Do you want to start shooting film but don't know where to begin? The first thing you'll need is a film camera. Now finding one is the easy part, as the world is full of secondhand and even new film cameras. The problem comes with choosing the type of camera.
Long exposure photography is one of those things that seems straightforward until you try it with film.
If Malta is known for one thing, it’s the heat, specifically that relentless heat that rolls in from June to September. It is the kind of heat that radiates off limestone walls, sits heavy in the air by midday, and turns a parked car into an oven.
If you have spent any time around film photographers, you have probably heard someone mention pushing or pulling a roll. It sounds technical, maybe even a bit intimidating, but the idea behind it is straightforward once you strip away the jargon. This is our attempt to explain it plainly, without the usual wall of darkroom terminology.
A few weeks ago, I opened Under the Red Light at the Malta Photographic Society. It was a project built entirely around the analogue darkroom, framing it as something worth celebrating, worth preserving, worth experiencing. Visitors stepped into a recreation of the darkroom environment, one at a time, surrounded by prints, artefacts, and the quiet atmosphere that anyone who has spent time under a safelight will recognise immediately.
There is something satisfying about loading a fresh roll of film. That small, deliberate act of commitment before you even raise the camera. And when the film itself is worth shooting, that feeling only deepens.
There are film stocks you try, and then there are film stocks you return to. Ilford HP5 Plus is firmly in the return to category. Rated at ISO 400, it is one of the most versatile black and white films ever made, and after spending serious time with it both behind the camera and under the enlarger, I can tell you exactly why it has earned its reputation.
According to the manufacturer, ADOX describes Adox CMS 20 II Pro as the sharpest, finest grained and highest resolution image recording system currently available. While that is undeniably a bold claim, it is backed by substantial technical data.
February has a particular meaning at DarkLab.
Following our latest blog about why someone might choose to shoot film in winter, it felt only natural to follow it with a guide to the best film stocks for the season. Shooting during the autumn on film is not too dissimilar to shooting in winter. Lighting conditions are usually softer and more diffused, with overcast skies and shorter days. There are also those rare but beautiful crisp days that bring intense sunlight. This makes adapting to the ever changing winter weather a challenge. It is the kind of light that keeps film photographers on their toes and occasionally wondering whether hibernation might be the easier artistic choice.
In the first volume of Inside DarkLab I spoke about my first roll of film and how I got hooked on film photography. But how exactly did I go from shooting film to learning about the darkroom and developing my first roll myself?
Welcome to the start of a new series here on The Film Vault. Think of this as a half-written blog, half-video blog, and maybe one day half-podcast (though that sounds like too many halves). The aim? To bring you behind the scenes of DarkLab: how I stumbled into building my own darkroom, how that became a business, the logo story, the highs, the lows, and the “oh no, what did I just do?” mistakes.
With winter soon upon us, it’s time to tackle an age-old question: why should you shoot film in the colder months, especially in the digital age?
Whether you’re new to analogue photography or a long-time film enthusiast, storing your film correctly makes a world of difference. From the moment you buy it until it’s developed, film is sensitive to light, heat, and moisture. How you treat your film both before and after shooting will directly affect the quality of your negatives.
In an age where digital dominates, there’s something undeniably special about shooting with film. The tactile feel, the unpredictable outcomes, the process, it's all part of the charm. But stepping into film photography can feel a little intimidating, especially when it comes to gear. So let’s break it down: here’s a straightforward guide to essential film photography equipment and why it matters.
There’s something thrilling about developing your own black and white film, but colour? That's the next level. At first, C-41 processing can feel like a daunting jump from B&W. The chemicals, the precise temperature control, the fear of ruining a roll. But once you dive in, it becomes another satisfying ritual in your analogue workflow.
In an era dominated by megapixels, instant sharing, and AI filters, it might seem strange, maybe even outdated to load a roll of film, wind a lever, and wait days or weeks to see your results. But for many photographers, shooting film isn’t just about nostalgia; it’s a conscious creative choice. Here’s why film photography still matters, and why you should give it a shot.
There’s a special kind of magic that happens when your newly developed B&W film, previously just a ghostly negative, transforms into a rich black and white print under the glow of a red light. In part one of this blog series, we explored the process of developing your own film, the first step in reclaiming control of your photographic journey. Now it’s time to bring your negatives to life through darkroom printing.
