The Case for Patience – Film Photography and Camera Repair – By Ryan Jones
The moment digital photography became accessible to the greater population without significant barriers to entry, film became a luxury good.
I do not mean that film photography entered the same plane of inaccessibility as the Rollex or the Bentley (although there are film camera makers in those echelons to be sure). I simply mean that, for the vast majority of working professionals, photographing on film was no longer a requirement to put food on the table.
I underline this transition chiefly for this reason: once film became a choice, and not an absolute necessity, it entered the economics of emotion. This applies both to the hobbyist and the professional. We see this in the wedding industry with “hybrid” shooters offering medium format film in their wedding packages. Are they offering film alongside digital because it has higher resolution? Because it is a cheaper, easier workflow? Of course not. They are offering it chiefly because it differentiates their brand in an over saturated wedding market, because it has that “look” and because their clients have the desire to say that their wedding was shot on film.