Film photography is more than a trend—it’s an invitation to create with intention. There’s something beautiful about the way film allows you to slow down, trust your instincts, and embrace the artistry of the process. Whether you’re just stepping into the world of analog or looking to deepen your practice, this post is here to give you a practical look at the gear that helps me do just that.
Below you’ll find a breakdown of the cameras, lenses, meters, and film stocks I rely on most. This isn’t about following a formula—it’s about showing you what’s possible when your tools support your vision. As this series grows, I’ll be sharing more behind-the-scenes insight into how I use each piece, when I reach for certain tools, and how that shapes the kind of work I create.
Cameras
Over the years, I’ve tried a number of different systems, but the Contax 645 has remained the core of my film workflow. That said, I keep a diverse kit on hand as each camera plays a different role depending on the energy of the session and the look I have in mind.
Currently in My Kit
These live in my bag and are used often:
- Contax 645 – My go-to for client work.
- Holga – If you haven’t played with one, you’re missing out.
In the Rotation (For Variety + Vibe)
Used for specific creative looks:
- Canon AE1-P – My go-to for personal work.
- Canon EOS 500N – Perfect for fast-moving moments that require a more documentary approach.
- Olympus Stylus Epic Zoom – A fun little point-and-shoot I use to create variety and add a sense of fun.
Retired but Worth Mentioning
Cameras I’ve used, enjoyed, and would still recommend, depending on your needs:
- Canon EOS 3 – A great camera, but more than I needed for 35mm. I opted to return to the AE1 for personal work.
- Pentax 645N – Retired when I upgraded to the Contax, but a fantastic option for someone getting started with medium format.
Lenses
Contax 645 – 80mm f/2 (can’t say enough good things about this lens)
Canon AE-1 – 50mm f/1.8 FD and 28mm f/2.8 FD
Pentax – 75mm f/2.8 and 105mm f/2.4 (both solid options)
EOS 3 – Interchangeable with my Canon digital lenses, which was a plus.
Light Meters
An external light meter will make a world of difference in your film scans! Especially if you have struggled with underexposed images. These are two solid, reliable options I’ve used and recommend:
If you’re looking for more guidance, I’ve written an entire post on how I meter for film. You can find it here.
Film Stocks
Film choice plays a major role in shaping your style. Here are the stocks I rely on most, broken down by client work vs. personal work:
For Client Work
- Kodak Portra 400 (120 + 35mm) – The backbone of my look. Clean, consistent, beautiful tones.
- Ilford Delta 3200 (120) – My go-to for black and white. It handles light and shadow incredibly well.
- Ilford Delta 400 (35mm) – When I want black and white in 35mm, this is what I reach for. Soft, with balanced contrast.
For Personal Work
- Kodak Gold 200 (35mm) – Affordable, warm, and full of character.
- Kodak Ultramax 400 (35mm) – A favorite. Great exposure latitude and flexibility with ISO 400.
- Ilford HP5+ 400 (35mm) – A classic black-and-white option. Reliable and budget-friendly.
As this category continues to grow, I’ll be sharing more detailed posts that unpack the how and why behind each piece of gear. Until then, I hope this guide gives you a solid foundation—and a few ideas to explore as you build a system that reflects your own creative approach.
Note: Some links above are affiliate links, which means I may earn a small commission at no extra cost to you if you choose to purchase.
comments +