
Chromatic
In recent years, film photography has become more prominent in my work, evolving from a medium I used solely for personal projects to one I now incorporate into commercial work. However, with the constant rising costs of shooting on film, I maintain a hybrid workflow—blending the quality of analog with the flexibility of digital.
There’s a particular aesthetic to colour film that I love, one that extends beyond the common stereotypes of grain, light leaks, and exaggerated colour shifts. While those characteristics can be part of its charm, modern professional film stocks are actually designed to produce natural, balanced colours with minimal grain. Some stocks emphasize warmer or cooler tones, stronger contrast, or softer highlights, each suited for different subjects. They’re almost like different paintbrushes.
For example, one of my favourite stocks, Kodak Ektachrome 100, perfectly balances digital precision and analog warmth. It produces neutral colours while maintaining vibrancy and clarity, making it an ideal bridge between the two mediums.
But in the end, the camera rarely matters. I enjoy shooting with my film cameras, but I also capture many images simply with my iPhone. Composition, light, and subject always outweigh gear. No matter the medium, what matters most is the story an image tells.
Favourite way of shooting colour:
A 35mm camera • A roll of Kodak Ektachrome 100 or Kodak Portra 160 • A polarizer filter