Film has made an epic return – but how much has the craving for analog impacted the price of it? The developer behind a program that tracks film prices put together a six-month analysis to find the answer – and found that film prices may not have shifted as much as many think.

The film photographer and programmer behind the blog Analog Cafe programmed a tool that tracks film stock prices across a handful of different stores. Monitoring prices from the first half of 2026, the analysis showed that film’s price change, on average, fell under the typical annual inflation rate of 3% at 2.5% – though that change was across 6 months.

While the inflation on film prices is only for half of a year, the previous six months before that had the same rate, suggesting that film prices are remaining steady. In fact the study suggests that, considering the US had a 4% inflation rate in 2025, film prices were fairly stable.

The digital camera is more of a one-time purchase than analog, which tends to make the cost of film photography feel like a luxury.

But the analysis also pointed out that a 24-shot roll of the popular Kodak Gold cost $4.60 in the 1990s. With inflation and changing wages, that’s like $11.40 in today’s dollars. Kodak Gold’s average film price over the past 6 months, however, was $10.34 – and that’s for a 36-shot roll.

While on average film prices have remained behind the annual inflation rate, price changes can vary widely by film type as well as the country. In Europe and Canada, film is on average 6% more expensive. By comparison, Europe’s June 2026 inflation rate was 2.8% and Canada’s sits at 3.2%.

According to the analysis, a handful of films are a bit cheaper than they were half a year ago, including Kodak Extapan T-Max 400, Ilford Delta Professional, Kodak UltraMax 400 and Fujifilm Neopan Across 100.

On the flipside, a handful of film stocks are now more expensive than they were six months ago. Among the worst offenders are Kodak Kodacolor ColorPlus 200 with a 10.5% price hike, followed by Ilford XP2 Super 400 and Ilford FP4 Plus 125.

For more data across more film types, visit Analog Cafe’s Film Price Index.

You may also like...

Out of all the film we've tried, these are the best film stocks. Or, take a look at the best film cameras.

With the football (yes, soccer) World Cup right around the corner, Harman has started the celebration early with the launch of Football Collector's Editions of two of the best 35mm camera film.

And, proving that it's not just strikers who shoot, the project is a collaboration with Miles Myerscough-Harris – aka Expired Film Club – whose brilliant black-and-white football photos will adorn the sides of the limited-edition packaging.

"With a World Cup around the corner, and as a company full of football (soccer) fans, we wanted to celebrate football fever by teaming up with Miles on this project," said Giles Branthwaite, Harman's sales and marketing director.

"A couple of years ago we released limited-edition retro packaging for our HP5 Plus and FP4 Plus films and the feedback from the community was fantastic. Film shooters by their very nature are collectors and wanted more."

This time it's Ilford XP2 Super and Ilford HP5 Plus that get the special treatment, and both are now available in the collector-friendly format.

(It's worth noting that the emulsions themselves have not changed, so the film will behave no differently, and the cassettes do not bear any limited edition branding.)

For those unfamiliar, Expired Film Club is renowned for shooting sport on analog film cameras, from NBA basketball and Major League baseball to snooker, tennis and, of course, football.

"I am so excited to announce that my photos are being featured on the cartons of the films!" said Myerscough-Harris. "Can't believe it… [it's] still blowing my mind

"I am unbelievably excited about this, not only because it's so cool seeing my photos on boxes of film, but it also happens to be on my absolute favorite black-and-white film that I use on every single shoot I ever do. If you've seen my black-and-white photos on my profile, they probably would have been shot with Ilford HP5."

You can find more information at the Ilford Photo website.

You might also like…

Take a look at the best film cameras and the best 35mm film for them. If you want to shoot your own football (yes, soccer), check out the best cameras for sports photography and the best lenses for sports photography.

Harman Technology has just given large format photographers exactly what they have been asking for, with the launch of Ilford Pan F Plus in 4x5 and 8x10 sheet film formats for the very first time.

For anyone who loves black-and-white photography, Pan F Plus needs little introduction. This is one of Ilford’s most iconic films, a gloriously slow ISO 50 emulsion known for its ultra-fine grain, exceptional sharpness, rich contrast and beautiful tonal range. It has long been a favourite for 35mm and 120 shooters, especially those working in landscapes, portraits, studio photography and fashion, but until now large format photographers have been left looking on from the sidelines.

Pan F Plus samples in 4x5 and 8x10

That changes from 7 May, with Pan F Plus joining Ilford’s growing large format line-up in 25-sheet packs of both 4x5 and 8x10 film. It is the sort of announcement that will have darkroom lovers, large format landscape shooters, and studio photographers reaching for their film holders with genuine excitement, because this is not just another format release. It is one of the most requested Ilford products, finally becoming a reality.

Giles Branthwaite, Sales & Marketing Director at Harman Technology, said that while Pan F Plus has been available for many years in 35mm and 120 formats, a sheet-film version has long been on photographers’ wish lists. In fact, he described it as possibly the single most requested product the company has received, adding that Harman has listened and finally delivered it on behalf of the film photography community.

It is easy to see why there has been so much demand. Large format photography is all about detail, control, and slowing down the process, and Pan F Plus feels like a perfect match for that way of working. Its extremely fine-grained, gorgeous tonal character should really come into its own when paired with the sheer resolution and discipline of 4x5 or 8x10 cameras, particularly in controlled lighting, dramatic landscapes, carefully composed portraits, and fashion work where every shade of grey matters.

Pan F Plus now joins Ilford's existing professional black-and-white sheet film range alongside HP5 Plus, FP4 Plus, Delta 100, and Ortho Plus. For film photographers, this is a genuinely lovely moment: one of the oldest continuously manufactured black-and-white emulsions in the world has just been given a new life in large format, and that feels like exactly the kind of news the analogue community deserves.

Check our guide to the best film you can buy for your camera today

For more than a century, Harman built its name on Ilford black-and-white film, and built it well. For 145 years, that was the company’s language: silver, grain, contrast, consistency, and a reputation that photographers trusted without question. That is exactly why its move into color feels so significant, just at the point when color film is back in fashion and is becoming harder to find.

This was not a brand casually branching out into a fashionable niche, but a company with deep roots in one discipline deciding to take on one of analog photography’s hardest technical challenges in full view of an increasingly passionate film-shooting community.

What makes the story even more remarkable is that Harman did not try to force color film through the same slow, traditional model that made its Ilford black-and-white stock famous. Instead, it built what can only be described as a "skunk works operation" inside the business: a small, agile, highly focused team given room to move quickly, experiment boldly, and rethink what was possible with the equipment, talent, and chemistry already on site.

By the sound of it, this was a hush-hush project at first, driven by R&D, fueled by belief, and carried forward by the kind of internal energy that only comes when people are told to do something they never thought they would see happen in their own careers.

That challenge was immense. black-and-white film is difficult enough to make well, but color is another world entirely, demanding more layers, more chemistry, more complexity, and far less room for error.

Harman’s team had to look at its factory, its processes, and its own collective expertise and ask a deceptively simple question: what can we take apart, rebuild, and reimagine to make this happen? That mindset led to Phoenix, the company’s first proof-of-concept color film, a product that was symbolic not just of a new stock hitting the market, but of a traditional manufacturer proving it could rise into a new era.

Above: watch the inspiring story behind the Harman color film project 

Harman’s scientists, chemists, and lab techs at its Mobberley plant, just south of Manchester, UK, were effectively inventing from the ground up, building new emulsions, new layer packages, and new ways of coating and testing film in real time. Ideas were being formulated in the lab, rolled down on trolleys, coated on pilot machines in darkness, and then tested to see what worked and what failed.

That kind of hands-on, fast-moving development sounds thrilling enough on paper, but in practice, it is an extraordinary achievement. It is one thing to dream about making color film; it is another to hand brilliant people the freedom to break apart old assumptions and build a viable product for mass production on the fly.

What is especially exciting here is that Harman has not framed Phoenix as the finished product line. The company has been candid that Phoenix 1 was experimental, bold, contrast-heavy, and imperfect, and that Phoenix II improved on it while still leaving room to grow. That honesty matters. It shows this is not a nostalgia play dressed up as innovation, but a real research journey built on iteration, feedback, and reinvestment. Harman’s team is openly talking about improving sharpness, reducing halation, refining color reproduction, tightening granularity, and pushing speed, all while using each release as a stepping stone toward something bigger and more complete. The recently-released company video (above) shows the passion behind trying to make Harman as well known for color films as Ilford has become for its black-and-white formulations.

Just as impressive as the film itself is the infrastructure being built around it. Harman is not merely tinkering in a corner of the analog world; it is investing serious money in finishing lines, cassetting systems, robotics, and bespoke machinery designed for modern film manufacturing.

The company says it has built equipment that simply cannot be bought, only designed, manufactured, and assembled for its own needs. That matters because it turns a fascinating R&D story into something far more substantial: a long-term industrial commitment to film photography. In a market where analog shooters are always wondering who will still be making film in 10 or 20 years, that kind of investment feels huge.

For film photographers, that is the real story here. Harman’s color journey is not just impressive because it was technically difficult, or because a black-and-white specialist decided to take a swing at one of analog’s toughest problems. It is impressive because it offers something that film shooters crave almost as much as the images themselves: confidence in the future.

The idea that a historic manufacturer can create a fast-moving internal skunk works, develop color stock from scratch, scale toward global demand, and keep experimenting along the way is genuinely thrilling. For analog lovers, this is more than a product story. It is proof that film is still evolving, still worth investing in, and still capable of surprising us.

Shop the film

The analog revival is here! Film photography is now more popular than it has been for years... and for that reason I am dying to shoot a roll of 35mm as soon as I can. And I think this Christmas it will be the one thing I'll subtly ask all my family to buy as a gift.

Film, in the scheme of things, is not expensive. But to me it is just much more expensive than when I used to use rolls by the dozen back before digital cameras came along. It's now become that luxury that I wouldn't ever pay for myself.

And I am willing to bet that every photographer you know thinks the same... Forget about lens mugs or cleaning cloths... what any camera user young or old will always appreciate is a roll of emulsion to fuel their inner passion for retro photography.

I've got a Nikon F4 SLR in pristine condition sitting on a shelf waiting to be fired up again... but I bet most people have a film camera someone sitting on the shelf. And if they don't, they can find one cheaply secondhand – and even new film cameras don't have to be expensive.

Whether it is a stocking stuffer for the photographer in your life – or a secret santa for someone at work - this is the perfect gift. And there is plenty of choice too – give them an old favorite, or challenge them with an emulsion they have never tried before. Here are some of the options for your shopping list…

Who needs to know you can develop the camera film using blood? Not me! I’m extremely squeamish. I only just managed to get through the recent critically acclaimed horror, Nosferatu, because it has the best cinematography I’ve seen in a long time. And when a friend once suggested I watch Midsommar, I felt weird for days. Grisly modern horror just ain’t my bag. And it’s because of all the blood!

So, a huge thank you to Vancouver-based fashion photographer, YouTuber, and Instagrammer @yhanson_photography – seriously check out her work, it’s fab – for uploading a Reel and a YouTube video describing how you can develop film using blood. And an equally big thank you to Digital Camera World Editor in Chief, James Artaius, for gifting me this darn article to write.

Very funny, James…

Not only does Yvonne explain why blood is a suitable developing agent, but she’s only gone and done it herself! That’s right, she’s created a series of film photographs developed with blood.

The idea originates from a publication called The Film Developing Cookbook (1998). According to Yvonne, it touches on the subject that anything organic can be used to develop film. So, together with fellow YouTuber, Learn Film Photography, an experiment was devised to test this theory alongside various substances including… blood.

The red stuff in question was pig’s blood and the whole thing was treated like a rather scientific experiment. Over 200 frames of Ilford HP5 Plus were used over 2 identical setups, with photographs captured at 5 different exposures from -2 to +2 stops. This enabled the photographers to better compare each substance, including pond water, moss, and even urine (double yuck!).

I’ll let you watch the whole video to witness the development stage. But suffice to say, it does work. And yet, I still think I’ll be sending my film off to the developers.

This reminds me of the time I learned that the abstract photograph on Metallica’s Load album is a mixture of blood and another bodily fluid that’s, well, a little too much for a photography website.

On that note… bye!

You may also like...

If you have a penchant for the macabre, I photographed five frightful images for Halloween. If you're into film photography, check out the best film cameras and the best light meter for photography.

Originally named Britannia Works Company, Ilford started its journey in black-and-white film production back in 1879 – 145 years later it's still one of the most prominent names in photographic film.

Despite Ilford's inclination for monochrome, to celebrate the milestone, Ilford has released colorful retro-inspired packaging for two of its best film stocks. Inspired by the original packaging of the 1950s and 1960s the film boxes are adorned with vibrant color blocking and a retro typeface.

The limited edition range is designed for the ever-popular HP5 Plus and FP4 Plus films for 35mm and 120 formats. This is particularly apt considering the designs are based on the colors and style of HP3 and FP3 packaging, the precursors to the current FP4+ and HP5+ emulsions.

Sales and marketing director of Ilford Giles Branthwaite says, "Film photographers are collectors by nature and have regularly requested we introduce limited edition packaging such as this. This is an exciting year for us as we have recently announced a multi-million-pound investment in our R&D and operational capabilities. As we celebrate 145 years since the original Ilford company was founded, we are excited to reference our legacy as we look to the future."

Since Ilford's inception, the landscape of film photography has evolved, disappeared, and reappeared. A recent resurgence thanks to trends on social media has film photography on another upward trajectory, and ever-present Ilford is still providing its stunning black-and-white film.

Specialists in black and white film production, Ilford manufactures film styles for every occasion embracing the timelessness of black and white photography. Its FP4+ offers fine grain and high sharpness with a speed of ISO 125, perfect for well-lit scenarios. HP5+ has a higher speed of ISO 400 and is a great all-rounder for a mixture of lighting scenarios, Ilford suggesting it is ideal for action and documentary.

The limited edition packaging will become available over the next couple of weeks. More details can be found on the Ilford website along with an abundance of inspiration and tutorials.

You may be interested in our guides to the best film cameras, the best film for 35mm, and the best retro cameras.

It has not yet been a year since Harman launched its first-ever 35mm color film, named Phoenix. Now response to the rising demand for analog photography, Harman Technology - the manufacturers of Ilford and Kentmere film - has announced an additional expansion of its Phoenix 200 color film range, which is now available in the 120 format.

This latest offering allows medium-format film photographers to immerse themselves in the distinct qualities that have made Phoenix film a favorite among film enthusiasts. Known for its textured grain structure and designed for those with a creative flair for experimentation, the Phoenix 120 film opens up new avenues for artistic expression. 

Following the success of its 35mm counterpart, the launch of Phoenix 120 provides photographers with enhanced versatility and more creative possibilities. The larger format is ideal for those who value the exceptional depth, resolution, and detail that medium format cameras are renowned for. 

The film is distinguished by its pronounced grain, delivering rich, vibrant colors, including bold greens, striking reds, and vivid blues, which together provide a unique visual signature that sets it apart in the world of analog photography.

I'm sure there are many photographers out there who have been waiting for this announcement, and it's wonderful to see Harman push the boundaries of film in the modern age and offer a new color film to the analog community shooting medium format film.

The new 120 film is now on sale for $11.99/£10.99 a roll.

See our full Harman Phoenix 200 35mm film review 

Film photography, with its rich tones and timeless appeal, has been making a robust comeback in recent years. I've seen many people go back to or pick up some of the best film cameras out there for the first time, longing for the unique qualities of the medium.

However, one common misconception that deters many enthusiasts is the belief that it is prohibitively expensive. While it's true that some aspects of film photography can be costly, there are several ways to make it a more affordable and enjoyable hobby or profession. 

I've recently been shooting more film again and I feel that, if analog users are willing to learn some of the "old-ways" – taking advantage of bulk-loading film, developing and scanning film at home, and exploring new budget-friendly cameras – they can significantly cut down on costs and make film shooting a more pleasant and cost-effective experience.

Below I have listed four steps on how you can save money when going analog, from someone who shoots film more than using his digital cameras…

Bulk-loading film

I think one of the most effective strategies to manage the cost of film photography is by bulk-loading your film. Rather than purchasing pre-packaged rolls of film, from the likes of Ilford or Kodaka, you can buy film in bulk and load you own canisters at home. 

This process involves buying a large roll of film, typically around 100 feet, and using a bulk loader to distribute it into reusable film canisters – or older, used metal film canisters. (Another small tip to save you buying plastic reusable canisters: ask a local lab for some used metal ones – they should give you them for free, and they are better quality than the plastic ones.)

Bulk-loading has several benefits. First, it dramatically reduces the cost per roll. A 100-foot bulk roll of film costs the same as 5 or 6 pre-packaged rolls of Ilford HP5 or Fomapan 400, for example, but can yield up to 18 to 20 rolls when loaded at home.

This not only lowers the price per roll to around $2 each (depending on the film stock) but also gives photographers the flexibility to load custom lengths, which can be particularly useful for specific projects or experimentation with different exposures. I often load a mixed bag of 24- and 36-exposure rolls.

Furthermore, bulk-loading enables photographers to try out different film stocks without committing to the higher costs of pre-packaged rolls, thus encouraging creative exploration without breaking the bank – and if you want to save even more money, you can also try out 16-foot tins!

Home development

Developing film at home is another excellent way to save money and enhance the experience. Many photographers rely on professional labs for developing and scanning their films, but this service can be quite expensive – especially for those who shoot frequently. By learning to develop film at home, photographers can reduce costs significantly.

Home development requires an initial investment in equipment such as tanks, reels, and chemicals, but these items can be reused multiple times, making them cost-effective in the long run. 

The process also offers greater control over the final image, enabling photographers to experiment with development times, temperatures and chemical mixtures to achieve desired results. Furthermore, developing at home eliminates the need for scanning services from labs, as photographers can digitize their negatives using a film scanner or even a DSLR or mirrorless camera.

This not only saves money but also provides more flexibility in terms of resolution and file management. For those new to home development, there are plenty of online tutorials and community forums to provide guidance and support.

Affordable camera options

Contrary to the notion that film photography requires expensive equipment, there are numerous affordable camera options available today. 

New half-frame cameras, for instance, offer a cost-effective way to explore film photography (maybe the Pentax 17 if you don't mind the initial outlay for a new camera) – these cameras capture two images on a single frame of 35mm film, effectively doubling the number of shots per roll. This not only extends the life of each roll but also reduces the cost per shot, making it an attractive option for budget-conscious photographers. 

Additionally there are new full-frame cameras, like the Ilford Sprite, that offer an economical entry point into film photography. Priced competitively, these cameras are designed to be simple and user-friendly, making them ideal for beginners and those looking to dabble in film without a significant financial commitment.

Obviously the second-hand market is massive for film cameras, namely the Nikon F5 – which in my opinion was the best and most advanced film camera Nikon ever produced, and can be picked up for as little as $250 / £270 on eBay.

Home scanning

Scanning film at home is another way to keep costs low while maintaining creative control over your images. The best film scanners are more widely available than ever and enable you to digitize your negatives while giving you control over the final output, including color balance and resolution. 

While there is a learning curve involved, mastering your scanner settings can produce results comparable to those from professional labs. If you find your initial scans lacking, you can always get your negatives scanned at a lab as a backup. This flexibility ensures that you’re not at the mercy of lab technicians and can tailor the final look of your images to your liking.

Film photography does not have to be an expensive endeavor. By exploring cost-saving measures like bulk-loading film at home, developing your negatives, opting for affordable camera options and scanning at home, you can enjoy the unique and rewarding experience of shooting on film without a hefty price tag. 

These practices not only make film photography more accessible but also empower photographers to take greater control over their creative process, leading to more personal and satisfying results.

Make sure you're using the best 35mm film for your camera. If you're an analog fan, you might want to try out the best instant cameras – and if you like the look of film cameras, but prefer the advances of digital, then check out the best retro cameras.

Film cameras, along with the companies producing them, are experiencing a resurgence. Yes!Star, a Chinese company recently selected by Fujifilm to ramp up film production in China, has introduced a new 35mm point-and-shoot film camera to the market.

While Yes!Star might not be widely recognized outside China, it has been manufacturing dental and medical film for Fujifilm for some time. Now the company is shifting its focus to the consumer market; in addition to producing Fujifilm's C200 and C400 stocks in China, Yes!Star has launched the S1 – the latest film camera to hit the market.

Unveiled on Weibo, the popular Chinese social media platform, the Yes!Star S1 is a straightforward design reminiscent of classic disposable cameras – but reusable.

Announced at a Shanghai event celebrating the "birth of a new film era", the S1 is crafted with a metal body, features a fixed lens, includes a built-in flash and weighs in at just about 280g.

The S1's lens is a fixed 31mm f/11 and doesn’t require a focusing system, aiming to keep everything in focus at all times due to its extensive depth of field. This design, however, means the camera could perform poorly in low-light conditions unless loading high ISO film. Despite this limitation, the camera's build quality – being made from metal – sets it apart from other similar models.

For instance, Ilford offers the Sprite 35-II, a reusable 35mm point-and-shoot film camera, or the new Pentax 17 half-frame camera, both of which feature plastic bodies and fixed lenses. The Yes!Star S1 distinguishes itself with its slightly higher-quality construction.

While pricing details for the Yes!Star S1 are not available at the time of writing, it is expected to be competitively priced, likely around the $40 / £30 / AU$60 mark, again similar to the Ilford 35-II. 

This would position it well below the more premium models like the Pentax 17, or the upcoming Rollei 35AF. Despite these models also featuring metal components, the S1's lack of advanced controls, including focus adjustment, suggests it is targeting a casual consumer audience looking for an affordable, easy-to-use film camera that offers the full 35mm experience. 

Still, for anyone doubting that film really is making a comeback, the fact that one of the largest markets on the planet has debuted its own film camera feels like a pretty huge development!

Make sure you're using the best 35mm film for your photography. And if you're an analog fan, you might also be interested in the best instant cameras – or of course, you could check out the best retro cameras that look old school on the outside but are cutting edge on the inside!

Ilford’s XP series was a black and white film first introduced in 1981 – then in its first XP1 iteration. Since then there has been two more revisions to the formula before reaching the Ilford XP2 Super 400 that is still going strong to this day. 

The big selling point of XP2 Super film was that it was designed as a chromogenic film – a versatile and easy-to-use film that could be processed using the C-41 color negative film process, which is widely available at most photo labs. 

Prior to the release of XP2 Super, most black-and-white films required specialized processing that was less available or more pricey – in turn, this made black-and-white photography more difficult and expensive for casual photographers. Still true to this day, black and white development is a premium at most labs, as well as often taking longer to return than its color equivalent. 

XP2 Super changed the game by allowing photographers to shoot black and white film and have it processed at any lab that offers color film processing – making the XP2 Super cheaper over the long term for any photographer who plans to shoot large quantities of black and white, and perfect for anyone who wants to get their photos up on the ‘gram as fast as possible. 

Over its lifetime, XP2 Super has gained a reputation online for being easy to work with while producing consistent images with a distinctive look, characterized by strong contrast and fine grain – but 33 years later, is XP2 Super a black-and-white film that deserves to be in your camera?

Ilford XP2 Super: Specifications

Ilford XP2 Super: Price & Availability

Ilford XP2 Super pricing seems to very much depend on where you are in the world. In the US it is currently just under $13 for a 35mm roll of 36 exposures, this places it around $5 per roll more expensive than Ilford HP5 Plus 400, and $2-3 more than Kodak Tri-X 400. In the UK however, XP2 Super is only just £1 more expensive than HP5 Plus, at the time of writing, and a much more significant £5-7 saving over Kodak Tri-X 400. XP2 Super is also available as 120 film.

However, as XP2 Super can be developed by any normal C41 development process used by color films, this will likely mean that it is both cheaper and more readily available at labs up and down the country. My local lab charges almost twice as much for a B&W development than color rolls, so this could add up to a significant saving over multiple rolls.

Ilford XP2 Super: Performance

Super is the right word for this film – I am so impressed by the quality, sharpness, and fine grain produced. The contrast is just spot on in every shot for me, I’m not a fan of really punchy contrast, so the balanced highs but bold shadows really work for my style of photography, giving my photos a distinctive look, rather than something like HP5 Plus where the flat contrast might need some tweaking. However, if you prefer the strongest contrast possible then there are even stronger options out there (try Kodak Tri-X 400).

The wide exposure latitude of XP2 Super also means you can change up the ISO to your liking. There is clearly a lot of room to play around with the exposure – I tested the film in both sunny and very overcast conditions switching the ISO between 200-800 depending on the scene and produced excellent details in the shadows and highlights. 

I also attempted a few exposures that I thought might trip the film up, but it was very forgiving, especially to overexposure. In the shot of Big Ben (below), due to come complex sun, I overexposed the sky by quite a margin, but while the finer details have been lost the results are still passable. While in the shot (below) along the river, I underexposed for a moody contrast to match the moody weather, but there is still a lot of details in the shadows.

Grain is impressively minimal, of course this won’t satisfy everyone, and some of the shots don’t quite have that obvious “film look” that big grain gets you, but the quality is superb. This depends on the quality of lens you are using, but the FE 50mm f/1.4 on my Canon AE-1 resolved a lot of detail, and I can only imagine that 120 film is just as good for pros who want the best quality.

Ilford XP2 Super: Sample Images

These images were all taken with the Canonet G-III QL17 on Ilford XP2 Super 400. I shot these at the recommended box speed of 400 ISO. The photos were taken in a wintery December in the UK in a mix of sunny and overcast weather.

Ilford XP2 Super: Verdict

Ilford XP2 Super is an impressive film before you even consider its processing trickery. The film produced balanced images with a bolder contrast in the shadows, while the wide exposure latitude allowed me to get creative with my exposures knowing that the film could save some of my more reasonable mistakes when I messed up. I also really like the XP2S film grain, it's small enough to preserve details but still offers just enough for a “film look”.

The biggest benefit of XP2 Super though is the fact that despite this being a black and white film, you can drop this film into any development lab that handles C41 color film. This matters a lot to many people who live near small labs that don’t handle black-and-white processing, or, like my lab, charge extra over color development. 

Ilford XP2 Super Alternatives

I’ve always found there’s something a bit magical about black-and-white film photography. It has its own distinctive look with real-life grain, that digital cameras can only emulate. This reusable camera from Harman Technology lets people dabble in mono film shooting, without any significant outlay. It comes complete with two rolls of Kentmere Pan ISO 400 black & white film, each offering 36 exposures. And if you’re not familiar with the name, the film is actually manufactured by Ilford, a company with one of the longest and most illustrious histories in the business.

Specifications

Price & Availability

Available from Karman Technology and a variety of photographic retailers, this is a seriously inexpensive bit of kit for a reusable camera. It’s priced at around $35/£32 but the camera comes complete with a AAA battery for powering its built-in flash and, more importantly, not one but two 36-exposure rolls of Kentmere Pan ISO 400 black & white film. The film on its own has a retail value of around $13/£11, so you’re basically getting a reusable camera for about $22/£21. It also comes with an eco-friendly feelgood factor, unlike single-use plastic cameras which are notorious for winding up in landfill sites sooner rather than later.

Design & Handling

The casing of the camera is a mix of shiny and matte black plastic. There’s a textured appearance on most of the front panel, which looks best from a distance. On closer inspection, it’s simply a shiny sticker that covers most of the front surface. One thing I like is that, compared with digital cameras that are choc full of circuitry, this camera is amazingly lightweight, even when loaded with film and AAA battery.

Luckily (or not) I’m of an age that I’ve loaded many a roll of film in my time. It’s a procedure that can be more daunting for the uninitiated, but this camera keeps things simple. There’s a catch on the rear door to open the back of the camera and it’s simple to pull out enough film from the canister to hook it onto the splines on the take-up spool. If the film isn’t engaged properly, the winder won’t click into position for the first frame, as you rotate it. 

After that, an interlocking mechanism between the winder and the shutter button ensures that the film advance runs smoothly from shot to shot. A counter just in front of the shutter button starts at the ‘S’ position and enables you to keep track of how many shots you are into the roll of film. 

There’s a similar failsafe for rewinding the film back into the canister when you’ve finished the roll. This involves pressing a button in on the underneath of the camera, then winding it back using the crank on the top left.

Typical of cheap plastic cameras, there’s no adjustable focus, shutter speed or aperture. Everything is fixed. I find the 31mm f/10 lens with its single element gives a fairly wide-angle but natural perspective. The fixed focus distance enables a depth of field that stretches from 1m to infinity, while the shutter speed of 1/120th of a second theoretically gives pretty good latitude for film exposures in lighting conditions from shade to bright sunlight.

For indoor photography or shooting in the shadows, the camera has a built-in flash. It’s a bit on the slow side, with a recycling time of 15 seconds, but enables better illumination with an effective range of a couple of meters or so.

Photo Performance

I took the camera for a day out and shot a range of test shots in wide-ranging lighting conditions, from direct sunlight to deep shade, as well as some indoor shots with and without flash. The film has a wide exposure latitude so, despite the camera having a fixed exposure setting of 1/120th of a second at f/10, I got pretty good results in all of the outdoor conditions that I tried. Indoor shots needed flash, even under fairly bright ambient lighting, which only covers a fairly short range. I found that the Kentmere Pan ISO 400 black & white film that comes with the camera is a little less contrasty than Ilford HP5 Plus ISO 400 black & white film, which is supplied with some of Harman’s other single-use and reloadable cameras. Sharpness isn’t too bad for this type of camera but lags behind that of a smartphone.

Sample Images

This gallery of sample shots was taken in varying lighting conditions from bright direct sunlight to deep shade, as well as indoors with and without flash.

Verdict

For recreating the look and feel of black & white snapshots from a bygone era, the Harman Reusable 35mm Film Camera does a good job. I like that it comes complete with two rolls of 36-exposure Kentmere Pan ISO 400 black & white film, which are a good match for the camera itself in terms of performance. If you want to go for the lo-fi look, this camera has a lot going for it.

Alternatives

Most single-use film cameras look like throwaway items, with good reason, because that’s exactly what they are. Unfortunately, the same goes for most plastic reloadable cameras, but this one looks and feels sturdier than most and has relatively attractive styling. I like that it comes complete with a roll of 36-exposure Ilford HP5 Plus ISO 400 black & white film and an AA battery for powering not only the usual built-in flash, but also a more unusual motorized film winder. Less thumb-twiddling for me! In short, everything’s included for me to venture back into the world of point-and-shoot analog photography.

Specifications

Price & Availability

Sold by Karman Technology and a variety or photographic and general retailers, the camera is priced at $65/£54. That’s more than I’d normally expect to pay for a plastic reloadable 35mm film camera but, considering that it features an auto-winder and comes complete with a full-length 36-shot roll of high-quality Ilford HP5 Plus black & white film, I feel it’s pretty good value.

Design & Handling

I’m not a fan of shiny black plastic or stickers that cover most of a cheap camera casing. This Harman camera looks and feels more up-market. It has an attractive matte black finish with green accents and wrist strap, and a clear panel at the front to protect the built-in flash and viewfinder window.

As usual, this plastic film camera is a point-and-shoot affair. It has a fixed-focus lens that aims to deliver sufficient depth of field to distances from 1m to infinity. It has a 31mm focal length with a fixed aperture of f/11. Suffice it to say there are no adjustments for focusing or exposure for different lighting conditions, the shutter speed being locked at 1/100th of a second. That puts the typical demands on the film you’re using, to give enough latitude for correcting picture brightness.

Built-in flash aside, cheap film cameras tend to be purely mechanical affairs with no electronics. This one bucks the trend with a motorized auto-winder. Running on the supplied AA battery, it automates the processes of loading a roll of film, frame advance after each shot, and rewinding the film when you reach the end of the roll. There’s a frame counter built into the top of the camera, so you can keep an eye on progress. A switch on the bottom of the camera enables you to rewind the film at any point, if you just want to crack on and get it processed.

Another unusual feature of the camera is a 3-way switch on the front, just below the lens. In its first position, it basically switches the camera off, engaging a built-in lens cap and locking the shutter button. Next up is the on position, sliding the lens cap to one side and engaging the shutter button and auto-winder. In the third position, the flash is also activated but you have to wait a while, as it has a 15-second charging time and for recycling after each flash.

Photo Performance

The Harman EZ35 Reusable 35mm Film Camera comes with the same Ilford HP5 Plus ISO 400 black & white film stock as the Harman Black & White Single Use Camera, except that you get 36 exposures rather than just 27. As with that camera, I took a range of test shots outdoors in wide-ranging lighting conditions, from direct sunlight to deep shade, as well as some indoor shots with and without flash. The film has a wide exposure latitude so, despite the camera having a fixed exposure setting of 1/100th of a second at f/11, I got acceptable results in all of the outdoor conditions that I tried. Indoor shots needed flash, even under fairly bright ambient lighting, which only covers a fairly short range. I like the fine grainy look of the film and the lens in this camera proved a bit sharper than in most disposable and cheap reloadable cameras.

Sample Images

This gallery of sample shots was taken in varying lighting conditions from bright direct sunlight to deep shade, as well as indoors with and without flash.

Verdict

The Harman EZ35 Reusable 35mm Film Camera is pricier than most cheap plastic disposable and reloadable film cameras but adds a motorized auto film winder that’s very rare in this type of camera. It’s fun to use but the biggest plus point for me is that the lens is a little sharper than I usually find in plastic film cameras.

Alternatives

I say this tongue in cheek but photography can be a chore. There’s all that faffing around with focusing, exposure settings, charging up batteries and loading memory cards or film. There’s none of that with this single use film camera. It comes preloaded with a roll of 27-exposure Ilford HP5 Plus black & white film, ISO 400, and a battery to power its flash. I found the hardest thing was getting the camera out of its retail carton, and that was very easy.

I like that there’s nothing to think about except taking photos. The camera has a fixed-focus lens with a natural focal length of 30mm and an aperture of f/9.5. The combination gives sufficient depth of field to retain sharpness from 1m to infinity. The shutter speed is also fixed at 1/100th of a second, so you’re relying on the latitude of the film to cover different lighting conditions. For shooting indoors or under low lighting, the built-in flash has a range of about 3m. All I have to do is press the shutter button to take a picture, then wind the crank to advance the film.

Specifications

Price & Availability

The camera is widely available around the world and, for the sake of comparison, we’ve seen it retailing for around $15 in the USA. It's either £15 or £34 in the UK. That’s quite a disparity. The difference is that the pricier version in the UK includes processing and comes complete with a mailing bag for sending to an Ilford lab.

Design & Handling

In typical single-use camera style, the film is fully wound out to the end of the roll when it is pre-installed in the camera. Each time you take a shot and wind the film on for the next frame, it winds back into the cassette. I find that quite handy as, if you shoot the whole reel, the film is already wound back into the cassette ready for development.

I feel that any single-use camera should be designed as a bit of fun, rather than a serious technical exercise. This one certainly keeps things simple, avoiding that relatively tricky business of loading the film in the first place. All you need to do is put your eye to the viewfinder, compose the shot, and press the button. Although the minimum distance for the fixed focus lens is stated as 1m, Harman recommends a shooting distance of 2m or 6ft for taking portraits.

Once the shot is taken, I found the film advance wheel easy to use and it comes to a reassuring click, with an interlocking mechanism that avoids the risk of double-exposures or winding the film too far for the next frame.

For indoor shooting or when light is low, there’s a simple sliding switch to turn on the flash. I found a bit of forward planning necessary, as the flash circuitry takes about 15 seconds to charge up. As a single-use camera, you don’t need to extract the film when you’ve come to the end of the roll. I just dropped off the whole camera at my local processing lab, or you can mail it off in the post.

Photo Performance

I’m a big fan of Ilford HP5 Plus black & white film but, as expected, a cheap disposable camera doesn’t do it much justice. I took a range of test shots outdoors in wide-ranging lighting conditions, from direct sunlight to deep shade. I also took some indoor shots with and without flash. The film has a wide exposure latitude so, despite the camera having a fixed exposure setting of 1/100th of a second at f/9.5, I got acceptable results in all outdoor scenarios. However, indoor shots even under fairly bright ambient lighting were very underexposed, apart from short-range shots using the flash. The film has a pleasant grain that I like but the single-element lens lacks any real sharpness or bite.

Sample Images

This gallery of sample shots was taken in varying lighting conditions from bright direct sunlight to deep shade, as well as indoors with and without flash.

Verdict

For a single-use black & white film camera, the Harman has a very colorful finish. I like its simplicity and that, pre-loaded with film and a battery, I can use it straight out of the box. Ultimately, it’s a bit of fun and capable enough for happy snaps but image quality falls way short of what I’d expect from even a cheap mobile phone nowadays. The camera is more suitable if you’re trying to create an authentic snapshot look from many decades ago.

Alternatives

Ilford HP5 Plus, a stalwart in the realm of black-and-white film, has certainly stood the test of time, ending up on many a best films list over its history. With its roots reaching back to 1989, this film has undergone refinements over the years, culminating in the celebrated HP5 Plus we have today.

The "Plus" in its name isn't just marketing – it represents an upgrade to the film's grain structure and tonal range over previous versions. The result – HP5 Plus has earned a reputation as one of the most versatile companions for photographers who love to shoot across varied lighting scenarios and subjects, from portraits to landscapes, bustling street scenes, or fashion.

Over thirty years later since it was first introduced, does HP5 Plus still stand the test of time, and does it deserve its stellar reputation?

Ilford HP5 Plus: Specifications

Ilford HP5 Plus: Price & Availability

Ilford HP5 Plus can be bought in rolls of 36 or 24 exposures, although the 36-exposure rolls are much more commonly found. HP5 Plus is a bargain, with the 36 exposure rolls available for just under $9 per roll, and $7 for the 24 exposure. While the price of many films has fluctuated wildly over the past few years, HP5 Plus has stayed pretty steady and also in stock, so is a reliable film to go back to time and time again.

Ilford HP5 is also available in different formats, with 120 roll film costing around $9/£9, or large format sheet film is currently retailing around $55 for 25 exposures. You can also buy disposable cameras preloaded with 35mm rolls of Ilford HP5 Plus. Check out some of the latest deals on all these formats below.

One small thing to note is developing black and white film at a lab is often more expensive than color film, so you do need to figure this into your overall budget. 

Ilford HP5 Plus: Performance

I don’t shoot tons of black-and-white, so I had not used HP5 Plus extensively before going into this review – I knew much of this film's stellar reputation, but I was still unsure what to expect when I got down to studying the finer details of every frame. And I have to say, I am very impressed, so impressed that I have added a few extra boxes to my film collection. 

Across each roll I shot, the consistency between frames was outstanding, I barely got a single frame with any unintended exposure or defects leaving it destined for the cutting room floor. I shot my test rolls at the recommended 400 ASA, although HP5 has a reputation for coping well with being pulled and pushed, and you can even mark on the canister what you shot the roll at so the lab is aware during development. 

HP5 Plus is impressively versatile, the wide exposure latitude of the HP5 meant that the film coped really well under a range of conditions whether I was shooting inside under artificial lighting, or outside in the changeable British winter weather. I was convinced in some shots that the highlights or shadows would be unrecoverable, but I am so grateful for how forgiving HP5 has proven. I got so many frames that I wanted to keep and use that cutting it down to ten or so for this review was a bit of a challenge.

The grain – one of the most discussed things about any film, and the HP5 Plus grain is really nice. It has enough grain that it definitely ticks off that ‘classic film’ look that everyone loves, but the grain isn’t distracting or too heavy that I lost detail. Even at night and in very low light the film performed very well.

While the contrast I found to be naturally quite balanced, it is a great catch-all-film that is sure to please a wide variety of photographers. Although can be tweaked slightly in making prints or scanning/editing if you prefer something with a heavier look.

Ilford HP5 Plus: Sample Images

These images were all captured using Ilford HP5 Plus shot at the box speed of 400 ASA. I shot these images over a few cold wintery weeks in the UK using my Pentax ME Super with a Pentax SMC Pentax-M 50mm f/1.7 lens attached. The outside weather was very changeable between overcast and blue skies with a low sun.

Ilford HP5 Plus: Verdict

Overall Ilford HP5 Plus deserves all the reputation it has built up over the years. The film is incredibly versatile, being forgiving in all manner of shooting conditions, whether indoors or outdoors, with a wide exposure range. The film is also remarkably consistent, so you can keep going back roll after roll. 

Ilford has also managed to maintain a great price for the quality of film you are getting in each canister of HP5 Plus, with many popular films being gouged in price in recent times, it is a relief to know I have a black-and-white staple film.

Ilford HP5 Plus Alternatives

Buying a vintage film camera is a risky business, you can't be guaranteed it works and the only way of finding out is by shooting a roll of film and getting it developed which can cost around $25-$30. Pentax recently announced that after a year of development, it has finished working on a brand new film camera prototype which got me thinking, why aren't more of the big brands making modern-day film cameras?

Aside from the cost, I love shooting film. Lucky for me I've never actually had to buy a film camera as I was very kindly gifted a Canon AE-1 and a Nikon FM2 while working at Wex Photo Video (one of the leading UK camera stores). But like a lot of photographers, I like to collect cameras and can't pass up a bargain when I see one. On multiple occasions, I've found an almost too-good-to-be-true bargain in a charity shop or car boot sale but have resisted the urge to invest just in case it doesn't work. The problem with old film cameras is that even if they work initially when they break it's often hard to come across the parts to fix them and as soon as there are no parts they become redundant ornaments. 

• Check out the best film for 35mm cameras including black and white and, color film

There is clearly a demand for film cameras. Leica has seen a 900% increase in film camera sales in just 8 years and today film camera sales make up 30% of its total sales. It's not like you can't buy modern film cameras; there's the Kodak M35 (although the Amazon reviews aren't great) and the Ilford Sprite 35-II both of which replace the need for a disposable camera. Then there's the Kodak Ektar H35 half-frame camera which lets you shoot double the amount of photos on a single roll of film but it feels cheap and doesn't deliver the best quality images. 

Almost all big camera manufacturers dedicate 100% of new developments to mirrorless cameras and lenses but surely there is a little bit of room to explore new territories? Once upon a time, Canon, Nikon and Olympus were the leading names when it came to 35mm SLRs. My ears would perk up if I caught wind of a modern film camera that combined a quality build with outstanding image quality and a vintage aesthetic. 

Basically what I'm asking for is a film camera built to the same standard and with the same care as a film camera of the 1970s only with modern parts so it can easily be repaired. If Pentax can deliver and prove there is a demand, it would be wise for other manufacturers to follow suit especially since photographers can be fiercely brand loyal. 

Unfortunately, camera manufacturers have been known to be slow to catch onto trends so even if the Pentax film camera is a success when it goes to market it could a few years before we see anything from the big names.  Look at mirrorless cameras, the original Sony Alpha A7 was released in 2013 - the original Canon EOS R wasn't released until 2018, almost half a decade later. 

It will be interesting to see who takes to the new Pentax film camera (the name of which hasn't been released yet) if it does ever make it to the shelves. In October last year, Pentax announced it would be releasing four new film cameras in 2024 so this could be the first of many. Perhaps Pentax has finally found its niche and is on a one-way path to becoming the leading innovator in film cameras.

If you love analog photography you will be used to the name Harman, one of the world’s largest manufacturers of analog photographic film favorites like Ilford HP5, Kentmere 400, and Ilford FP4, darkroom papers, and photo chemicals, has now announced the launch of Harman Phoenix 200, a brand-new, limited-edition ISO 200, 35mm color film - the brand's first-ever color film and the newest color film to come to the market.

Harman Phoenix 200 is the first-ever color film made entirely from emulsion-to-cassette at its Mobberley factory located in Cheshire, England - which is a massive milestone for the company known for producing some of the best black and white films that have taken iconic photos throughout history.

Greg Summers, Managing Director had this to say about the announcement: “We are so well known for our black & white films that we are regularly asked why we don’t make colour films. We always believed this wasn’t feasible, but I’m delighted to say we were wrong!” 

In late 2022, a small team was tasked with a secret ‘skunk works’ project to see whether they could design, coat, and manufacture a color film at Harman's UK site in Mobberley, Cheshire. 

“It was initially an experiment to explore what was possible but what we achieved in such a short space of time is quite remarkable,” adds Greg.

The result is Harman Phoenix, an ISO 200 color negative film with an unmistakably analog look. It produces high-contrast images with strong, visible grain and punchy, vibrant colors. This new film comes in a 36-exposure with DX-coded cassette and can be rated between ISO 100 and 400 but performs best at ISO 200 in good, consistent light, with the possibility of halation.

“We think this is unlike any other colur film on the market,” says Giles Branthwaite, Sales & Marketing Director. “As it is our first, we also recognize it is not perfect, but the film community is crying out for choice when it comes to color, and we want them to know we are listening.”

The news of this film comes on the back of significant ongoing investment by Harman Technology and is a sign of their ongoing commitment to the future of analog photography.

“This is just the beginning of Harman’s colour journey.” Says Giles. “Sales from this film will allow us to further invest, refine, and improve our formulations, coating capabilities and colour technology. Our aim is that each new colour film we produce is an improvement on the previous.”

Having such a hard-hitting film lab behind a new project of color film, with potential and committed to produce more, is certainly a thing I get excited about and I am sure the whole film community will too!

Harman Phoenix 200 is available from today and for a list of retailers and more information about this new product, visit harmanphoto.co.uk 

If you have been a keen reader for a while you might know that I have been a keen user of some of the best Leica cameras for a while now, in fact I even gave up using the best Nikon cameras on the market for the pursuit of a more pure photographic feeling when taking images… Naturally, Leica is where I ended up and I have never looked back, but I must warn you the lure of Leica is a strong feeling and makes we want another even more!

I have used the Leica M11, Leica Q2 Reporter, Leica SL2-S, and some older models. But I eventually settled with the glorious Leica M-E (a variant of the Leica M9) and its superb 18MP full frame CCD sensor. I have enjoyed every single photo I have ever taken with it, what I think is the best rangefinder camera out there - yes there aren't many anymore and I can't see why as the system is one of the best I have ever used to date - and that's coming from a professional sports photographer!

But as I alluded to in my opening paragraph, the lure of Leica doesn't stop when you actually get one, if anything it becomes an obsession, the joy of all manual controls, only manual focus lenses scream the pure essence of photography - and that nostalgia, pure photographic experience makes me yearn for another Leica, you can call it GAS (Gear Acquisition Syndrome) if you want, but deep down I know I need another Leica camera - and I know just the one I want too!

While I often shoot black and White photography with my Leica M-E, I still shoot raw DNG files so I always have the color file if I want or need it. But while I do shoot color digitally, I also have a passion for film and shooting the best film cameras, and while I shoot film I also develop the film myself, and while to have a hassle-free life I only shoot black and white films like Ilford HP5, Kentmere Pan 400 or when I'm feeling really flush Kodak Tri-X.

So now I want a Leica film camera - this feeling all came when I reviewed the amazing Leica M-A, a pure mechanical film camera that can be bought brand new, but it could have been made decades ago - while this is an incredibly expensive camera to buy new, I want the next best thing, a Leica M2.

The Leica M2 is basically the new Leica M-A, but of yesteryear, first produced in 1957 Leica sold 82,000 copies of this camera and it was used by some of the very best photography masters that took some of the most iconic images of the time - not that I am aiming to get into Leica Hall of Fame.

I'd certainly like a Leica M2 because of its pure mechanical excellence and it will fit all the Leica M lenses that I use (a 21mm, 50mm, and 135mm) with my Leica M-E, making it a pure like-for-like shooting experience. I can't wait to own one - I would highly recommend anyone buying a Leica if you have the means, but I warn you the lure of Leica is real and when you buy one, you'll want another!

It's the last day of this year's Photography & Video Show! 

Celebrating its tenth anniversary (I was there for the first one in 2014!), The Photography & Video Show is an in-person imaging extravaganza. First launched in 2014, it has become a must-attend event for photographers and videographers of all experience levels, from eager enthusiasts to practicing professionals.  

• GET TICKETS TO THE PHOTOGRAPHY & VIDEO SHOW

Over 200 of the biggest brands in the business will be exhibiting at the show, including Canon, Sony, Nikon, Fujifilm, Panasonic and Sigma, enabling you to chat to industry experts, watch kit demonstrations, attend masterclasses, and take advantage of exclusive show discounts where you can make serious savings. 

Here's a look at some of the cool tech on offer from Canon, as a taster of what to expect on the show floor: 

The Photography & Video Show 2024: Exhibitors

Over 200 of the imaging industry's key brands are exhibiting at the show, so you're sure to come away inspired, educated and excited about taking all aspects of your photography, videography and editing to the next level.

Manufacturers like Canon, Sony, Nikon, Fujifilm, OM System, Panasonic and Insta360 will have their latest cameras on show. Lens specialists such as Sigma, Sirui, Tamron and Irix will be showcasing their best optics. Lighting wizards including Rotolight, Pixapro and Godox will help you see the benefits of supplemental illumination. And Ilford, Alfie Cameras and Solarcam share the passion and uniqueness of analogue shooting. 

• See the full list of exhibitors

If you're looking to join an association you can chat to The Society of Photographers, Royal Photographic Society, Photographic Alliance of Great Britain, SheClicks, and the Disabled Photographers' Society.

And of course, if you're looking to snap up some show deals, apologize to your significant other for the purchases you're about to make and head over to see CameraWorld, London Camera Exchange, and Wex Photo Video for amazing discounts and exclusive show-only offers. 

The Photography & Video Show 2024: What's on show

Above: See highlights from last year's show, to get a taste of what to expect

If it's related to the world of photography, videography and imaging, expect to see it somewhere on the show floor! 

Digital cameras, analog cameras, vintage cameras, lenses, tripods, filters, bags, straps, holsters, clothing, memory cards, microphones, speed lights studio lights, modifiers, reflectors, printers, printing services, photobooks, magazines, film, film scanners, photoshoot props, editing software, tablets… it's all here.

The Photography & Video Show 2024 will also feature its usual highly anticipated stages and educational program – offering dozens of free talks from top photographers, and demonstrations on photo technique, video skills, and editing. 

The Photography & Video Show 2024: The stages

Shoot to inspire
NEW for 2024! The different sets on this stage will be used to demonstrate various photography and filmmaking topics - including travel, portraits, weddings, and street.

Creator stage
This programme is dedicated to online content creation - YouTube, Instagram, TikTok and more. Aimed at existing and budding creators, as well as photo and video pros looking to boost their business via social channels, this stage will offer talks on everything from online community building to getting started in vlogging.

Photo studio
With live action and practical demos, this stage is ideal for showing first-hand how to tackle various shoots, and giving advice and tips on areas such as working with models, lighting, and capturing movement.

In motion studio
A theatre for all things moving image, designed to offer insight into producing engaging content, storytelling, and creating projects using different video and filmmaking techniques.

Editing & Post-Production Suite
Seminars covering post-production techniques and workflow for photography and video across various editing software solutions. 

Analogue showcase
A celebration of the art of traditional film photography and the darkroom.

The Photography & Video Show 2024: Speakers

There are some incredible names already announced for this year's show, covering every aspect of imaging, with plenty more yet to come.

Professional photographers and videographers from all specialisms will be there, such as Getty Images' Royal photographer, Chris Jackson; celebrity photographer and Forbes' "100 Successful Women of 2023" honoree, Donatella Nicolini; senior video innovation journalist at BBC News, Dougal Shaw; curator of photography for the National Trust, Anna Sparham; and Photoshop expert and educator, Scott Kelby.

There are also plenty of brand ambassadors, including Tom Mason (Nikon), Gavin Hoey (OM System) and Bea Lubas (Adobe), along with talented shooters who have struck out on YouTube like Sean Tucker, Thomas Heaton Adventuring Beth and Evan Edinger.

Take a look at the current speaker line-up and start planning your trip

Can I get tickets to The Photography Show 2024 on the door?

Tickets for the event are now on sale, and you can get hold of yours at The Photography & Video Show box office – but you can also buy tickets on the door.

What if I can't make it to The Photography Show 2024?

Although there's no substitute for being at the show itself, you can stay up to date with what's going on by following the official Facebook, Twitter and Instagram channels of The Photography & Video Show.

Digital Camera World will also be there live every day to bring you all the photo news, so make sure to keep us bookmarked, and stay up to date by following us on Twitter , by liking our Facebook page, and by signing up to our daily newsletter.

Book your ticket to The Photography & Video Show here

The Photography & Video Show is presented by Future Plc, which is also the parent company of Digital Camera World.

We post a lot about film photography and how the rising costs are putting some photographers off. People who once solely shot film are turning to digital to bring costs down, but there is another way that some photographers are coping with the additional expense: by shooting with half-frame cameras. 

Half-frame cameras, also known as single- or split-frame cameras, are nothing new, but they seem to have made a bit of a comeback recently since Kodak released the Ektar H35 in 2022 - and an updated Ektar 35N due to go on sale imminently.

When they were first introduced in the 1960s with the Olympus PEN series, half-frame cameras were an economically viable solution for photographers looking to double the amount of shots they could get out of a single roll of film. Rather than producing the standard 36 exposures, half-frame cameras enable you to shoot 72 images with each pair forming a diptych.

• Check out the best film for 35mm cameras and browse black-and-white, and color film from Kodak, Ilford, Fujifilm and more

For professional film photographers who worked commercially, half-frame cameras had their drawbacks. Not only were you limited to shooting in portrait orientation, so that you could fit two 3:2 images on a single 35mm frame, but the quality of each photo was also reduced. While hobbyists or amateur photographers could get away with the limitations of shooting half-frame, it still remains a niche area of film photography that some people find too restricting. 

However, the launch of modern half-frame film cameras such as the Ektar H35 has proven popular among the Instagram generation. For people who are looking for a film camera to capture holiday snaps or memories with friends (in other words, images that won’t be used professionally) they offer a more creative way of presenting images – and the aspect ratio of the portrait orientation image is much better suited for Instagram. 

Demand for film and film cameras has skyrocketed in the last few years. Whereas in days gone by you could pick up a roll of film for around $5 / £5, an average roll of film these days (depending on the brand and film speed) could set you back anywhere between $/£10 - 20 on Amazon! (Kodak Portra 400 is currently $22.80 / £22.99. Take development costs into account as well, and you’re looking at almost $/£1 per shot. Suddenly, doubling your content seems like an appealing option. 

You could argue that there is no point in investing in a half-frame camera if you’re doing it to save money. After all, a camera phone, mirrorless camera or DSLR can take an unlimited number of photos that cost nothing (after your initial investment). In post-production, using either Lightroom or Photoshop, you can apply light and color settings that will make your digital images look like film photographs, and you can even go one step further by adding film grain or light leak overlays to give an even more authentic feel. 

But the magic of film doesn’t just like its unique aesthetic and its imperfections; the magic lies in the mystery of not knowing how well a shot turned out, or what was even on that particular roll until you get it back. With half-frame cameras especially, there is a certain excitement in discovering whether two images you shot side-by-side work together. And for people who love producing diptychs anyway, it gives you more to think about in terms of composition, connection and contrast between two photos.  

Check out the best retro cameras – digital cameras that look like analog classics from the past

While many are enjoying the need to be shooting film and using some of the best film cameras on the market, we sometimes forget just how expensive shooting film can be, and that's where half-frame cameras really come into their own by allowing to shoot half a frame on a single roll of film extends your shooting capabilities, thus saving the cost of shooting film!

Ilford has come to the rescue to save your pocket and keep you shooting with the company's new Ilford Ilfocolor Rapid Half Frame, a half-frame single-use camera that gives you 54 shots before you stop, compared to the standard 27 shots you usually get on disposable cameras. Kodak has had recent success with its Ektar H35 low-cost film camera - and by making the Ilfocolor Rapid model disposable, Ilford can offer a cheaper alternative, with the film already preloaded

The Ilford camera is currently only on sale in Australia, New Zealand, and Japan, but we are sure that it can only be a matter of time before this will be available in the US and Europe.

This Ilfocolor Half Frame is loaded with 35mm 400 ISO film and produces 54 exposures – twice the number of shots per roll. As exposures are in portrait format (with the camera held conventionally), the Ilfocolor Half Frame is easier for viewing photos on portrait-oriented mobile devices. 

The camera has a fixed focus 31mm lens with a scene-sharpening f/11 lens, which should deliver crisp images from 1m to infinity. Shutter speed is also fixed at 1/125 sec, eliminating the likelihood of camera shake and blurred photos.

While we reached out to Ilford Imaging about a potential date for this to be released in the US/Europe we are yet to hear back, but it certainly is a solution for those wanting to shoot film, but are worried about the rising costs of film in general. In Australia, the camera is retailing for AU$29.95 (approximately US$19.20/£15).

via Inside Imaging

See the best film cameras, and the best film to put into them, currently available

Back in 2007, Harman Technology (who also produces Ilford's films) introduced the Kentmere brand, designed to offer a more affordable alternative to Ilford products while still maintaining the company's high standards of quality. Kentmere Pan 400 35mm film was one of the first products to be launched under the Kentmere brand, and it quickly gained popularity among film photographers for its performance but mostly for its affordability.

Still today, Kentmere Pan 400 continues to be a popular choice among film enthusiasts who are looking for a reliable and versatile black and white film that won't break the bank. But is Kentmere Pan 400 just another budget film, or does its quality punch above its low price point?

Kentmere Pan 400: Specifications

Film format: 35mm
Film type: Black and white negative film
ISO speed rating: 400/27º
Grain: Fine
Contrast: High
Exposures per roll: 36

Kentmere Pan 400: Key Features

Featuring an ISO speed rating of 400, Kentmere Pan 400 is an adaptable film, accommodating a wide range of lighting conditions including low-light environments, this is a film that can live in a camera and work in most situations. Even with its faster ISO rating the film should still produce a fine-grain structure maintaining sharpness and detail.

The film has a balanced contrast, so doesn't exhibit the harsh highlights and shadows usually associated with black-and-white film photography. This makes the film suitable for a wider variety of subjects including portraiture, landscape, and street photography, and gives a better starting point for playing with tones in development or editing scans.

Compared to other black and white films in the market, Kentmere Pan 400 offers a relatively accessible price point, coming in cheaper than Ilford HP5 or Ilford Delta films, and considerably lower than color films like Kodak Portra 400. This makes Kentmere Pan 400 a great film for beginner or student film photographers, or any film enthusiasts without deep pockets.

Kentmere Pan 400: Performance

Kentmere Pan 400 surprised me having never shot with it before, but actually pleasantly exceeded what I was expecting. Contrast, while balanced, was not as washed out as I feared, with some strong shadows coming through with optimal lighting and when exposed correctly. The highlights on occasion didn't pop as much as I would like, appearing a little grey, but maintained good detail.

Overall the film showed a good exposure latitude, I accidentally under and overexposed some shots (but let's pretend it was for the purpose of testing), however, this didn't turn out to be the disaster I expected with a lot of detail managed to be pulled back.

I also shot outside in gloomy London and in sunny Valencia, and the Kentmere Pan 400 handled both environments really well, shots indoors were also strong, with slightly more grain coming through, but not negatively so.

The grain structure is interesting, the grain is actually fairly significant, although this is not necessarily a bad thing as it does add atmosphere to an image, and the film has that classic "film look". However, the grain does detract from the image quality, with areas, especially in the shadows but also some mid-tones losing detail to the coarse grain pattern.

Kentmere Pan 400: Sample Images

Kentmere Pan 400: Verdict

Kentmere Pan 400 stands out primarily for its exceptional affordability, making it a highly attractive option for film photographers seeking budget-friendly choices. Despite its modest price point, this film manages to surpass expectations by producing remarkable images that exceed what one would typically expect from a "budget" film. 

While some black-and-white photographers may find its balanced contrast slightly disappointing, this characteristic actually offers a notable advantage by accommodating variations in exposure metering. Consequently, shooting with Kentmere Pan 400 becomes an enjoyable and hassle-free experience, relieved from the burden of cost considerations.

Read more: Check out more of the best film for 35mm cameras in our guide. If you are looking for a vintage camera to get back into shooting film, then check out our guide to the best film cameras.

Last week, I pondered the existence of cameras that only capture images in black-and-white – and asked who actually purchases them. Well, you folks certainly had some responses to that.

Famously, Leica specializes in these cameras – with the new Leica M11 Monochrom being its latest, $9,000 mono body. Almost concurrently, Ricoh dropped the Pentax K-3 Mark III Monochrome at $2,200. And they're not alone; everyone from Phase One to Red to Ilford makes black-and-white cameras of some variety, costing all the way up to $50,000. 

So, who buys these kinds of cameras for these kinds of price tags? 

A reader called Henry didn't actually say that they'd bought one, but wasn't shy about the reasons somebody might.

"Seriously? Are you trolling or are you honestly ignorant?  Monochrome cameras do not use a Bayer filter. Shooting through a Bayer filter is like looking through a pasta colander where MOST of the information is hidden behind the color filters.  Removing the filter instantly increases the native resolution by a factor 4x.  'Converting' color digital images to black and white requires that the computer simply invent 75% of the pixel values rather than looking through the lens.

"It's the same as asking, 'Why would anyone buy a 100MP camera when you can simply enlarge the image in a photo editor to the resolution you want?' e.g. take a 36mp image and scale it up in Photoshop to 100mp. Same thing."

One person who does own one is Justin Aharoni, who spent $7,000 on the Leica Q2 Monochrom. "The decision wasn’t without some understanding of camera technology and conversations with my better half about the investment we were about to make. Like yourself she rightfully questioned the very idea of a different and more expensive device to do the same theoretical job.

"I agree with you on a practical level that majority of camera buyers are good with monochrome simulation or black-and-white conversion. I don’t think Leica was ever intended for the casual buyer, but creatives are increasingly able to generate wild amounts of revenue and are buying Leica for the status which I think is adding to the confusion of why all these people are buying them. Feels like this influx is happening rapidly."

Justin was kind enough to share what he has learned and experienced since using his Q2. "Cameras that produce color actually have a filter on the sensor that converts light to color, in short. Without them the sensor is only capturing luminosity, true monochrome. 

"When converting a color image to black and white you have to adjust the individual color channels in order to get the blending in the grey gradients to really blend. Is it necessary for most applications, absolutely not. But there is a subtle difference when capturing luminosity, the image has a different feel and depth to it that is almost tangible."

He also added that he's learned to "see" scenes and visualize light differently. This jibes with Bill Mosca, who likens the mono cameras to shooting with mono film. "With b/w film, when I make an exposure, I'm fully committed to a monochrome image.

"This forces me to see and think in b/w in a way that digital color can't. Somewhere in the back of my mind I'm thinking 'I could make a color image from this exposure.' That said, a deep b/w mindset isn't worth the $9K or even $2.5K price tag."

I'm of the same mind. It's rare that I perform a color conversion; I always have an intention to shoot mono images, such as those above and below, and I will set my camera to mono mode so that I can visualize the scene that way. 

In fact, while I won't go quite as far as buying a black-and-white camera, I do tend to use a specific camera if I'm planning to shoot black-and-white images: the Olympus PEN-F (pictured below) with its glorious Tri-X-like monochrome mode. 

Still, it's fascinating to hear from someone like Justin on the difference that these cameras have made to the way he shoots and understands images. Make sure to check out his work on his website and his Instagram.

If you enjoyed this article, you might be interested in how to shoot the best black and white photography. For post-production, here's how to convert a black-and-white image in Photoshop, as well as how to print professional black-and-white photos. 

If you have just started out with your analog photography or you're a seasoned film shooter still fighting off the digital age, things are about to get even more expensive to keep your film dream alive if you use Kodak. 

Some of the best film for 35mm cameras, as well as 120 and sheet film, will be seeing a huge surge in price. According to National Photo in Japan (by way of Digital Camera Info) there will be a price change for Kodak film that will see some stock hit with a 40% increase, with others receiving a 20% price hike.

A manufacturer's list has been shared, detailing the suggested retail prices that will be in effect as of January 16. All the prices below have been approximated from their cost in Japanese yen:

E100
1 roll of 36xp: $42.58 / £35.08
120 pro pack (5 rolls): $152.16 / £125.37
4x5 sheets (10 sheets): $135.45 / £111.60

Ektar 100
1 roll of 36xp: $25.79 / £21.25
120 pro pack (5 rolls): $123.50 / £101.76
4x5 sheets (10 sheets): $133.71 / £110.17

Portra 160
36 Pro pack (5 rolls): $123.88 / £102.07
120 pro pack (5 rolls): $125.09 / £103.07
4x5 sheets (10 sheets): $126.53 / £104.25

Portra 400
36 Pro pack (5 rolls): $142.18 / $117.15
120 pro pack (5 rolls): $137.57 / £166.96
4x5 sheets (10 sheets): $164.95/ 135.91

Portra 800
1 roll 36xp: $31.69 / £26.11
120 pro pack (5 rolls): $167.44 / £137.96

Ultra Max 800
1 roll 36xp: $15.88 / £13.08

Unfortunately, the bad news doesn't stop there as Kodak's popular line of black-and-white film is also seeing a price increase:

T-Max 100
1 roll 24xp: $18.00 / £14.83
1 roll 36xp: $21.55 / £17.76
4x5 (50 sheets): $376.40 / £310.13

Tri-X: 400
1 roll 24xp: $18.38 / £15.14
1 roll 36xp: $21.93 / £18.07
120 pro pack (5 rolls): $113.82 / £138.14

These price increases will yet again hit the analog community very hard, and some of you might even think of switching back to digital. However, these are only for Kodak film stocks – so while you might be Kodak's biggest fan ever, it might be time to take a look at alternatives, especially in the monochrome realm, from the likes of Ilford and Fomapan.

And of course, these increases are only for Japan – but historically, prices rolled out there are a precursor to similar increases in the rest of the world. So, put bluntly, if you don't want to switch from Kodak then you'd better put your money where your mouth is and order in bulk before the price hikes on January 16…

If this has been interesting, why not take a look at our best film cameras guide to help your next camera purchase or better still take a look at our best film guide to help you move away from Kodak?

If you're part of the analog community still representing, using and respecting film, then Ilford's announcement to bring its Kentmere 100 and Kentmere 400 stocks to medium format photographers in 120 rolls is sweet music indeed.

Not only are we being treated to more choices within the market, we now have a more affordable option than other offerings from Ilford – I'm thinking about the legendary Ilford HP5 film. 

Now, I love HP5 and its high-contrast look and feel, but because of its fame, it has become a pricey black-and-white film stock to keep replenishing your film cameras with – especially if you're using medium format cameras that, at the generous end, give you 16 shots per roll of 120 film, while 6x9 cameras only give you 8 shots per roll (that's coming from a slightly nervous Fuji 6x9 owner!).

However, we can now rejoice as these wonderful film stocks that have been within Ilford's lineup of 35mm for years are now available in 120. The Kentmere Pan100 is a medium-speed panchromatic film that offers fine grain and good sharpness. It has a broad tonal range with ‘medium’ contrast and a wide and forgiving exposure latitude.

Kentmere Pan100 sample images

If an ISO 100 film is a little too slow for your tastes, then Kentmere 400 will be right up your street (it's been a personal favorite of mine in 35mm for years). Kentmere Pan 400 has a classic-looking grain with great sharpness, tones, and pleasing contrast. 

It also has a wide and forgiving exposure latitude with excellent ‘push’ characteristics. Compared to Kentmere Pan 100, this is a faster film with more noticeable grain, a touch less contrast, and better latitude for pushing.

Kentmere Pan400 sample images

Kentmere films aim to offer the perfect balance of quality, value, and performance. By introducing Kentmere Pan100 and 400 in 120 format, Inford is primarily targeting budget-conscious photographers who still demand high quality, consistent performance and want to create beautiful images that they can print or scan.

Ilford also makes it known that the Kentmere brand of film is not designed for professional use, but can produce results that professionals can be proud of. Make of that what you will, but I know I have personally developed many rolls of Kentmere 400 in 35mm and have always been pleased with the result – and now that it's available in 120, I will certainly be picking up a few rolls to try out. 

For those that are wondering what the price difference between Kentmere and Ilford's HP5 Plus in 120 is, the new Kentmere Pan100 and Kentmere Pan400 will be priced at £5 per roll (roughly $5.80  / AU$9.00) 

If this news has been interesting then we highly recommend taking a look at our best film cameras guide followed by a deep dive into the best film stocks.

Disposable cameras offer a wonderfully simple way to rediscover the charm of analogue photography. There are no menus, complicated settings or endless retakes to think about; you simply point, press the shutter and enjoy the moment. They are ideal for weddings, parties, festivals and weekend trips, where their uncomplicated design encourages people to take photographs without worrying about whether every image is technically perfect.

Much of their appeal comes from not seeing the results straight away. You have to wait until the film is developed, and that delay makes the whole experience feel more deliberate and rewarding. With only a limited number of frames available, each photograph matters, while the final prints often feel more personal than images left sitting on a phone.

Those photographs can be pinned to a wall, added to a scrapbook or passed around among friends, giving them a physical quality that digital images often lack. The unpredictable colours, grain and occasional imperfections are all part of the experience, and they help give disposable-camera photographs their distinctive character.

Despite the name, disposable cameras are not always as wasteful as they might sound. Some manufacturers operate recycling schemes that recover camera bodies and reuse certain components, helping to reduce unnecessary waste. Modern models are also generally reliable and robust, making them an easy, affordable, and enjoyable way to experience film photography.

The best disposable cameras

Best disposable color camera

This vibrant disposable camera not only catches the eye with its bright colors but also elevates the standard 27 exposures to a generous 39, all captured on Kodak Kodacolor film. The built-in flash extends its functionality with a versatile 4ft to 10ft range.

Encased in durable plastic, this camera is designed to endure a few bumps and knocks, making it a reliable companion. It's as if the saying "can't go wrong" was tailor-made for cameras of this caliber.

While 27-exposure versions are available, opting for the "27+12" (39-exposure) variant often proves to be the more economical choice.

Read our full Kodak Funsaver review

You can also buy Kodak Funsaver cameras in bulk packs and save even more money! The cameras can be found in bulk packs of 5 or 10, which makes them great for weddings or parties. You can find the best deals below.

Best classic disposable B&W camera

Kodak's Tri-X 400 stands as a legendary monochrome film, celebrated for its era-defining dramatic and contrasty aesthetic. Its allure has captured the hearts of countless photographers.

Excitingly, Tri-X is now accessible in a single-use camera, presenting a compelling entry point for those eager to explore the realm of analog photography.

This convenient package not only includes 27 shots of the iconic Tri-X but also features what Kodak proudly describes as the most potent flash ever incorporated into a disposable camera.

This formidable flash seamlessly complements the high-key drama inherent in the Tri-X film stock, elevating your photographic experience to new heights.

Read more: Kodak Tri-X 400 Single-Use Camera review

Best waterproof disposable film camera

This eye-catching device boasts generously sized controls, ensuring that even the younger members of your family can effortlessly navigate its functions.

Dive into the depths of creativity with its waterproof capability, allowing you to capture the wonders beneath the waves at depths of up to 50 feet (15m).

Armed with Kodak Ultra Max 800 film, this camera promises clear and vivid images underwater. While it skips the flash for aquatic adventures, it's perfect for outdoor and daylight photography.

Equipped with a sunscreen and scratch-resistant lens, the film is securely housed within a robust and shock-proof shell, making it the ideal companion for your vacation escapades.

Read our full Kodak Sport Single-Use Camera review

Best budget B&W disposable camera

The Harman single-use black & white film camera boasts a surprisingly vibrant finish, adding a touch of color to its simplicity.

The convenience of being pre-loaded with film and a battery means you can start capturing moments right out of the box, making it a fun and accessible choice for casual snapshots.

However, it falls behind in image quality compared to even budget-friendly mobile phones available today.

Despite this, the camera finds its niche for those aiming to recreate an authentic snapshot reminiscent of bygone decades.

Read our full Ilford HP5 Plus B&W Single Use Camera review

Best single use camera for creativity

Lomography takes pride in its commitment to crafting unique films that infuse a distinctive retro aesthetic into your photographic endeavors. The camera in question is equipped with a roll of LomoChrome Metropolis, a film intentionally designed to yield moody, subdued shots.

The resulting effect mirrors the captivating visuals often associated with Eastern European films from the Cold War era - where colors may appear slightly askew, yet contribute to endowing your photography with a distinctive artistic flair.

Unlocking even more creative possibilities, this camera comes with three filter gels that can be seamlessly placed over the flash, enabling you to impart an even more unconventional color palette to your portraits.

What sets this camera apart is its versatility; not only can you replace the film at your discretion, but you also have the flexibility to swap out the battery, rendering it a reusable tool for your photographic endeavors.

Imagine the possibilities - each time you load a fresh 35mm film, you have the freedom to explore and experiment with a wide array of visual styles.

Read our full Lomography Simple Use Color Negative review

Best reloadable B&W camera

To capture the nostalgic essence of black & white photographs from a bygone era, the Harman Reusable 35mm Film Camera proves to be an excellent choice.

What sets it apart is its inclusion of two rolls of 36-exposure Kentmere Pan ISO 400 black & white film, perfectly complementing the camera's performance.

Delving into the realm of the lo-fi aesthetic, this camera boasts a multitude of features that make it a compelling option for enthusiasts seeking to recreate the timeless charm of vintage snapshots.

Read our full Harman Reusable 35mm Film Camera review

Best reloadable camera for any film

I appreciate the extensive range of color options that Kodak provides for this camera, catering to a diverse array of tastes and moods.

The versatility in color choices adds a personal touch to the photography experience. Additionally, opting for a reloadable camera over a single-use one seems like a prudent choice in terms of value for money, despite the initial need to purchase film separately. The camera exhibits commendable build quality and handling, offering a satisfying user experience.

However, it's worth noting that, akin to other budget-friendly disposable or reloadable film cameras, the outright image quality may resemble something deemed 'passable' from an era long past.

This characteristic may evoke a sense of nostalgia for those who appreciate the vintage aesthetic, but it's essential to manage expectations regarding contemporary image standards.

Read our full Kodak M35 Reloadable Film Camera review

How to choose the best disposable camera

When choosing a disposable camera, one of the most important things to consider is the film inside, particularly its ISO rating. Film rated at ISO 400 or above is generally the most versatile option, as it can cope with a mixture of bright outdoor conditions and lower indoor light. Slower film can produce attractive results, but it usually performs best in strong daylight and offers less flexibility when conditions begin to change.

A built-in flash is essential if you expect to take photographs indoors, at parties or after dark. Disposable-camera lenses have relatively small apertures, so they need plenty of light to produce a usable image. Remember that the flash will only illuminate subjects within a limited distance, so it is best suited to people and objects positioned reasonably close to the camera.

Simplicity is another major part of the appeal, as disposable cameras should be easy for almost anyone to pick up and use. When buying them for a wedding, party or other celebration, you may also want to consider how they look. Some models have more decorative designs that can complement a table setting or event theme, while others favour a more traditional appearance.

There are plenty of inexpensive, lesser-known options available, but established film brands such as Kodak and Fujifilm are often the safer choice. Their experience producing film generally results in more predictable colours, exposure and overall image quality, which can be particularly important when you only have one opportunity to capture an occasion.

Finally, compare the number of exposures included and remember to account for processing costs. A 36-exposure camera may offer better value per photograph, while a 24 or 27-exposure model can be more manageable for a shorter event. Developing, scanning, and printing the film will add to the overall expense, so consider the complete cost rather than judging each camera solely by its purchase price.

How we test disposable cameras

To recommend the best disposable cameras, we put each one through a rigorous testing process to evaluate functionality and image quality. Our goal is to assess the build quality, lens performance, and the characteristics of the film included in each camera.

We conduct mechanical tests to examine key components like the winding mechanism, shutter, and flash, ensuring durability, reliability, and smooth operation. Electrical components, including the battery and flash, are also tested to confirm proper firing and synchronization with the shutter.

Image quality is evaluated in various lighting conditions to assess exposure accuracy, sharpness, and overall performance. We test flash output for range and consistency, ensuring it provides adequate illumination. Additionally, we check for any light leaks that could compromise image quality.

Choosing the right film can feel a little like walking into a darkroom without a safelight, especially if you are new to analog photography. With so many emulsions, formats, ISO speeds, and color profiles available, it is easy to feel overwhelmed before you have even loaded your camera.

In truth, the choice usually comes down to three simple things: the camera you are using, the look you want, and the kind of shooting experience you enjoy. Whether you are using a classic 35mm compact, exploring medium format, or slowing things down with large format sheets, your film choice will have a huge influence on the final image.

This guide focuses purely on traditional film stocks, so you will not find instant options such as Polaroid or Instax here. Instead, I have brought together a curated selection of some of the best films you can buy today, from timeless classics with decades of heritage to more experimental stocks bringing fresh energy to analog photography.

TheBest 35mm film, roll film, and sheet film in 2026:

Best color negative film

Kodak Portra 400 is one of the most revered colour negative films in modern analog photography, with a reputation that’s well earned among professionals and enthusiasts alike. Designed originally for portrait and wedding work, Portra’s balanced colour palette, gentle contrast, and signature fine grain have made it a go-to favourite for capturing everything from skin tones to landscapes with beautifully nuanced hues.

In practical use, Portra 400 excels because of its wide exposure latitude; it remains forgiving even when your meter isn’t perfect, which is especially helpful when shooting in changing light conditions or with older mechanical cameras. Its grain structure is exceptionally fine for a 400 ISO stock, lending itself beautifully to large prints and high-quality scans. While Portra is typically sold in multi-pack form rather than single rolls, the quality of results, neutral but rich colour reproduction, subtle tonal gradation, and reliable performance across varied lighting means many shooters consider it worth stocking multiple rolls.

Portra’s consistency also makes it ideal if you’re planning to digitise your negatives; the film’s smooth rendition takes well to scanning and scanning correction, meaning you can achieve usable results without heavy post-processing. Whether you’re creating portraits, landscapes, or daily life images, this film’s adaptability is part of why it’s one of the most recommended stocks for advanced shooters and beginners willing to invest in a versatile all-rounder.

See our full Kodak Portra 400 review

If your priority is razor-sharp images with vibrant, punchy colours, Kodak Ektar 100 is a standout choice in the world of colour negatives. As Kodak’s claim to having the “world’s finest grain” among colour stock suggests, the imagery from Ektar is notable for its exceptionally smooth grain structure and high definition, attributes that particularly shine when scanning or enlarging.

Ektar’s aesthetic differs from high-speed films like Portra 400; it’s optimised for well-lit conditions and landscape, nature, or commercial photography where crisp detail and saturated colour are paramount. Its colour palette leans towards bolder, punchier hues that give images a vivid quality straight out of the lab. Because it’s a slower film (ISO 100), you’ll generally want good light or tripod support, but in return, you get explosive colour depth and incredibly clean results.

While the cost per roll can be higher than standard consumer stocks, many shooters feel the investment is justified by the level of detail you can retrieve from each negative, especially when working with premium lenses or larger formats such as 120 or sheet film. If you prefer scanning your negatives or printing large, vibrant images, Ektar 100 is a compelling choice.

Read more: Kodak Ektar 100 review

Fujifilm Superia X-TRA 400 is widely recommended as a workhorse film that punches above many entry-level stocks. Its biggest draw is versatility: with an ISO of 400, it performs reliably in a broad range of lighting conditions, from bright outdoors to tricky indoor shots. In real-world use, the film demonstrates smooth, minimal grain and solid sharpness when exposed correctly, characteristics that make it suitable for everything from travel snapshots to everyday street photography.

Colour rendition on Superia tends towards a cooler, slightly muted palette with a notable magenta bias. This means hues are less punchy than some Kodak films, and some photographers might find the tonal shift less pleasing for portrait work. However, when you’re shooting scenes where fidelity, ease of use, and broad dynamic range are priorities, Superia remains a practical choice, especially considering how easy it is to find at retailers and labs.

Its biggest strength is consistency and availability: unlike many film stocks that have been discontinued or hard to source, Superia 400 remains widely stocked globally, meaning you won’t struggle to find it mid-roll or on last-minute trips. For photographers who want dependable performance without fuss, it’s a sensible everyday stock.

Read more: Fujifilm Superia X-TRA 400 review

Kodak UltraMax 400 is widely recognised as one of the most popular and accessible colour films, often recommended for beginners while remaining useful to more experienced shooters. Boasting an ISO of 400, this film handles lower light situations more gracefully than slower stocks, and its colour rendering produces bright, impactful images with a warm, natural saturation that’s great for everyday use.

The strength of UltraMax lies in its ease of use and adaptability. Its exposure latitude and smooth grain structure help you capture decent results across a variety of conditions — townscapes, portraits, landscapes, indoor scenes — without worrying about precise metering. For photographers who want solid, dependable results without fuss, this film strikes a compelling balance between performance and value. The colour palette tends to be vibrant and punchy but also broadly natural, making it a favourite among shooters who want reliable colour reproduction right out of the lab or scanner.

That said, UltraMax’s ubiquity means it’s occasionally seen as “unremarkable” by experienced users who prefer films with more specialised looks (e.g., ultra-fine grain or distinctive colour character). Still, for everyday use, travel photography, or first forays into analog, it remains one of the most robust all-purpose choices you can make today.

Read more: Kodak Ultramax 400 review

Kodak ColorPlus 200 is one of the most budget-friendly color negative films still widely available, and its appeal lies in simplicity rather than performance. It’s easy to shoot, uses standard C-41 processing, and delivers a distinctly muted, slightly warm look that leans more toward nostalgic family-album vibes than modern punchy color.

Images tend to have soft saturation and gentle contrast, which can look pleasant in good light, especially in sunlit outdoor scenes, but can feel a little flat in dull conditions. Grain and detail are more in line with consumer film than premium stocks, giving photos character but not the crispness or vibrancy of higher-end emulsions.

At ISO 200, it’s flexible enough for daytime use without being especially low-light friendly. Overall, ColorPlus isn’t a film you choose for technical excellence — it’s one you pick for price, accessibility, and an unfussy, vintage-leaning aesthetic that makes it well-suited to casual shooting and learning the basics.

Read more: Kodak ColorPlus 200 review

Kodak Kodacolor 200 is one of the most talked-about recent colour films simply because it represents Kodak’s first new film releases in many years, and it arrives at an attractive price point relative to what many other stocks cost. Though there’s industry chatter that it’s closely related to existing films like ColorPlus 200, in practice Kodacolor 200 delivers a slightly more saturated and lively rendering that many shooters will find pleasant without being over-the-top.

Shot at ISO 200 and processed via the ubiquitous C-41 chemistry, Kodacolor 200 is designed for everyday photography in variable light, from bright outdoor scenes to casual portraits in mixed conditions. In use, it shows fine but noticeable grain, which gives images a clear analog character without overly dominating detail, and its exposure latitude handles typical daylight situations well, highlights glow gently, and shadows retain detail unless you’re up against very high contrast light.

Compared with some of Kodak’s more striking stocks, like Ultramax 400, Kodacolor 200 isn’t about flashy, saturated colour. Instead, it offers a softer, dependable look that feels familiar and pleasing, especially for shooters who enjoy the lo-fi charm of film without making colour rendition the sole focus. Whether that stems from minor tweaks to the underlying emulsion or simply optimism around Kodak’s rebranding, the result is a film that sits comfortably between affordable accessibility and attractive everyday performance.

Overall, Kodacolor 200 is a strong option for photographers seeking a budget-friendly, easy-to-shoot colour film with a classic aesthetic, particularly if you’re curious about Kodak’s newly revived film lineup and want a versatile ISO 200 stock that doesn’t demand perfect light to produce pleasing results.

Read our full Kodak Kodacolor 200 review

Harman Switch Azure is not a film stock for everyone, but that is exactly what makes it so interesting. Its wild, unpredictable color shifts give images a strange and often haunting atmosphere, turning even flat or uninspiring light into something far more memorable. Where a more conventional color-negative film might deliver safe, familiar results, Switch Azure leans into the unexpected.

That unpredictability does come with compromises. Skin tones can be particularly divisive, often drifting into blue in a way that will not suit portraits or serious professional work. This is not a film I would choose for anything that requires accuracy, consistency, or clean commercial results. Instead, it is best approached as a creative experiment, where the surprises are part of the appeal.

What makes Switch Azure so enjoyable is the sense of adventure it brings back to shooting film. Every frame feels like a gamble, and the final look can vary depending on lighting, exposure, processing, and even the scanner used. For photographers who enjoy control, that may be frustrating; for those who like analog photography at its most playful and unpredictable, it is genuinely exciting.

As a buying guide choice, Harman Switch Azure is best recommended as a fun, experimental color-negative film rather than an everyday stock. It will not replace Kodak Ultramax, Portra, or Gold for dependable results, but for strange colors, atmospheric scenes, and a completely different shooting experience, it is a wonderfully bold addition to the growing world of new film stocks.

Read our full Harman Switch Azure 35mm reivew

Best black and white film

Ilford HP5 Plus is one of the most enduring and widely used black-and-white films available today, a true workhorse that’s earned its reputation among students, hobbyists, and experienced monochrome shooters alike. Rated at ISO 400, HP5 Plus strikes a balance between speed, grain structure, and tonal range that makes it easy to shoot in a wide variety of lighting conditions.

From the very first roll, it’s clear why HP5 Plus remains so popular: it produces rich, textured images with a classic silver-grain look that retains character without overwhelming detail. Its grain sits comfortably between ultra-fine stocks and coarser high-speed films, giving images that traditional film feels while remaining sharp and legible when scanned or printed.

One of HP5 Plus’s most appreciated qualities is its forgiveness. It responds well to over- and under-exposure, and developers often push it to EI 800, 1600, or even 3200 for low-light work with surprisingly usable results, a flexibility that beginners find reassuring and advanced shooters use creatively.

For photographers embarking on their first roll of monochrome film, or those who want a reliable all-rounder that won’t penalise exposure missteps, HP5 Plus is a dependable and affordable choice that sits comfortably in any kit bag.

Read our full Ilford HP5 Plus review

Kentmere Pan 200 is a welcome new addition to the budget black-and-white film scene, carving out a useful middle ground between the softer, flatter look of Kentmere’s 100 and the grainier utility of its 400-speed sibling. It’s a 200 ISO panchromatic negative stock that’s designed to deliver a bit more contrast and visual oomph than other Kentmere films, while still keeping price firmly down.

In real-world use you’ll find Pan 200 performs best in daylight or well-lit indoor conditions, where its classic B&W characteristics really come through. The highlights are clean and bright, the blacks go reasonably deep, and shadows still hold detail — giving images a pleasing level of drama without tipping into overly harsh territory. That makes it easy to work with when light is good and fast-changing, and it rewards careful composition with results that feel more deliberate and expressive than cheaper low-contrast stocks.

The grain on Pan 200 is noticeable but controlled, adding character without dominating the frame, and its exposure latitude is generous enough that a few mis-metered shots still yield usable negatives. Compared with stocks like Ilford HP5 Plus, it’s a bit less elastic in every lighting condition, but it hits a sweet spot of texture and punch without feeling muddy or washed out.

Importantly for this guide, Kentmere Pan 200 is very easy to shoot and develop, and it’s one of the most accessible black-and-white films you can buy — ideal for beginners finding their feet, or anyone who shoots monochrome regularly but doesn’t want to pay top-tier film prices. Its balance of contrast, grain, and price makes it a compelling choice if you want a classic film look that feels lively and fun to work with, without stepping up in cost to premium stocks.

Read our full Kentmere Pan 200 review

If there’s a black-and-white film that instantly conjures gritty streets, decisive moments, and documentary heritage, it’s Kodak TRI-X 400. This stock has been the backbone of photojournalism and reportage since the 1940s, and its legacy persists because of a compelling combination of tonal character, grain, and versatility.

At box speed, TRI-X delivers a punchy, moderately high-contrast image with pronounced grain that many photographers find appealing for street, portrait, and expressive documentary work. That grain isn’t a flaw here; it’s part of the film’s signature aesthetic, adding texture and mood that often looks almost nostalgic.

Where HP5 Plus leans slightly smoother, TRI-X embraces grain and contrast, which can give visuals a raw edge that suits subjects with graphic shapes, dramatic light, and narrative intent. Reviewers and photographers often note that pushing TRI-X to EI 800 or even higher enhances its character without losing significant detail, making it ideal for low-light environments or creative experimentation.

While the grain and contrast aren’t to everyone’s taste, some find it too assertive for fine art or smooth portraiture, TRI-X’s enduring appeal lies in its ability to render scenes with feeling and presence, and to do so reliably roll after roll.

Ilford XP2 Super 400 is a unique and practical entry in the black-and-white film world. While it’s technically a black-and-white stock, it is processed using the standard C-41 colour negative process that virtually every lab offers, no specialised B&W chemistry required.

This chromogenic film stands out for its exceptionally fine, smooth grain, noticeably subtler than conventional silver-based stocks at the same ISO. That, combined with its forgiving exposure latitude and broad sensitivity range, makes XP2 Super highly practical for everyday shooting and travel, especially if lab access is limited.

Because you’re not tied to black-and-white chemistry, you can drop off rolls at virtually any photo lab along the way and return home with usable scans or prints. XP2’s tones skew slightly more neutral and less gritty than traditional mono films, which makes it a good choice if you want a refined black-and-white aesthetic without heavy grain.

Photographers who enjoy colour negative convenience but prefer monochrome imagery often find XP2 Super a compelling bridge between worlds, and its ability to take slightly higher or lower exposure indices without drama adds to its everyday flexibility.

Read our full Ilford XP2 Super 400 review

For a more traditional fine-art black-and-white experience, Ilford FP4 Plus is a medium-speed (ISO 125) film that delivers fine grain, rich tonality, and excellent sharpness. This makes it a favourite for landscape, architecture, and still-life work where detail and control are priorities.

FP4 Plus’s lower sensitivity compared with ISO 400 stocks means it shines in well-lit conditions, and its grain structure is noticeably smoother, ideal if you plan to make large prints or seek a more subtle microscope of detail. Its tonality reads as classic and balanced, with deep blacks and luminous midtones that give prints depth without feeling heavy.

Though a slower film necessitates more light or tripod support, the visual payoff for those willing to meter and expose precisely is excellent, especially for photographers who prioritise tonal range and crispness over speed.

Best transparency film

Slide film occupies a distinctive place in analogue photography: instead of negatives, it produces positive transparencies that can be viewed directly or projected without printing. This transparency yields extremely vibrant colour, fine grain, and very high resolution that appeals to landscape photographers, travel shooters, and anyone who loves colour rendered with immediacy.

Kodak’s Ektachrome E100 is a revival of one of the most storied slide films of all time. It excels at producing natural but richly saturated colours with smooth tonal transitions and excellent detail, making it a compelling choice for daylight shooting and well-lit scenes.

While more demanding of precise exposure, slide film’s limited dynamic range doesn’t forgive error as colour negative film does, Ektachrome rewards careful metering with transparency slides that showcase colour depth, tight tonality, and sharpness that’s hard to match with negatives.

Used creatively, Ektachrome slides have a distinctive pop and clarity that render landscapes, architecture, and even portraits with a classic slide aesthetic. However, because of the necessity for good light and accurate exposure, this stock is often chosen for intentional shooting situations rather than everyday snapshots.

Fujifilm’s Fujichrome Provia 100F is often cited among slide film shooters as one of the most versatile and reliable transparency stocks available. Designed to produce colours that closely match the scene as you remember it, without the extreme saturation of some other slide films, Provia offers rich but natural hues and fine grain that make images feel balanced and lifelike.

Where films like Velvia push contrast and saturation to the limit, Provia’s more controlled palette and rendering make it suitable for a wider range of subjects, including landscapes, portraits, and travel scenes. Its versatility also extends to decent reciprocity performance in longer exposures, meaning it can hold colour and exposure integrity up to around two minutes without correction.

One thing to keep in mind with slide film generally, and Provia specifically, is that it doesn’t offer the same latitude as colour negative stock, so careful metering and consistent lighting help ensure the best results. But when you get it right, Provia 100F’s slides deliver crisp detail and faithful colour that make them a joy to view straight from a lightbox or projector.

Velvia 100 arrived as Velvia 50's more responsible, more usable sibling. It's one f-stop faster, which makes it a fraction easier to use if the light's not good, and the colors are perhaps a bit more natural-looking than Velvia 50's, but there's not much in it. Both films use widely-available E-6 processing, unlike the other old favorite, Kodachrome.

How to choose the best film

Film photography falls into three main categories: color negative film, black-and-white negative film, and transparency (slide) film.

Color Negative Film – This is one of the most widely used types of film, available at specialist camera stores as well as online retailers like Amazon. Developed using the C-41 process—offered by nearly all film labs—it’s an excellent choice for digitization, as it easily accommodates the orange mask and negative tones inherent to color film.

Black-and-White Negative Film – Often considered a more artistic choice, black-and-white film is a favorite among film enthusiasts. One of its biggest advantages is that it can be developed at home, making it popular with students and those who enjoy the hands-on process of film development. However, home processing requires more effort than simply sending it to a lab.

Transparency (Slide) Film – Once a top choice for professional photographers, slide film produces direct positives rather than negatives, eliminating the need for an intermediate printing stage that could degrade quality and add costs. In the past, it was a go-to for submitting work to editors and picture libraries. While it’s less common today, a selection of slide films is still available. Modern transparency films are developed using the E-6 process, which is still widely offered by labs.

How we test film

At Digital Camera World, many of our reviewers and other contributors have been shooting since the heyday of film, so we're more than prepared to lend our critical eye to analog photography kit as well as digital. When we test film, we do exactly what you would expect – load it up into a film camera and shoot a few rolls. We assess the film's colour palette, consistency, dynamic range, grain and tolerance for over/underexposure.

We shoot a variety of different subjects – human, vegetable, animal and mineral – to get a sense of how the film performs in different situations, and will generally do our shooting at the manufacturer's recommended box speed. Learn more about how we test and review at Digital Camera World.

For printing photos at home, you need the best photo paper you can buy. No matter whether you're intending to exhibit your images, want to display them in a portfolio, or just want to store them to look back on in the future, the best photo paper will provide you with the essential media on which to do so.

When teamed with best photo printer, you'll be giving your photographs the quality look that they deserve, often at a cost that's not much more than using cheap papers. If you've ever tried printing photos on standard paper stocks, you probably already know that it doesn't exactly produce winning results. With proper, dedicated photo paper and the best printer ink, it's a different story.

Below, I've brought together the best photo paper from my favorite manufacturers. I've included paper of all types, including glossy, matte and lustre. If you're not sure on the terminology, scroll to the bottom where I've included a section on how to choose photo paper, as well as answers to common FAQs.

The Quick List

Best photo paper for inkjet printers 

Canon photo papers

Though best known for its class-leading mirrorless and DSLR cameras, Canon also produces excellent photo paper in a variety of configurations. If you already have a Canon-made printer, buying Canon photo paper can be a good idea — here is a selection of my favorite Canon photo papers.

For those printing with a typical 5-ink PIXMA multi-function document/photo printer, Canon’s Photo Paper Plus Glossy II PP-201 is the most sensible choice for performance and value for money. It’s a reasonably weighty 265gsm glossy photo paper with an attractive high-gloss finish.

For the best results, however, especially if you’re using a more exotic printer, Pro Platinum is the better option. It’s a fair bit pricier but is superior in quality and weight, at 300gsm. As Canon’s range-topping glossy paper, it has excellent brightness, enables sumptuous color rendition and is very resistant to fading.

The debate over whether glossy or luster finish is best has been going on since the days when we used to have our rolls of 35mm film processed on the high street. Luster isn’t as full-on shiny as glossy paper but it has advantages in reducing glare from strong light sources bouncing off the surface, and is preferable for handling if you’re passing prints around, as it’s more resistant to fingerprints.

Canon’s Photo Paper Pro Luster is an upmarket paper with an attractive look and feel, that delivers excellent results. Like other Canon ‘Pro’ papers, it’s priced accordingly and, if you’re happy to settle for a little less, check out Canon’s Photo Paper Plus Semi-gloss SG-201, which has a pleasant satin finish.

Available in a wide range of sizes up to A2/17x22-inch, this is Canon’s best matte photo paper. Unlike glossy, semi-gloss and lustre, there’s no reflection from the surface. Deep colors and rich blacks can look really dramatic. It works just fine with Canon’s dye-based printers up to and including the PIXMA PRO-200, and is even better with pigment-based printers like the imagePROGRAF PRO-300 and PRO-1000, which feature matte black inks.

For use on more mainstream PIXMA multi-function document/photo printers, MP-101 Matte Photo Paper works well and is much cheaper to buy. It’s also lighter in weight, making it easier to use for creative projects and creating greetings cards. With this in mind, there’s also a double-sided MP-101D version.

Epson photo papers

Epson offers a huge range of photo papers, to the point where all the options can be a little overwhelming at times. Still, the name has become synonymous with reliable quality in photo printing, and you're unlikely to wrong with Epson photo paper. Here are some stocks that we particularly rate.

Like Canon, Epson offers a wide range of glossy papers to suit different needs and budgets. Going up through the price range, there’s Epson Value Glossy, Epson Photo Paper Glossy, Epson Premium Photo Paper Glossy and Epson Ultra Photo Paper Glossy. For performance and price, the Premium Glossy paper gives the best mix of standout performance, with Epson’s six-ink dye-based photo inkjet printers, without spending over the odds.

Color rendition is excellent and the high-gloss surface is superb. It’s only really worth trading up to the range-topping Ultra Glossy paper if you want the heavier 300gsm paper weight, compared with the Premium paper’s 265gsm. Another advantage of the Premium paper is that it’s available in a number of roll options, ideal for use with Epson’s larger-format printers that have built-in or optional roll feeders.

Fully glossy paper can hang awkwardly on the wall, diminishing the image if strong light sources are bouncing back off its surface. Luster papers are often preferred but not everyone likes a textured finish.

This semi-gloss premium photo paper strikes a good balance with a glare-resistant but ‘cockle-free’ finish that makes it highly suitable for exhibition-grade printing. It enables excellent resolution for retention of ultra-fine detail, along with rich color saturation and deep blacks.

The paper performs equally well with Epson’s dye-based printers and its more pro-grade pigment-based photo printers like the SureColor P700 and P900, although slight bronzing can be apparent with pigment inks. A variety of cut-sheet sizes is available, as well as various roll options.

Hahnemühle papers

Hahnemühle is a name with rich heritage in photo paper and indeed all other types of paper, dating back centuries. There are plenty of professional photographers out there who insist on printing on nothing but Hahnemühle paper, and once again there is an enormous amount of choice available.

Hahnemühle has a history of top-quality papermaking that goes back to 1584, based at the same site in Germany throughout, to make use of its top-quality and entirely consistent natural water supply. Photo Rag Baryta is one of the company’s best-selling photo papers, from its Digital FineArt Glossy line-up.

There’s a truly vast range of Hahnemühle FineArt media to choose from and the Glossy section itself is very extensive, including metallic, pearl and satin options. The Photo Rag Baryta is based purely on cotton fibres and has a lovely natural whiteness. The smooth, glossy inkjet coating enables very vibrant color rendition along with superb sharpness and really deep blacks, ideal for really punchy results.

Hahnemühle’s Digital FineArt media is split into various categories that include matte smooth, matte textured, glossy and canvas. German Etching is a great all-rounder from the matte textured range. It’s genuine mould-made paper, based on a traditional and now very rare process, giving it a lovely tactile feel, along with a unique surface texture with a felt structure that generates a truly three-dimensional effect for photo prints.

Its 310gsm density also gives it a really substantial, top-quality look and feel. Vivid color and really deep blacks are assured by the premium matte inkjet coating.

Canson papers

Another name that carries a lot of weight and heritage in the photo paper world, Canson is practically synonymous with high-end printing media. Its matte papers are particularly highly desired, with excellent archival qualities that should see them stand the test of time. If you want a long-lasting print, Canson is a great choice.

Canson has long been renowned as a maker of top-quality fine art papers. More recently, it’s gained added prestige with the acquisition of ARCHES, a master papermaker since 1492 and the only paper mill in France using a traditional cylinder mould process for all of its papers.

Current choices in the Canson Infinity ARCHES line-up include 88, BFK Rives Pure White, BFK Rives White and Aquarelle Rag. The 88 is made entirely from cotton fibres and has an ultra-smooth matte finish.

As with all of the other fine art papers in our guide, it’s completely free of any optical brighteners and has excellent archival qualities. Photo print quality is similarly top-drawer, with natural whites, rich blacks and superb tonal range.

Many photographers favor matte paper for printing and Rag Photographique from the Canson Infinity line-up is one of the best. It’s available in two different densities, in both cut sheet and roll options, and there’s also a double-sided ‘Duo’ version.

It’s created from cotton fibers but includes additional natural minerals to enable an exceptionally smooth white tone. It’s also particularly long-lasting, having been developed to satisfy museum requirements as well as catering to the digital fine art market in general. The paper is wonderfully smooth to the touch and delivers superb photo print quality with particularly deep blacks.

The base material for this lustre photo paper is made purely from cotton fibers, but it also has a microporous top layer coating to give it a lustre finish. As such, it’s based on a paper that was a favourite for many years in the original Platinum/Platine traditional photographic market for conventional darkroom printing.

The ‘digital darkroom’ Platine Fibre Rag has the same look and feel as its conventional forebear, the F-Type Baryta Fibre paper. Excellent for both color and black and white photo printing, it has a superb tonal range from really deep blacks to bright whites.

How to choose the best photo paper

Photo papers fall into two main categories. The first includes glossy, semi-gloss and lustre (or luster) papers, which have a protective, shiny top layer. These are most ideal for use with photo printers like the Canon PIXMA PRO-200 and even general home printers, which use dye-based inks to generate photo output. The water-based ink is fully absorbed beneath the top layer, enabling excellent uniformity with an entirely smooth finish.

The second category is matte photo papers.With matte photo papers, the ink is laid on the top-layer inkjet coating, rather than being absorbed beneath it. These are better suited to printers such as the Canon imagePROGRAF PRO-300 and Epson SureColor P700 and SureColor P900, which use pigment-based inks.

Unlike dye-based inks, the pigments in these inks is suspended in the liquid rather than being dissolved. The larger molecules of the pigments are more robust and better suited to matte paper.

They’re also suitable for printing on glossy, semi-gloss and lustre photo papers but less ideal than dye-based inks. That’s because the pigments generally won’t be fully absorbed beneath the outer layer, which can give rise to ‘bronzing’, where the print looks blank and lifeless when viewed from certain angles. Gloss differential can also be a problem, where areas of the print with a denser covering of ink look less glossy than areas with a relatively light covering.

Glossy papers work well with photographs with deep, rich colors, while matte paper is usually more suitable for black and white photos. However, note that glossy papers attract fingerprints more easily, and suffer more from glare in direct sunlight or bright lighting.

How we test photo paper

At Digital Camera World, we have assembled an experienced team of photography journalists, testers and photographers who have been writing about digital imaging right from its very inception. Some of us were film camera journalists before that, and so we have plenty of experience with the more hands-on aspects of photography such as photo printing. Read more about how we test and review at Digital Camera World.

Not sure what you're looking for when it comes to finding the best photo paper? To give you a better steer, here are some answers to common questions about buying the right photo papers and inks for your photography projects.

Trends are certainly a thing within the photographic community, and many of you have been picking up an old film camera and shooting 36 frames of nostalgia, or 120 for the film aficionados. 

Film photography has become so popular again that there is now an official list from the online camera store B&H Photo Video, which has showcased the most purchased film stocks in 2022 – something I'm not sure we thought that we'd be writing about even 5 years ago.

The best film on our expert list is largely for 35mm cameras, but you'll find some 120 in there too. How does B&H Photo Video compare? Well there are the usual suspects that you would expect, and some that might have you either questioning other photographers' choices or highlighting a film you have never tried before! Scroll down below and see if your next roll of film is on this list.

Ilford's latest version of its classic fast film, which can be developed in traditional black-and-white chemistry. It is a great all-round film, suitable to those who just want to try monochrome – or for those who are looking for a film that will respond well to push processing for lowlight use. 

What can you say about Kodak Tri-X? Made famous by a generation of documentary and war photographers, it's pretty tolerant of exposure variations and push/pull processing and produces strong gritty images with good detail rendition. Maybe a bit rough-and-ready for today's tastes, but it still has 'the look'.

CineStill 800T is a re-formatted movie stock that has been prepared and packaged for use in still cameras. Utilizing a unique "Premoval" stage, the traditional anti-halation rem-jet layer has been removed from this film, enabling its development in C-41 chemistry as well as the motion picture standard ECN-2 process.

Benefitting from the distinct qualities of a high-speed motion picture stock, this color negative film is balanced for tungsten, incandescent, and fluorescent light and exhibits a nominal sensitivity of ISO 800/30°. If exposing under daylight conditions, an 85B filter is recommended along with exposing the film at ISO 500 for normal results. The high film speed is ideal for working in difficult, low-lighting conditions and  well-suited to push processing by up to 3 stops.

Ilford's latest version of its classic fast film, which can be developed in traditional black-and-white chemistry. It is a great all-round film, suitable to those who just want to try monochrome – or for those who are looking for a film that will respond well to push processing for lowlight use. 

Portra 800 film has gained a passionate following amongst the film community thanks to its flexibility when shooting in different lighting conditions and its beautifully rendered grain and colors. The only downside with Kodak Portra 800 is that it's only sold in packs of five, so you can't officially buy a single roll to experiment with (although you might be able to find single rolls on eBay, be warned that they will have been taken out of their official packaging). However, it's such a good quality film that we can almost guarantee you won't be disappointed.

Kodak claims the world's finest grain for a color negative film, thanks to its T-Grain technology. This film also boasts high saturation and sharpness, and Kodak says it's ideal for scanning and enlarging. Its rendition looks ideal for commercial and landscape photography, and it's cheaper than shooting transparency film.

Kentmere Pan 400 is a flexible and high-speed black and white negative film offering a nominal sensitivity of ISO 400/27°, making it suitable for use in available light and action photography, as well as general use. The film is characterized by a fine grain structure and good sharpness, as well as a broad tonal range and wide exposure latitude.

Portra 400 film has gained a passionate following amongst the film community thanks to its flexibility when shooting in different lighting conditions and its beautifully rendered grain and colors. The only downside with Kodak Portra 400 is that it's only sold in packs of three or five, so you can't officially buy a single roll to experiment with (although you might be able to find single rolls on eBay, be warned that they will have been taken out of their official packaging). However, it's such a good quality film that we can almost guarantee you won't be disappointed.

Fujifilm 200 Color Negative Film is a medium-speed daylight-balanced film offering a vivid color palette and excellent sharpness. It features a nominal sensitivity of ISO 200/24° along with a wide exposure latitude for use in a variety of lighting conditions. The film offers beautiful and natural skin tones for portraits and group settings, and its fine-grain structure enables high-quality results for prints and enlargements. Greens are also enriched by this film making it the perfect 35mm candidate for landscape work.

So no matter what your interest or skill level it goes to show that any film can become popular, who would of thought 5 years ago that we would be even talking about film again, let alone having a best film sold in 2022! The best thing about this list from B&H is that all of them are in stock and ready to ship, so if you have been wanting a film on this list, maybe now is the time to buy before its too late!

If you're feeling inspired, check out the best film cameras to see if you can find a model online. Is film photography better than digital?

Luxury advent calendars have become quite the thing over recent years. Instead of a simple picture, or a piece of chocolate, these box shaped calendars give you more luxury surprises through the month of December - perfume, perhaps, or a mini bottle of gin. The new Ilford 35mm Gift Calendar is designed for film shooters - and gives you a roll of film behind each panel. The calendar is being shown for the first time at The Photography Show, in Birmingham, UK - which runs until Tuesday, 21 September.

The Ilford 35mm Gift Calendar doesn't have the traditional 24 windows - instead making do with a dozen – so more suitable for the 12 Days of Christmas, rather than for counting down Advent. There is a mix of Kentmere and Ilford 36-exposure 35mm films - and other mystery goodies - we are told. 

In total you get 11 rolls of your film for a retail cost of $125 / £85 - which Harman Technology reassures us is 'cheaper than the sum of its parts'. The calendar will go on sale from mid-October just in time for the season of goodwill.

Also on show on the Harman Technology stand at The Photography Show, is the Ilford Pop-up Darkroom - which offers a portable, space to develop and print your analog photos, that can be packed out of the way when it is not needed.

Read more
Best darkroom equipment
Best film - 35mm, roll and sheet
Best film camera

Ilford has come up with a great way of adding a darkroom without you needing you remodel your home. The fold-way all-black construction is essentially a tent that has been made big enough for you to stand in, and to put in a table to put your enlarger and printing trays on. The Ilford Pop-up Darkroom is being shown for the first time at The Photography Show, in Birmingham, UK - which opened its doors today for its four-day event.

The external metal frame is approximately 2.2m tall when erected and should fit in most standard ceiling height rooms, says Ilford, while still creating a workable 1.3 x 1.3m space to print while standing or seated.  

A durable light tight black material clips to the frame while an accompanying ground mat offers protection for your flooring and can be fastened to the darkroom material. 

A built-in air vent at base of the darkroom allows for an optional fan / air blower to be used and once sealed the incoming air will also expand the inner dimensions. A smaller vent is also included closer to the top of the darkroom to attach air extraction tubes (not included). 

The whole contraption fits in a supplied storage bag measuring 68 x 25 x 25cm and weighing 8kg / 17.5lbs.

The retail price has not be set yet, but Digital Camera World has been told that when the Pop-up Darkroom goes on sale in November it will sell for around $320 / £220.

To accompany the darkroom-in-a-bag, Ilford are also launching a Darkroom Starter Kit - that they have produced in conjunction with Paterson. This will include:

• 1 x Ilford Multigrade RC Deluxe Pearl Paper 8x10” 25 sheet box

• 1 x Ilford Multigrade Developer 500ml bottle

• 1 x Ilford Ilfostop 500ml bottle

• 1 x Ilford Rapid FIXER 500ml bottle

• 1 x Paterson 1200ml Graduate Cylinder

• 1 x Paterson 150ml Graduate Cylinder

• 1 x Paterson Chemical Mixer

• 1 x Paterson Thermometer Small (9”)

• 3 x Paterson 8x10 Trays (Red / White / Grey)

• 3 x Paterson Print Tongs (Red / White / Grey)

• 1 x Paterson Micro Focus Finder

This gives you everything you need for film printing - apart from an enlarger and a safelight - and will retail for around $150 / £125.

Read more
Best darkroom equipment
Best film - 35mm, roll and sheet
Best film camera

Ilford Photo is set to release the ILFORD Ilfocolor Rapid Retro Edition Single Use Camera.  This retro chic disposable camera comes pre-loaded with 27 exposures of ISO 400 color film and houses a built-in auto-recharging flash (with a recycling time of 15 seconds) and a fixed-focus wide-angle lens. 

A disposable camera might be the place to start if you’ve been tempted to jump on the retro bandwagon, but have been hesitant to take the plunge and invest in one of the best film cameras available. Even when the Ilfocolor Rapid Retro Edition Single Use Camera is spent, its zingy retro design – also reflected in the packaging – looks like it will provide a colorful nod to the past in any camera collection.

Australian photography website Inside Imaging broke the news and reported a US RRP of $14.95 and an anticipated release date of May 2021. It also detailed the camera’s 31mm f/11 lens, 1/125 sec shutter speed and included battery, so you have everything you need to start shooting straight from the box.

If it’s a healthy dose of nostalgia you’re after, you’re likely already familiar with the Ilfocolor name. But if black and white photography is more your thing, it’s worth checking out the Ilford Single Use Camera XP2 C41. This diddy disposable camera is available now and packs ILFORD’s XP2 SUPER film, which can be processed with the standard C41 chemicals used by high-street photo labs.

If you’re not into disposable cameras and are looking for an affordable reusable film camera, ILFORD released the SPRITE 35-II Reusable Film Camera earlier this year. It retails at $34.95 and its suitably retro design is available in black, and black and silver.

Read more: 

The best film cameras
Best 35mm film
Best disposable cameras in 2021
Ilford Sprite 35-II is a compact film camera
This Lego film camera set brings a classic back to life

Ilford has recently announced a new 35mm film camera to be released in January 2021. This may initially come as a surprise for some, but there has been quite a resurgence in film over the last few years. 

The camera Ilford is planning on releasing will be an affordable compact camera called the Sprite 35-II. This camera pays homage to the original Sprite 35, which was released back in the 1960s.  

Read More: Best 35mm film

With digital camera technology far beyond what film can produce, many photographers have completely left analog processes behind. However, there are many photographers that find the tactile nature of film extremely appealing, which is one of the reasons why film has been growing in popularity in recent years.

The Sprite 35-II will feature a 31mm f/9.0 fixed focus lens that will be akin to some disposable cameras, even though the Ilford Sprite 35-II will be a reusable camera. The shutter speed is also fixed at 1/120s, which means that it'll probably be best in brightly lit conditions. 

The upside to having a small aperture lens is that the Sprite 35-II will be compact and lightweight camera. Weighing in at only 122g, this camera is actually quite a bit lighter than many smartphones currently on the market. 

The Ilford Sprite 35-II is due to cost $34.95 / £39.99 and will be released in early 2021.

Read more: 
Best film cameras 2021
Best Lomography camera
Best camera for students
Zombie Yashica releases new 35mm films and camera

The Nik Collection by DXO has become a firm favorite amongst creative photographers. Plugins such as Color Efex Pro is an incredibly powerful tool for applying complex colour effects while HDR Efex Pro is the go-to choice for many photographers looking to blend multiple exposures for superior highlight and shadow detail. 

Of all the Nik Plugins, black and white conversion software Silver Efex Pro is arguably one of the most popular and with a recent update is now more flexible than ever. DXO has added 10 new film presets to the suite, having selected these carefully for their iconic status historically and based on their popularity during the days of analogue photography.  

The new films simulations include Adox Silver Max 21, Agfa Scala 200x, Bergger BRF 400 Plus, Foma 100, Fuji Neopan 400, Ilford Pan 100 and 400, Polaroid 667 and 672, and Rollei 100 Tonal. 

Each film type has characteristic qualities which benefit a range of varying image types.  For example Adox Silver Max 21 was a film which was adept at reproducing deep blacks and was a popular choice for portrait images. For landscape and studio photography Foma 100 was a great choice for its fine grain, high resolution and wide range of greys. Meanwhile Rollei 100 Tonal was often utilized by architectural photographers for its soft contrast properties and fine grain. 

With these new presets available in Silver Efex Pro, digital photographers can apply these sought after properties on demand, as part of a non-destructive workflow. Importantly the suite retains its previous film presets, including favourites such as Ilford Delta 100 Pro, Fuji Neopan 1600 and Kodak Tri-X 400TX, as well as U POINT technology for precise adjustments.

Each preset in the Nik collection was carefully modelled on sample photographs, taken in both lab conditions and the real world, to gain the most accurate results. A large body of this work was carried out by Dan Hughes, a lecturer in photography science at the Rochester Institute of Technology, who aimed to capture the grain, contrast and tonality characteristics of each film type.  

This major upgrade of the Nik collection adds a total of 42 new presets, improves RAW compatibility through the use of DxO PhotoLab 2 and enhanced support for high resolution screens when using Windows operating systems. The new version is optimized for use with machines operating macOS Catalina.

The Nik Collection 2 by DxO can be downloaded now from the DXO website priced $149/£125 ($79/£69 for an upgrade); previous users of the Collection, who purchased the suite after June 2019, are entitled to a free upgrade.

Read more

The best Black Friday camera deals in 2019

The best monitors for photo editing and photographers in 2019

The best stocking stuffers for photographers