Film photography: The art of intentional constraints

Why film ? Because it brings me back to where digital technology had lost me, by carrying several constraints that structure my work. But not only.

Film means grain, and I love grain! I love the organic texture it adds to an image, in contrast to the smooth perfection of digital. My go-to? High-ISO films (400 or 100 pushed to 400) to let the grain tell its own story.

Sometimes also, old cameras have a certain personality. The images they produce, defined by their own characteristics (light measurement, optics, etc.), give a very specific result that cannot be obtained with another one.

Film obviously requires careful consideration before shooting because every image counts. There are no second chances and no instant previews,

One must think carefully in the digital world too, but if the result isn’t satisfactory, this should not be an obstacle from starting over. The required commitment and the suspense of delayed viewing teach me to let go the moment I click the shutter. What’s done is done. It’s somehow liberating and relaxing!

Then, there’s the wait : The ritual of development, the anticipation of discovery and the moment the scans finally appear.  The discovery is always cold and detached, far from the heat of the shooting moment. It’s like meeting a version of myself from another time — one with a fresh perspective, a new emotional lens. And that, for me, is where film transcends mere photography. It becomes a dialogue with time itself.

Structuring rules

Preparation is of utmost importance in film photography. Hence, one must start by choosing the film type, its sensitivity, the number of rolls for the shoot, the optics, filters, and a tripod might be required  — every decision matters. Given that the gear is heavy, choices must be deliberate.

Whilst shooting, rules haven’t changed since the 19th century. Unlike digital, ISO sensitivity is fixed for the entire roll, and therefore this is only adjustable when loading (via “pushing” or “pulling”). No auto white balance, no scene modes, no AI assistance , just manual settings and the photographer’s eye to interpret the light.

You cannot fire off 10 shots with different settings to pick the best. In this instance, you cannot check them on the spot, therefore film is a luxury.

At the most, one is able to bracket 3 exposures (or 5, if your camera allows).

The “development” phase

My films are developed and scanned in high-resolution by a professional lab, afterwhich the digital darkroom takes over.

Using a computer lets me bypass the “chemistry aspect” of the development stage. This is a domain I’ve never been so fond of! Whilst also freeing me from the need of a physical darkroom and its cumbersome gear, it helps me to remain faithful to the principles of the old masters. The only difference is that I use contemporary tools.

I never attempt to alter the content of an image,  except from very rare circumstances (like an unavoidable framing issue). No layered composites, no special effects. If there are superpositions, they’re captured in-camera, on film.

My post-processing is simple, I endeavour to refine the framing, clean up dust or film defects, then I tend to work on contrasts, lights, and grayscale. I often use masks, just as photographers did before the digital era. The difference is as such that masks are digital, and the flexibility of software makes the process faster and more precise.

Some images receive a subtle color shift, such as tones of yellow, blue, or brown, echoing the chemical toning of the pioneer era. I also enjoy using this technique for some of my Blue series.

But beyond the technical, there’s the energy of the moment, my sensitivity, my emotional state. Processing an image can take me up to 10 minutes, or even several days.

The hardest part is knowing when to stop! When is the image truly finished ? I’ll admit, this is my Achilles’ heel.

Working process