Film I Reach For When I Want to Remember
You know how, after an artist has been honing her craft for some time, she begins to naturally develop a taste for certain materials, textures and looks? Film is no different. There’s a quiet relationship that starts to form when you get your scans back from the lab.
“Oooh I like that.”
“*Gasp*, that actually captured the memory perfectly.”
“I’ve got to shoot with this again”.
Some films notice light just the way you want it remembered. Some tell a story better than words ever could.
The film I choose isn’t about perfection. It’s about feeling. About honoring the location, the light, the people in front of me, and the energy of the day. No matter what environment I’m shooting in, I ask myself: “What is this moment asking to become?”
These are the rolls I trust to hold memories with care.
Portra 800 ~
It’s like your favorite meal, your comfort movie. The one you come back to again and again, somehow better every time.
I truly love the flexibility of this film, how no one light situation can run from its grasp. Grain is beautiful on this one, and depending on the lighting, you’ll see more or less of it. The more grain, the more emotion, more softness and more depth you’ll see. Sign me up.
The colors are punchy, vibrant, and consistently pleasing; blues and greens woo me every time. I’ve used Portra everywhere, from personal work, to travel, all the way to to weddings.
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Kodak Ultramax 400 ~
I reach for this one anytime a sunny adventure is involved. When I think of nostalgia, movement, and playfulness, Ultramax comes to mind.
I actually shot my whole trip to Puerto Rico on this single film stock. Not by careful planning, but because I ran out of film on day 2 (typical), and it was the only thing left at a local Walgreens.
I honestly believe this was the universe nudging me toward a now beloved staple. It doesn’t have the widest range or latitude, so on gloomy days it can turn a little muddy. But give it sun and space to breathe, and it rewards you with rich, saturated photos that feel alive.
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Kodak Gold 200 ~
I’ve found (and again this just comes with experimenting) that Kodak Gold is perfect for those rainy, overcast days. It somehow takes the gloom and turns it into this really lovely, warm feeling.
Portrait taking with this film is a favorite of mine, since it works beautifully across all skin tones and gives everything that sun-kissed glow.
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Cinestill 400D ~
The glow… truly, that’s all I have to say! IfI want a moment to shine in its natural color and texture, this is the first to grab. Reds are stunning. Fairy lights feel magical. The halation gives everything a soft halo that feels dreamlike without losing honesty.
It lets light do what light already wants to do.
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Cinestill 800T ~
I mostly use this film stock for the night portions of weddings, where it really comes alive.
During the day, especially without a lens filter, it leans cool and slightly grungy in the best way. What intrigues me the most about this one, is the unpredictability. You’ll never know when a light leak will hit the frame. It’s like a game of chance.
Just like grain, light leaks are another beautiful aspect of film. It’s an extraordinary chemical process—a little accident, that becomes part of the story.
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Ilford HP5 ~
This one just feels like a warm cup of tea on a rainy day. Steam curling into the air. A cold brisk morning. That sharp inhale when you spot a deer in the forest. A breathe of fresh air.
I’m a true color person at heart, but there’s something about this film stock that takes my breath away. Every. single. time. The low contrast, this sort of haze… it’s beautiful.
I find myself reaching for it most in the winter months, when light is quieter and the world is at a hush. You’ll find that removing color really lets emotion speak first.
Why I Let Clients Be Part of the Choice…
I believe in collaboration and letting my clients step into my process, even just a little.
Some people may prefer to leave those decisions with me and I completely get that! You’ve already made a hundred choices. This part should feel light, like a feather drifting through air. And it can.
For me, this is also a way to gently introduce people to the nuances of this medium. There’s layers to this. It isn’t simply choosing a roll and heading out the door. Light, environment, movement and feeling all play a part.
Inviting clients into this choice makes the work more intentional. It becomes a shared language before the camera ever clicks.
photo by my dear friend Annie
If this way of working speaks to you, we can choose a film stock together and let the rest unfold naturally.
