“Are you shooting film in there?” my uncle Anthony asked me on the boardwalk of Seaside Heights, AKA “The Jersey Shore.” A valid question in this day and age. Digital cameras are looking more like film cameras–like my own Fujifilm X-E4–but it wasn’t the X Series slung on my arm that day, it was my Minolta SRT 100 with a Rokkor 58mm 1.4 lens and a Vivitar 28mm Auto Wide-Angle lens close by. Loaded inside was Kodak ColorPlus 200, a chameleon of films, appearing under many iterations since its debut in 1972.
Photography—film photography in particular—brings a lot of heartache. Your eyes see something worth preserving and the final result never seems to capture it the way you remember it. Add in aperture, shutter, focusing, and metering and you find yourself pouring water into a bucket with a hole in it. It’s a miracle anything resembling fleeting moments are emulsified, but sometimes when the stars are aligned, you get something magical. At worst, you just get an image.