC-550 (around £20+). Some models carry a premium due to the small size, and bright lens on offer, as is the case with the Olympus MJU II, with f/2.8 lens. As with any old camera, check everything is working as expected, and none of the fragile plastics are broken.

• Pentax PC-550 – around $85 / £30
• Olympus XA2 – around $65 / £65
• Olympus MJU-I – around $250 / £200
• Olympus MJU-II – around $300 / £300
• Olympus 35 RC – around $125 / £140

For more fixed lens film camera options, have a look at the best fixed lens 35mm film cameras.

35mm half-frame cameras

Another alternative is the half-frame camera of yesteryear: where half-frame equates to half the cost, as the film outputs twice as many pictures in this format. Read our excellent guide to our favourites that contains some fascinating insights into their history.

Manual SLR cameras:

Manual SLRs have the advantage of being more compact than autofocus SLRs, and often use minimal battery power (some are even battery free), meaning you can go weeks or months without worrying about the battery running out.

They also offer great value for money, and solid metal build quality, but due to the age of these cameras, it’s a good idea to check if the built-in light meters still work, and whether they’ve been serviced.

Classic manual SLR options:

• Pentax K1000 – from £90
• Olympus OM-1 – from £70
• Nikon FM – from £75

These are some of our favourites, but you’ll find more options in our guide to manual SLR cameras.

Automatic SLR cameras:

Automatic cameras such as the Canon EOS 100 still give you manual controls if you want them, as well as the option to use manual focus, but the nice thing is that you can use them in a fully automatic mode making them easier to use for beginners, whilst still giving the high-quality images you’d expect from an SLR. Another nice feature is that they remain extremely good value-for-money, being less popular than manual SLRs.

Here are some great options for autofocus SLRs:

• Canon EOS 100 – from £15
• Minolta Dynax 7000 – from £25
• Minolta Dynax 7000i – from £20
• Nikon D90 – from £50

As with digital SLRs and mirrorless cameras, film SLR cameras let you change the lens you use, and it’s important to make sure you know what lens mount the camera has when looking for a new lens. There are lots of options available, often very affordable.

These are just some of the different types of 35mm film cameras, and there are a wider variety of options including panoramic, and stereo cameras – see our guide to 35mm film cameras.

Film cameras to avoid:

Unless you’re a glutton for punishment, then APS and 110 film cameras are best avoided, as you’re likely to find it very difficult to find film, and processing services, for these.

If you do want to give 110 film a go, then Analogue Wonderland and Lomography still sell new film, and there are a still some companies that process 110 film. You’re extremely unlikely to be able to find any APS film new or in stock, although you can still get it processed. Because of this, you’ll often spot “bargain” priced APS and 110 film cameras, but unless you’re dedicated, we wouldn’t recommend it!

It’s worth pointing out that 110 film and APS film are much smaller than 35mm film and were never known to give particularly good results.

Where to buy?

You’ll find a wide variety of online retailers that sell new and second-hand film cameras, but it can also be worth checking out local stores to see if they have any in stock, as seeing them in person can give you a better idea of the size and condition of the items.

Once you do have a film camera, make sure you learn how to look after it in our guide on how to maintain your film camera, or if you already have an old camera that needs repairing, have a look at our guide to repairing cameras.

2. Buying 35mm film…

Film photography is continuing to grow in popularity, with Ilford, Kodak, and Fujifilm remaining the big players in terms of film production. In fact, Ilford are continuing to grow thanks to film sales.

Types of 35mm film… (also known as 135 film)

To keep things simple, we’ll keep this brief, and say that the main types of 35mm film camera are colour and black and white negative film. Each photo is 35mm wide, hence the name. This is also why a full-frame digital camera is called a “full-frame” camera, because the sensor matches the 35mm wide film in size.

With 35mm film you get the choice of whether you want 24 exposures (shots) or 36 exposures (shots), with the 36 exposure film being more expensive than 24.

You also need to pay attention to the ISO speed on offer – if you’re shooting in bright sunny conditions, then ISO100 is a good choice, but if you plan on shooting in low-light or want to use flash then ISO400 or higher would be a good choice.

Nb. Most common films are “negative” film (producing a negative image of the scene), but be aware that some film is known as “positive” or “slide” film, and these will need more professional film processing.

What is ISO / ASA in film photography?

ISO, previously known as ASA, is quite simply, the sensitivity of the film. ISO400 is more sensitive to light than ISO100, and will therefore need a shorter exposure for the same scene. You can get film with an ISO rating up to ISO800 or even ISO3200, but as is the case with digital cameras, the higher the ISO speed, the larger the grain on the film, and the more noise/grain will be visible in the image, and the “rougher” the image will look. If you’re shooting film at night, then a high ISO speed film is essential.

What is “Process” or C-41?

Most colour film is processed using the C-41 process, and this is what the majority of film processing labs support. It’s the chemical process used to develop the film, and turn it into processed negatives.

You’ll find some black and white film also uses C-41 process, and this makes it cheaper and easier to find places that will process black and white film. A common black and white film that uses the C-41 process is Ilford XP2. If you’re planning on developing your own black and white film, then traditional black and white film is what you want.

More on shooting black and white film: Why we still shoot black and white film.

3. Developing your film – do you want prints or digital scans?

If you live in a city, it’s likely there will be a camera shop that will develop photos for you, taking the film and processing it so you have negatives. From these negatives, it used to be the norm that you would get your photos back as 6x4inch or 7x5inch photos, with a choice of Matt or Gloss. Now you also get the choice of whether to have digital copies of these (often as JPEG images), which they will be able to provide on CD or as a digital download link, emailed directly to you.

You don’t even need to get prints these days, but we still think there’s something nice about getting all your photos back as printed photos, including the smell.

If you want to take more control over your scans, you can use professional film developing services which will allow you to give additional instructions regarding how you want the photos to be dealt with – find more on this here: Dan Rubin: film photography and scanning tips.

Do you want to scan your own negatives?

You could even scan your own negatives once they’ve been processed, and there are a variety of ways to do this:

• Using a dedicated film scanner, however premium film scanners are often hard to find, with better ones being very expensive, and new budget models lacking quality.
• Using a smartphone and adapter, such as the Lomography Smartphone Scanner, this is a quick and easy method, and gives good enough results for sharing on social media etc.
• Using a Mirrorless camera or DSLR to take photographs of the film – this method is relatively easy with the right kit, such as a light box, a camera, and a macro lens, and should give the best quality possible.

If you need more convincing on the magic of film photography, and want to know how it works in more detail, have a look at this great video from SmarterEveryDay:

Taking it to the next level – Advanced film photography:

For more advanced film photographers, you can look into processing your own film in our Essential Guide to Film Processing, and even printing your own photos in a darkroom in our Essential Guide to Darkroom Printing.

Article and lead image: Joshua Waller

More on film photography: 

• An introduction to medium format film photography
• How to do film photography on a budget

• Beginners guide to different camera types.
• Beginners guide to different lens types.
• Beginners guide to using a camera taking photos.
• Beginners guide to Exposure, aperture, shutter, ISO, and metering.
• Understanding white balance settings and colour
• 10 essential cameras accessories for beginners
• Beginners guide to the Art of photography and composition
• Beginners guide to Photoshop Elements and editing photos
• Beginners guide to Portrait Photography
• Beginners guide to Macro Photography
• Beginners guide to Street Photography
• Beginners guide to Landscape Photography
• How to shoot Action and Sports Photography
• How to shoot wildlife photography
• Raw vs JPEG – Pros and cons
• How to create stunning black and white images
• How to photograph events and music
• Pet photography – how to photograph pets
• The ultimate guide to flash photography
• The ultimate guide to tripods
• Create awesome photos with light painting
• Beginners guide to file and photo management
• How to shoot food photography
• Complete guide to outdoor light
• Top tips for stunning car photography
• How to master waterfall photography
• How to use social media as a photographer

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The post How to get started in film photography – a beginners guide appeared first on Amateur Photographer.

Whether you’ve bought a film camera online, or found one in a box in the garage, there are some basic steps you can take to ensure it’s in working order and ready to be loaded up with film.

There are loads of different types of film cameras out there. For simplicity, I’ve kept this guide mostly focused on 35mm manually-winding SLRs; the kind that were popular in the 1970s. But plenty of the points here apply to other types of film cameras, too.

Read the manual

It’s not exciting, but the first and best thing you can do with a new film camera is find its instruction manual. This will save much time in understanding how the camera is supposed to work where things are not so obvious.

Generally, film camera instruction manuals are widely available online. Google the name of your camera and ‘manual’ and you’ll probably find someone has scanned and uploaded the original manual.

A resource I frequently use is butkus.org. Don’t be put off by first impressions of the homepage; this website is a godsend. There are more than 6,500 film camera manuals scanned and transcribed there.

Wind and shoot

It may sound obvious, but the most frequent actions you’ll perform are those to check first and foremost  – wind the film advance mechanism and fire the shutter. Don’t worry about loading the camera with film – at this stage, you simply want to ascertain that the mechanics are working.

[Note that this kind of basic check can only be performed on cameras with a manual film advance system. More recent SLRs and point-and-shoots that use an electronic advance mechanism generally won’t advance and fire unless film is detected in the chamber. The good news here though is that these cameras will generally have an LCD readout that can detect whether film is loaded, how many frames have been fired, etc. This can give an idea of whether the camera is working.]

If the system is in good working order, the fire/advance action should be consistent; meaning it feels the same every time. On an SLR camera with a film advance lever, you should only have to wind it once to be able to fire the shutter; on a point-and-shoot with a film-advance dial, it’ll take two or three winds.

Open up the back of the camera and repeat the process – wind and fire. You should see the take-up spool and film sprockets advance smoothly when you wind, and see the shutter blades or curtains open and close rapidly when you shoot.

Check for viewfinder blackout

Take a few shots while looking through the viewfinder, as this will tell you if the camera suffers from a common issue that affects old SLRs – viewfinder blackout. This fault develops in the shutter mechanism, causing the mirror to lock in the ‘up’ position.

If you fire a few frames and then suddenly find the viewfinder goes completely black, it means there’s a problem. I often find it takes a few frames to become apparent – generally just when I’m satisfied the camera works, and have loaded it with something expensive!

The good news is that in well-made SLRs, this can be easily fixed –  it is often due to some grime or obstruction in the metal gears. If you’re not confident opening up the camera to fix it yourself – and since you’re reading this, I’m guessing you aren’t – then it’s better to get the camera serviced professionally.

This is one of many reasons why it’s best to buy second-hand from reputable dealers. The first SLR I ever bought turned out to have a fault where the lever would need to be advanced two to three times before the shutter would fire, resulting in multiple skipped frames. I lacked the experience to know this was a problem (go ahead, laugh at me all you like. The guy at the dev lab certainly did).

Fortunately, I had bought the camera from Camera World, and their six-month warranty on used gear meant I got it repaired for free. You don’t get that on eBay.

Check the dials

Film SLRs will commonly have several dials on the top plate that control exposure settings. Turn them through every setting to make sure they can move smoothly through the entire range. It’s quite common to see dials that control two functions in one – for example, on the Pentax Spotmatic F, you set the ASA (ISO) by lifting and twisting the dial that controls shutter speed.

Check a dial turns in every way it’s supposed to. Also, some camera dials have a lock button to keep them in place – check that this isn’t engaged before trying to turn it.

Generally, you won’t know if the dials function as they should until you test the metering (which we’ll get to in a moment), but there’s one dial you can check manually, and that’s shutter speed. Set it to 1/1000sec and fire a few frames – you should get a consistent sound every time.

Try it at something slow like 1/8sec, and it should be noticeably different. If there’s a 1sec option, try it out and see whether you’re getting exposures roughly the length of a ‘one-thousand’ count. Is there a bulb mode that lets you leave the shutter open for extended periods? If so, try it!

Examine the lens

Testing lenses is a whole article unto itself, but here’s a quick run-down of things to look for.

First, you can inspect the lens on its own:

• Check the front element for scratches and smears. A little scuffing here and there isn’t the end of the world, but too much will compromise image quality.
• Inspect the lens for any signs of fungus. Hold it up to the light and see if you spot anything that shouldn’t be there. Does it look hazy? If so, the lens may be fogged, and won’t produce clear images.
• See if the focus ring turns smoothly, and the zoom ring if there is one.
• Turn the aperture ring through the range, making sure it doesn’t stick. Look at the front of the lens as you do so – you should be able to see the diaphragm change in size, being very small at f/22, and very large at the lens’s maximum aperture.
• Next, mount the lens to the camera (this should be smooth and easy to do).

Now there are a few more things you can check:

• Your camera may have an aperture preview button – if so, press it with the lens attached and see if you can see the aperture close down.
• Try out the focusing action. With the viewfinder pressed to your eye, you should be able to turn the focusing ring until the image you can see is tack-sharp and perfectly clear.
• If there are focusing aids like a focus distance scale, you can check these are working by attempting to focus on an object a set distance away (use a tape measure).

Replace and check the batteries

Film cameras will generally have an electronic metering system that runs off battery power, and any old film camera you buy will likely contain either no batteries or dead ones. Open the battery cover (for British readers, a pound coin often works) as soon as you get the camera. If there are old batteries in there, take them out straight away. Old batteries can leak and cause serious damage.

Check the battery compartment and contacts for corrosion. This will often take the form of green or white deposits. You can try and wipe these away with a damp cloth, or scrape them away with a screwdriver. Be gentle.

You’ll need new batteries. The types used in film cameras are less commonly used these days, but you should be able to find them online. Double-check which type your camera takes before buying anything (believe me, there is a lot of variance). Insert them in the correct orientation – refer to the manual – and check they’re working. The most common way to do this is half-depress the shutter button and see if the metering system kicks in.

Test the light meter

Different film cameras have all kinds of different metering systems. Some use coloured LED bulbs, some use an in-viewfinder needle, more recent ones will have P, S and Av modes that do it all automatically. Whatever the case, it’s important to check it’s working.

The best way to do this is to have something else to compare the camera’s reading to. A digital camera, if you have one, is a great choice. Point both the digital and the film cameras at the same spot on a wall, and see if they recommend the same settings. If you don’t have a digital camera, a handheld light meter will work great; alternatively, a smartphone light meter app is better than nothing.

In my experience, if any part of a film camera is going to fail, it will likely be the light meter. Thankfully, this component isn’t absolutely essential, as you can get by with a handheld meter.

Check the light seals

This is an easy one. Open up the back of the camera and check that the seals around the edges of the door are all in good condition. Improper storage or just old age can cause them to decay, disintegrate or come loose, meaning your camera is no longer light-tight. Happily, this is one of the easiest fixes out there, and any camera specialist worth their salt will help for a reasonable price.

Finally… run a roll of film through it

Check all the moving parts as you like, but ultimately there’s only one way to be one hundred per cent sure a film camera works – run a roll of film through it. Be sensible about this, and don’t put a fresh roll of expensive Kodak Ektar or Cinestill 800T into a camera you haven’t tested.

Black and white film is cheapest, and I keep a stock of the most basic, affordable monochrome films at home for precisely this purpose. A roll of Kentmere 400 will set you back around £5 / $5 or less, and a roll of the perennially popular Ilford HP5 Plus not much more than that. See our guide on how to do film photography on a budget for more suggestions.

Get it new, and from somewhere reputable like Analogue Wonderland, or B&H Photo Video if you’re in the US, rather than from a random eBay seller. This is important because it eliminates a variable in your testing – if the shots don’t come out right, you’ll know it’s due to the camera, and not because the film was improperly stored or transported.

If your roll comes back and the images are clear, sharp and correctly exposed, then congratulations – you’ve got yourself a working film camera.

Further reading:

How to maintain your film camera
Different film camera types
How to check a lens for faults

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The developer can be any standard paper developer, and might come as a powder or a liquid concentrate mixed to the correct strength before use. Many manufacturers offer darkroom paper, but the brand I recommend you buy first is Ilford Multigrade RC (resin-coated) paper, with either a glossy or pearl surface.

The hardware for printing is easy to acquire. Second-hand darkroom gear is ridiculously cheap and sometimes even available for free. Ask at your local camera club if anyone has any old equipment looking for a home. Remember that you will need plastic trays for the chemicals, and flasks/measuring jugs to mix up solutions. You will also need a set of Multigrade filters for altering contrast, which are easily found online.

Guide to Darkroom Printing: Equipment Needed

• Enlarger (with 50mm lens if printing 35mm film)
• Red/orange safe light
• 3 trays
• Masking frame
• 2x plastic tongs/tweezers
• Multigrade filters (8.9cm size)
• Multigrade paper (RC type)
• Multigrade paper developer, stop bath and fix (check dilutions before use)
• Plastic bottles to store mixed-up chemicals
• Optional: electronic timer, focus finder

Making a Print: Getting Started

Once you have the equipment and are satisfied that the wiring is safe, set up an area with the enlarger and enough space for three 10 x 8in trays (roughly 1 metre x 40cm). The developer should be nearest to the enlarger, then the stop bath and then the fix. Beyond that, you could have a big bucket of water to wash your prints in after the printing session.

Before opening your box of paper, remember that it will be ruined by any stray light, being very sensitive to it. You can work with an orange or red light, but I suggest turning this on only after you have ascertained that the room is totally dark. If you leave your printing until the evening, you may be able to cover the windows and cracks of light with a couple of layers of black bin-liner plastic, stuck up with masking tape.

If you can still see across the room with the lights turned off, then it is still too light. Small amounts of stray light make a difference over time. Cover any from digital clocks, LEDs and other electrical equipment, and keep your phone in your pocket.

You will need a power supply for your enlarger and safe light, although a battery-powered red bicycle light can be used at a pinch, so long as it is well away from the paper. Make sure the surface for the enlarger and trays is firm and steady. It’s no use balancing everything on boxes. A wobbly enlarger will give you blurry prints and you don’t want spillages in the dark.

I hope you give it a go, as having actual prints that you created yourself from your own negatives is very rewarding.

Step by Step Guide to Darkroom Printing

1. Using the enlarger

Once the chemicals have been measured out, place the negative in the enlarger carrier with the shiny side upwards and the numbers away from you. Set the enlarger at the correct height to give a projected image big enough for the chosen print size. Each time you alter the height, refocus the image.

2. Positioning

Turn on the enlarger and alter the aperture ring of the lens until the brightest image is projected onto the baseboard. Focus the image on the masking frame. Turn the lens’s aperture ring until you feel two clicks and see a slight darkening of the projected image. This should be two stops darker than the lens’s maximum aperture.

3. Check sharpness

Check for critical sharpness by using a focus finder if you have one; but remember to set it for your own eyesight first. Turn off the enlarger until ready for exposure. Now remove a sheet of paper and cut it up to use as test strips. You should be able to get roughly ten 10 x 5cm pieces from a 10 x 8in sheet.

4. Make a test strip

Place a Grade 2 filter into the enlarger, then place one of your cut pieces of paper on the masking frame. Expose for 5secs. Cover a 1cm strip of the paper with card and expose for another 5 secs. Repeat until the last strip of paper has been exposed. Ensure that you do not move the test paper as you move the card.

5. Developing the image

Place the exposed paper into the tray of developer and gently rock the solution back and forth, trying to get all the paper submerged at the same time. Timing is important – 1min for RC paper; but this will need longer in cold conditions. Avoid poking the paper with tongs as this can leave marks on the image.

6. Stop and fix

Remove the paper from the developer after the allotted time and drain briefly. Slide the paper into the stop bath and gently rock the stop bath tray for 10secs. It’s called a “stop” because in this tray the image “stops” developing, literally. Remove, drain and slide it into a tray of fixer – to “fix” the image – gently rocking again (10secs for test strips, 1-2mins for finished prints).

7. Review

Remove the test from the fix and view by white light (make sure your box of unexposed paper is closed). Counting from the lightest end of the test in fives, look for the first exposure that looks correct, and this will be your exposure time for the full print. This method will produce good ‘beginner’ prints.

8. Adjusting contrast

If the print is too high in contrast, replace the Grade 2 filter with a Grade 1 and re-test. If the improvement is only slight, move down to Grade 0 and re-test. However, if the print is grey and flat, replace the Grade 2 filter with a Grade 3 and re-test. If the improvement is only slight, move up another grade to 4 and re-test.

9. Final print

When the correct exposure and contrast grade have been established, place a sheet in the masking frame and expose. Develop and stop as you did for the test, fix for 1min and wash for 5-10mins. Don’t leave prints in water for more than 30mins. Hang the fully washed print up to dry or lay it out on blotting paper.

Guide to Darkroom Printing: Things to Watch Out For

• Be careful how you rock the trays. It’s easy to spill chemicals over the edge, so put plenty of newspaper under the trays in case of splashes.
• Drain off the excess from tests and prints before placing them in the next tray. This prolongs chemical life and reduces waste.
• Use one set of tongs to lift paper out of the developer and another set of tongs for stop and fix. Do not allow tongs to get mixed up, as fix will get into the developer and reduce its effectiveness.
• Always wrap up the paper and put the lid on after taking out what you need.
• Wash your hands each time you get any chemicals on them and don’t handle paper with fix on your fingers.

Guide to Darkroom Printing: Troubleshooting

Having problems? Here are some common issues you may encounter and what causes them:

• Photo paper black after development: Paper has been totally exposed to light
• Photo paper has black edge after development: Paper is partially fogged, so the packet was probably left open
• Paper is white after development: Paper unexposed
• Paper is pink: Print not fixed
• Print turns brown over time: Fix not washed off
• White specks on final print: Dust and dirt on the negative
• White fingerprint marks on finished print: You had fix on your fingers when you handled the paper

Andrew Sanderson is a highly respected photographer, printer and teacher working exclusively with analogue methods and materials. He runs workshops on many techniques. www.andrewsanderson.com

Further reading:

How to check if a film camera works
More on darkroom printing options
Master darkroom toning – dodge and burn

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Medical Attention

A week later after returning home, I got some batteries and low and behold the DP12 meter sprang into action. A week later it stopped, just before I purchased a lens – my heart sank. I realised it was time for some professional opinions if I was to get this working.

The report was not so good – the meter was badly corroded and an estimated repair bill to fix and service the camera was going to exceed the value of the camera. I sold it on eBay for spares and repairs. A few weeks later I was once again the owner of a Nikon F2AS, this one from 1980. I needed to take this journey. 

Extensive research followed and got myself a Nikon 50mm f/1.8 lens. You might be wondering why I didn’t buy a f/1.4 or wider – it was a review I stumbled across of Ken Rockwell. I soon had my hands on a f/1.8 pancake lens. It was shorter, lighter, had closer focusing, was very sharp and affordable. This meagre setup was all I needed to get me back in the saddle but let me start by explaining. Despite this camera having such a compelling form factor, it was going to take a lot to convince me to return to 35mm film. 

Read our expert advice on how to check if a fim camera works and our list to the best vintage lenses to get the retro look.

A Tentative Return

In 2005 I left the world of 35mm film for a Canon 5D. I firmly stuck two fingers up at my 35mm film gear, my Nikon scanner and rode into the local sunset. I shaped my photography, and my passion exploded. Goodbye Velvia 50 and grad nonsense. Goodbye to dodgy scans, colour casts and grain. Yet here I am again!

When I was in Aperture just off Oxford Street, London, I asked a member of their staff why film was so expense. ‘I liken it to a receding drinking pool in the Serengeti’, was the response. Too many animals and not enough rain fall. I realised 35mm black and white is the cheaper solution in these expensive times, so I bought some 35mm Kentmere 400 just to test everything out. Pictures were sharp, the DP12 meter was accurate but I can now conclude this film is not a favourite. 

NIkon F2AS – Field Test

My wife Rachel and I went on holiday in my campervan that summer. I left all the digital gear at home, just taking the Nikon and the extra rolls I had purchased. The results from across the UK were ok, but the Kentmere looked rather flat with a rather busy grain pattern. 

I enjoyed the immediacy of the camera, the use and bright viewfinder, the straightforward controls and above all how cool it looked. It really makes you want to take photos. I am lucky enough to own a Nikon LS9000 scanner that I bought after I purchased a large format camera in 2015, so I dug out the film holder and made some scans (around 5600×3700 pixels) but here I was again, shooting scenes that would have excelled with at least medium format. It was my subjects and my expectations that were wrong, not the camera, lens or film.

Street Photography and Portraits

A few years later and we are now at one. The Nikon really excels at portraiture and street photography. I realised this more by accident, thrusting the lens in the faces of my friends and family who could do little to back away. The AIS 50mm f/1.8 is such a stellar lens, with charming bokeh.

I also changed films. I now use Ilford XP2 400 exclusively which I overexpose by one to two stops. It reminds me of a rich, creamy pint of Guinness, with soft tones and deep blacks. It can also be processed in colour chemicals, which means it is far easier to get processed. 

I have since bought the AIS 28mm f2.8 which caters for my wide-angle needs. I remember how boring this used to feel twenty years ago, but now it’s perhaps too wide. I think I could do with a 35mm, just like the one I adapted to my Canon fifteen years ago and then sold. Oh, the irony!

Read the best analogue street photography tips, and street-shooting secrets from three film photographers.

Why it works

This charming picture of my wife was shot in London using the AIS 50mm f/1.8 and my favourite film, XP2. Being extremely fashionable and a smiley person, she has a tendency to ‘grin’ so I asked her to relax and look into the lens, critically focusing with precision. I shot the image at f/2.8, to ensure I had both eyes in focus. What I love about the shot is the easiness, the subtle visual roll off to the face towards the earrings and then how the neckline gives the image a wonderful 3D feel. Ok, you could do the same with any digital camera and 50mm f/1.8 lens, but it’s the render, the feel and the astonishing detail that confirmed my bond with the camera even more. I feel it can capture a person’s soul. Exactly why is hard to clarify, but literally all portraits I have taken contain something special.

Kit List

Nikon AIS 50mm f1.8 Lens 

Get the Japanese model, the serial number starting with 2xxxxx and 1.5’/0.45 metre close focus distance on the focus ring. The ones starting with 4xxxxxx are American, the E Series model is Japanese but not as well made (apparently) and neither focus as close (2ft).

Accessories

I have bought two polarisers, both 58mm which fits both the 28mm and 50mm optics, which is convenient. I also bought a green 80’s Nikon bag in a charity shop and a rope style camera strap from Amazon for £10. It all looks really cool. 

Focusing Screens

For me this very important. I can’t stand looking through a filthy focusing screen and I was grateful to receive a clean example as a gift from London Nikon User’s Michael Eleftheriades. I have tried to manually clean a few spares with limited success.

Diopter Adjustment

Unlike digital cameras, you need to screw a specific diopter for your eye strength. I bought a 1.5x diopter from Mr Cad, but it’s not strong enough. When working with manual focus this is a critical addition.

Related reading:

• Can analogue photography be eco-friendly?
• Film photography ‘renaissance’ triggers RPS analogue group launch
• Best 35mm Half-Frame Film Cameras

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Why high-speed film is essential for night film photography

Aside from the night photography, there are other instances when a higher film speed may be essential. Concerts and stage performances in particular benefit from faster shutter speeds to freeze the action, while interior shots lit by available room lighting may require a higher-speed film to capture detail. Traditionally this is achieved by uprating films such as Ilford HP5 Plus or Kodak Tri-X from ISO 400 to 1600 or more, by underexposing and increasing development times to compensate. This is otherwise known as ‘push’ processing.

With thoughts about future projects, it was a good time to make some tests to explore and compare the differences between these two methods of working, whether to uprate or use a high-speed film. I set out for a night walk on the South Bank in London with two types of film (HP5 Plus and Delta 3200); two formats (35mm and 120); and for some of the tests, a tripod.

What ISO do I need for night film photography?

There is always going to be a compromise when film is uprated. With digital, the sensitivity of the camera sensor increases accordingly as the ISO is raised. But for film, there is no possibility to change its sensitivity – the only option is to lengthen development of the latent image, which provides more density and contrast as well as increasing grain.

Changing the ISO from 400 to 1600 or beyond does not make the emulsion more receptive to light; on the contrary, we underexpose the film on purpose, which can reduce shadow detail. This sounds like an anomaly, but it is done to give a stop or more exposure to enable a smaller aperture and more depth of field or a faster shutter speed so the camera can be used handheld.

Processing film

It is important to process correctly when uprating film. General-purpose developers such as Ilford ID-11 and Kodak D-76 can give good results, certainly up to two stops, but I decided on Ilford Microphen for the majority of my tests. Other suitable developers include Kodak T-Max, Rollei High Speed and Acufine, which was a particular favourite with theatre photographers for decades, though is not currently available in the UK.

Microphen is formulated to raise film speed while effectively minimising the increase in grain, at least in theory; however, in practice as I would be pushing HP5 Plus three or four stops, increased grain was certainly likely. An ideal subject for push processing would be a scene with relatively low contrast and a limited tonal range. Extended development will increase the negatives’ highlights at a far greater rate than the midtones and shadows so the nearer these tones are to each other, the smoother the tonal range will be when uprated.

However, the situations when we need a higher speed are often the opposite: night scenes with bright highlights and deep shadows or concerts with spotlit performers on a black stage. This can be an advantage of using a film such as Delta 3200 or Kodak T-Max P3200 (which is back in production), because the negatives usually have a softer contrast than a pushed film, making them easier to print or scan. Indeed the true speed of Delta 3200 is closer to 1600, meaning it can be advantageous to process accordingly, giving a smoother tonality.

However, while the contrast is lower, the grain is often more apparent than pushed film, so ultimately the choice will depend on photographer preference. For myself, it was good to test the different possibilities and to have so many options for future work.

Comparing negatives

Examining and comparing negatives of Delta 3200 and HP5 Plus (both rated at 1600), it is easy to see the differences between the two films. With the Delta 3200, the range of tones between the strongest highlight and deepest shadow is far more gradual than in the HP5 Plus where the jump is quite apparent. In most cases, this difference in contrast can be compensated for when printing the negative by choice of paper grade or adjusting Levels or Curves in Photoshop. Delta 3200 will definitely give more grain, but that is part of its character.

Having printed both, I prefer the Delta 3200, though the HP5 Plus negatives produced an excellent print on a higher grade with selective burning and a post flash adding a slight bit of tone into the highlights.

Mike’s top tips for night film photography

Meter carefully

Make sure your meter readings are balanced between the highlights and the shadows. In low light there will often be a lack of midtones to meter, so it’s best to try to find a midpoint between the two. Avoid metering only the highlights unless what is required is a low-key image.

Print flashing

In extreme instances, when the negative highlights are blown out and difficult to burn in, print flashing may help to bring in detail. Just a fractional exposure to light before or after printing can help to control the print’s highlights. Digitally, this technique is replicated by tweaking the highlights in Curves.

For more extreme pushing

Print developer is useful if coarser grain and high contrast is required or if a film has been so underexposed that conventional developers will not produce usable negatives. Clip testing is advised. As a starting point for HP5 Plus at ISO 1600, 10 minutes in PQ Universal 1+9 works well.

When less grain is needed

For smoother results, pushing T-Grain films such as Kodak T-Max 400 should produce less grain than traditional emulsions. T-Max developer is recommended for this film (or Ilford DD-X for less contrast), combined with a gentle agitation pattern. Experiment with agitation to control film granularity.

Development times

If there are development times published by the film’s manufacturer for the developer used, it is always best to start with these. It may then be necessary to adjust times to the photographer’s preferences. If no times are available, try adding 30% per stop to standard development times.

Stage photography

I used to photograph a lot of bands and nearly always shot on HP5 Plus (and its predecessor HP5) or Tri-X, processing in either Ilford Microphen or Acufine. However, this shot of Ted Milton of Blurt was on Delta 3200, cropping slightly to make him more central. I had previously been out photographing in the evening so had some Delta left in my camera, and while I don’t mind the grain, given the choice I would probably have shot the concert on HP5 Plus at 1600. I think the extra contrast would have helped, and for once I would have preferred a bit less grain.

Mike Crawford

Mike is a London-based photographer and specialist printer working primarily in urban landscape and portraiture. His work has been exhibited widely in the UK and abroad. For over 20 years he has run Lighthouse Darkroom, one of the UK’s premier photographic labs. See www.mike-crawford.co.uk.

Featured image: Ilford Delta 3200 can capture an excellent tonal range at night; it has a naturally grainy emulsion. With it, highlights don’t usually overdevelop compared to push processing a slower film. I also like how the highlights glow, similar to older emulsions without an anti-halation backing. Ilford Delta 3200 (rated at ISO 1600), developed in Ilford Microphen, 9.30min. Mamiya 6, 75mm, 1 sec at f/8. Mike Crawford

Further reading

• The night sky: How to photograph stars and the Milky Way
• How to photograph the moon
• How to photograph fireworks
• Best 35mm film cameras
• Best cameras for low-light photography and video

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Creating I Am Martin Parr

‘I did make the film with the idea that if you didn’t know who Martin Parr was, you knew nothing about photography, that you would find this film interesting,’ says British director Lee Shulman from his home in France where he’s lived for over 20 years. Shulman has received awards for directing 100+ adverts globally. In 2017 he established the art initiative The Anonymous Project, collecting and preserving unique colour slides from the past 70 years taken by amateur photographers.

After bumping into each other at Shulman’s installation, The House, at the 2019 Rencontres d’Arles, a bond developed with Parr. They went on to collaborate on the book Deja View (Hoxton Mini Press 2021) which pairs Parr’s images with archive images from the Anonymous Project. When Shulman first saw Parr’s work he wasn’t sure if he liked it. He is now an unabashed uber-fan. ‘He’s up there with Paul McCartney. For me, he’s one of those people who’s really created something. Photography will never be the same again and he does it without any ego.’

The 67-minute film launches into a montage of Parr images to White Riot by The Clash, an intellectual punch in the face which sets the tone. It ends with Baggy Trousers by Madness. ‘I grew up in that music, so for me, those two songs are really important, that’s how I see Martin, he’s a punk, a sort of child punk. Even though you see this sort of middle-class, white guy, he just doesn’t care. Madness are the words to Martin’s film photos for me. Baggy Trousers and all these kinds of songs, they felt like they were Martin’s world.’ The acquisition was expensive but Lee refused to do the film without them and the investors relented.

Before the Madness we go on a road trip with Parr and Shulman. In the spirit of a summer camp, they basically jumped in a van and spent a good part of a year on a road trip across England revisiting locations from Parr’s career, including New Brighton, Merseyside, where Parr shot his seminal series The Last Resort, capturing English holidaymakers. At the time it was both influential and controversial, sparking debates about its portrayal of the working class. Parr would often ruin filming by smiling or talking to friend Shulman who often had to hide away, delivering instructions to the hand-held cameraman through an earpiece.

Parr, who’s recently post-cancer, is filmed transiting frame after frame pushing his Elite Care walking frame, occasionally using it to sit down and observe. The technique gives the film great rhythm and energy. Parr is always going somewhere. Shulman says, ‘He’s just a force of nature. He never stops. I was running with the camera, because you can’t keep up. We lost him all the time.’

Uncomfortable reality

Wearing his social camouflage of untucked patterned shirt, soft shoes or sandals, sun hat and half-grin, Parr often becomes one of his own photographs. The film’s high colour grade intentionally matches a Parr colour photograph. The construction of the film is linked by wry archive chapters of Britain which add another layer. Scenes of an idealised Britain of fishing, rowing, golf, horse racing, tea in the garden and royal pageantry contrast with Parr’s uncomfortable reality of what life is actually like.

Parr says, ‘I love Britain, of course, because we all love the country we come from, part of my role is, if you like, to define my relationship to being British and being here… trying to show the yin and yang of British society, and to show it as I find it, as opposed to some idea of it being romantic or good or bad, and to try and show both things.’

Visual legacy

The film explores Parr’s transition from black & white to colour photography in the early 1980s (considered bold and unconventional at the time) and themes around class, cruelty, snobbery, greed, humour, politics and Parr’s overriding visual legacy, leisure. Parr was both accessible and elusive, preferring to let his work speak for itself while subtly conveying his political views through his photos. It highlights his journey to join Magnum and establish his foundation. It offers behind-the-scenes access to his creative process and the philosophy behind his distinctive style.

Parr is the voiceover of the film, he isn’t conventionally sat down and interviewed. More formal contributions are delivered by photographers, curators, staff at the Martin Parr Foundation, Madness bass guitarist Mark Bedford and David Walliams, co-creator of television’s Little Britain. Parr’s wife Susie reveals Parr can’t swim.

Grayson Perry provides eloquent and erudite Parr commentary. ‘The humour is just so important, so underrated. Culture is biased against humour, and yet humour is what keeps it in check. There’s so much what I call performative seriousness in art, where people think that misery is somehow more important in art than humour. And he has inveigled his way into our visual unconscious, now. That is the mark of a true genius. You know that he’s had such a strong vision and he’s able to technically convey that over such a vast, sort of, oeuvre. He’s made a way of seeing which not many people get to do.’

From a Parr fan it was never going to be a critical film. It’s a homage and love letter to Britain which has global appeal. A film about what it means to be obsessed. Shulman says, ‘Some artists change the way we see the world. Martin, for me, is that person. His vision and style have become a new language in the way photography has evolved. He is a mystery and I wanted to understand what consistently drives him to take great images.’

As the film credits and montage of Parr autoportraits roll, is it Parr’s swan song? ‘You appreciate the ability to photograph even more after cancer, because that’s one thing that really sobers you up. Makes you realise… your family, things you take for granted beforehand, you know are so much more appreciated in the post-cancer world. So it’s been a real motivation for me to do more work.’

Get tickets to the I Am Martin Parr premiere in London!

• 19th February 2025
• https://www.curzon.com/ticketing/seats/SOH1-48603/

I Am Martin Parr is in cinemas from 21 February 2025. Produced by Haut et Court Doc in association with Dogwoof.

Watch the trailer:

Featured image:

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