Why I Switched to a Film Camera Older Than Me
▼ Summary
– The author chose a 50-year-old film camera to force themselves to learn photography fundamentals, as modern automatic features prevented genuine skill development.
– They purchased a basic Canon EF SLR for £129.01, appreciating its mechanical limitations and lack of automation compared to contemporary cameras.
– Using film creates financial pressure (approximately 60 cents per photo) that encourages careful consideration of each shot rather than taking multiple digital images.
– The constraints of film photography taught the author to constantly think about ISO, aperture, and shutter speed, improving their technical understanding.
– Despite the costs and delays of film processing, the experience has made the author a better photographer who now understands they’ll be more skilled when eventually switching to digital.
Choosing to embrace a camera manufactured before I was born might seem like an unusual move during a season typically dedicated to the latest tech upgrades. Yet this decision has proven to be one of the most effective ways to genuinely understand photography. It isn’t about chasing nostalgia or the perceived romance of film, it’s about learning the craft from the ground up, free from digital crutches.
My journey into film began out of necessity. As a writer tasked with reviewing smartphones that doubled as cameras, I realized my technical knowledge was lacking. I needed to take better product photos and understand the principles behind a good shot, not just rely on automatic settings. Borrowing a DSLR helped, but its full-auto mode was too tempting. Every time my manual attempts fell short, I’d switch back, letting the camera think for me. Progress was slow.
What I truly needed was a tool that forced me to engage, a camera that offered fewer shortcuts. Budget constraints made vintage film gear the obvious choice. I scoured eBay and landed a Canon EF SLR from the 1970s, complete with a 50mm f/1.8 lens, for just over £129. It felt substantial, built from metal and weighing like a small brick. This camera wasn’t just older than me, it was built to last.
What makes this model special is its simplicity. It lacks the automation we take for granted today. The most advanced feature is a shutter priority mode, which still requires the photographer to understand how shutter speed impacts exposure. There’s no full auto, no scene modes, no way to disengage from the process. I started with shutter priority but soon realized I was mentally tracking aperture anyway. Before long, I switched to full manual and never turned back.
Shooting on film changes your relationship with each frame. With digital, it’s easy to fire off dozens of nearly identical shots, hoping one turns out. But film imposes a cost, financial and practical. Each roll of 24 or 36 exposures must be purchased, shot, and developed. Even with budget film and basic development, every click costs around 60 cents. That adds up quickly. You learn to slow down, to compose with intention, to meter light carefully. There’s no “fix it in post.” You have to get it right in the moment.
Another advantage of shooting vintage is the affordability of lenses. I’ve assembled a small collection, a 28mm wide-angle, a 35-70mm zoom, the nifty fifty, and a 70-210mm telephoto, all for less than £100 combined. These lenses have taught me more about depth of field, framing, and focal length than any online tutorial. On a recent safari in Kenya, the telephoto lens performed beautifully, a modern equivalent from Canon would have cost ten times more.
Of course, film isn’t without its frustrations. Prices surged during the pandemic, and I’ve lost shots to light leaks, improper loading, or accidental exposure. Waiting days or weeks to see your results requires patience. Sometimes the delay means forgetting what settings you used, which diminishes the learning value. And yes, I still occasionally browse listings for second-hand Fujifilms, tempted by instant feedback and modern convenience.
But I’m in no rush. This old Canon has taught me to see light, judge composition, and understand exposure in a way no digital camera could. When I do eventually upgrade, I’ll be a better photographer because of it. For now, this trusty film SLR isn’t going anywhere.
(Source: The Verge)
