Are we trying hard to reel back into the past these days? A Global Innovation Program for teens, The Knowledge Society (TKS), raised this question in an Instagram post: “Why are Gen Zs attracted to boomer hobbies?” Listing vinyl records, letter writing, gardening, knitting and crocheting, and film photography as part of a “boomer starter pack”, TKS observed that the old school is the new status symbol and the brain is begging to touch grass. While these pursuits share a tangible, hands-on appeal, not all have found the same visibility among today’s youngsters. Film photography, however, seems to have struck a chord across generations, with the medium finding renewed interest through filters and AI that mimic the aesthetics of film photography. But there is much more that is hidden behind the aesthetics of grain and noise. Here are glimpses of analogue era through the photographers and filmmakers’ lenses.
Pure magic
For Marun, the attraction began in film school, when he started reading about motion picture film stock. Watching movies shot on film made him notice “a certain quality, an organic character in the imagery, which was lacking in digital sensors”. He shot his first roll in 2020, using a Kodak KB10 point-and-shoot camera loaded with Kodak Ultramax 400. “The part I enjoy most about shooting film is the mystery around it. Sometimes you shoot a roll three or four months back, or you take six months to finish 36 frames on a single roll. When you finally develop it and see the results, it feels like magic,” he describes.
That magic is what the market is looking for currently. “There is a huge demand for film, driven by photographers who are drawn to its uniqueness and the niche appeal it offers. People see film effects and want to recreate that aesthetic, but many fashion photographers, including those working on high-end campaigns, are now choosing to shoot on film rather than replicate it digitally, since when you shoot on film, the colours have an authenticity that helps the images stand apart,” says Selva Pradeep, co-founder of When Souls Make Love and a second-generation film photographer.
He points to how the desire to recreate film aesthetics through digital filters has also encouraged photographers to explore the medium. Selva adds, “If the trend teaches or inspires you to actually explore film photography, learn the process, and practise it, then I think it is a good thing.”
Dhakshin Krishnan, a fashion photographer who learnt the process of developing the film first, says that people are interested in cameras from the 1980s to early 2000s because they give photographs a particular aesthetic, as if they are trying to recreate the feeling of living in that period. He adds, “Even if a photograph is blurred, it can still be interesting as it has a story to tell or something unique about it.”
Patience is key
Photographers say that delayed gratification changes the way one approaches photography. With only 36 frames at their disposal, they become more observant of their surroundings and selective about what deserves to be captured. “When you have limited resources, it constrains what you’re going to shoot,” Marun says. “It’s like hunting a deer and meditating at the same time.”
Photographers also acknowledge that the first-ever film roll is not always going to be perfect. “My first time with the film camera, I did street photography. I went to a random street in the city and just shot. But I’d say that 80% of my first film was out of focus,” recollects Dhakshin with joy.
While the renewed interest in film photography is often associated with its colours, grain, and nostalgic appeal, Dhakshin points to something more enduring: the physical negative. “Today, when people see such photographs from unusual locations and unique concepts, they may immediately assume they were created using AI. When I shoot on film, I have the negative in my hands. For me, it is proof that the photograph exists and that the image was created through that process.”
However, pursuing the medium comes with its share of challenges. Dhakshin says that he sources gear and film from abroad through friends who visit, as it helps him financially. He also adds that a few labs will wash the films and make it reusable, however he warns the quality will not be the same.
Access to the infrastructure required to process film is another hurdle. Selva says that while darkrooms are available in Chennai, sourcing chemicals and equipment remains difficult. “It’s quite expensive now but it is accessible a bit with labs like CPB,” he says.
Despite these costs and constraints, some clients are willing to embrace the unpredictability of film photography, particularly for weddings. Selva says, “When we shoot weddings on film, the clients are usually enthusiastic about the medium and have some understanding of how it works. Even the imperfect images mean a lot to them. They say, ‘It’s okay, we know that’s how it’ll be with film.’”
As more enthusiasts discover the analogue process, photographers believe that film photography may remain a niche pursuit alongside digital as manufacturers and companies are driving towards making both accessible to the users, Selva pinpoints hybrid varieties as an example.
Accessibility This medium of photography indirectly plays into power politics. Selva says that digital made cameras more accessible to everyone. Marun points out, “I always feel that film is fascism and digital is democracy. Until then, film was exclusive to a certain group of people, since it needed a certain amount of money to buy and develop.”
Ecosystem The Knowledge Society states that the “boomer activities” are a statement of sustainability. But aren’t we forgetting something? “Film isn’t great for the environment, but digital sensors aren’t either. That said, the amount of waste generated by shooting film is far greater than the waste from shooting digital. These are things worth keeping in mind too,” Marun reminds.