Step into the world of 35mm photography with the Photography Discussion Roundtable, heard every Monday evening at 7:00 PM ET on BrandMeister DMR Talkgroup 31266 — the MichiganOne Nets channel. This engaging net is your chance to explore the art and science of photography, ask questions, and sharpen your skills in a welcoming, knowledge-rich environment.
Hosted by James N8TMP, Bob KB8DQQ, and Rick AD8KN, each brings a wealth of experience to the mic. Bob and James are seasoned wedding photographers, while Rick adds deep technical insight and practical know-how. Together, they guide discussions on camera features, techniques, terminology, and everything from aperture to artistic vision.
Whether you’re just starting out or looking to refine your craft, tune in and join the conversation. Your next great shot starts here.
The Future of Film: Where the Analog Industry Is Heading
If you’ve tried to buy color negative film lately, you already know: film is not dead, but it is no longer cheap or mass‑market. Instead, it is evolving into a smaller, enthusiast‑driven ecosystem that looks more like vinyl records than disposable point‑and‑shoots.
A Brief Look Back: How 35mm Became King
The story of analog’s future makes more sense if we remember how 35mm started. In the early 1910s, Oskar Barnack at Leica experimented with using 35mm motion‑picture stock for still photography, turning the film sideways and enlarging the frame to 24×36 mm. That “Ur‑Leica” prototype led to Leica’s first production 35mm camera in the mid‑1920s, and by the 1930s the 35mm “135” cartridge Kodak standardized had become the dominant small‑format still‑photo system.
Compared with plate and medium‑format cameras, 35mm offered compact bodies, fast lenses, and long rolls with roughly 36 exposures, which dramatically lowered cost per frame and made spontaneous photography practical. That combination of portability, reliability, and economy is what carried analog photography through most of the 20th century, right up until digital disrupted the consumer market.l
Demand Today: A Niche That Refuses to Die
Despite waves of “film is dead” headlines, demand has climbed enough that major manufacturers are adding capacity rather than shutting it down. Kodak has invested tens of millions of dollars to expand film production in Rochester, increasing annual capacity by several million rolls. Harman Technology (Ilford) likewise reports a decade of sustained growth and is putting multi‑million‑pound investments into black‑and‑white coating lines.
Market analysts see photographic film revenue growing modestly—on the order of 1–3% per year into the 2030s, depending on segment, which is slow but solid for a legacy medium. Much of that is driven by younger photographers attracted to the slower, more tactile process and distinctive look of film, amplified by social media and education programs.
Film Stocks: Fewer Mass Staples, More Boutique Options
The product mix is changing more than the overall volume. Some large‑scale, consumer color stocks have disappeared or become region‑specific, while prices for surviving films have risen sharply. For example, one 2025 analysis noted around 9% average price increases in a matter of months in the U.S., with certain Fujifilm slide films jumping the equivalent of several dollars per roll and double‑digit percentage hikes in Japan.
At the same time, we’re seeing new emulsions and revivals, especially in black‑and‑white and experimental color. Recent years have brought things like new Ektachrome variants, indie color negative films, and special‑effect stocks from Lomography and CineStill, plus fresh B&W films from Harman and smaller European makers. Black‑and‑white in particular looks like the safest long‑term bet: it is simpler to manufacture, easier to process at home, and has strong support from both major brands and micro‑producers.
Cameras and Hardware: Scarcity, Repairs, and New Builds
The limiting factor for many film shooters is becoming hardware, not emulsion. The pool of functioning legacy cameras shrinks every year, and the specialized repair knowledge for complex SLRs and electronic point‑and‑shoots is concentrated in an aging group of technicians. Enthusiasts expect repairs to become more expensive and less available, especially in smaller markets, as service centers consolidate and parts inventories dry up.
On the positive side, there is a small but growing wave of new film cameras, usually in the premium or boutique space rather than mass‑market plastic bodies. Recent years have seen newly designed 35mm and medium‑format cameras from small manufacturers, often at higher price points and lower volumes that reflect the new economics of film. 3D printing and small‑run machining help with replacement parts and simple cameras, but community voices point out that replacing the millions of dying point‑and‑shoots and SLRs would require Nikon‑ or Canon‑scale industrial tooling, not just hobby fabrication.
Labs, Scanning, and Hybrid Workflows
Processing is also transitioning from a corner‑drugstore model to something more centralized and hybrid. Small one‑hour minilabs are disappearing as their aging machines reach end of life and replacement gear only makes economic sense for high‑volume regional facilities. A “hub and spoke” pattern is emerging: you drop film at a local shop or mail it in, a large lab does the processing and scanning, and you receive digital files along with (optionally) your negatives or prints.
This pushes most photographers toward a hybrid workflow: shoot on analog, finish in digital. High‑resolution scans are now the default deliverable, with darkroom printing becoming a specialized craft rather than a mass service. Home development—especially for black‑and‑white and C‑41 with compact kits—has become an important way to keep costs sane and maintain local control when labs are far away.
Economics and Who Film Is “For”
One of the most important shifts is psychological: film is no longer the default, it is the deliberate choice. Rising raw‑material and energy costs, plus smaller production runs, push per‑roll prices higher and make each click more precious. Casual photographers who just want snapshots can get better results more cheaply with a phone; the people staying with film tend to be enthusiasts, artists, educators, and professionals who value the medium’s constraints and aesthetics.
Community discussions and market reports align on a similar long‑term picture: film becomes a robust, premium niche—smaller than at its 20th‑century peak, but stable and well‑supported by a combination of big manufacturers, specialty labs, and passionate small makers. In that sense, the future of film looks less like a museum and more like a craft brewery: fewer choices at the grocery store, but more character for those who seek it out.
What This Means for Shooters
For working photographers and serious hobbyists, a few practical implications emerge:
- Plan around formats. 35mm is likely to remain widely available but more expensive, while 120 looks surprisingly resilient thanks to ongoing professional and fine‑art use.
- Invest in maintainable gear. Mechanical cameras with available parts and known repair pathways are safer long‑term bets than fragile, highly automated point‑and‑shoots.
- Learn some chemistry. Basic black‑and‑white development skills can insulate you from lab closures and price hikes, and make shooting film economically sustainable.
- Embrace hybrid. Scanning and digital post‑processing are now central to how most people share and print their analog work.
For nets and clubs like ours, this transition offers an opportunity: we can be the place where knowledge about shooting, processing, and maintaining analog gear is preserved, shared, and updated for the next generation.
Previous and upcoming Photography Discussion Roundtable topics:
| Date | Topic |
| 8/11/2025 | What is Aperture in photography |
| 8/18/2025 | What is the Golden Triangle? |
| 8/25/2025 | Top photo editing software available in 2025 |
| 9/1/2025 | What is Depth of Field? |
| 9/8/2025 | What is Bokeh in photography? |
| 9/15/2025 | Understanding Lens Focal Length |
| 9/22/2025 | What are leading lines? |
| 9/29/2025 | What is Back-Button Focus? |
| 10/6/2025 | 5 important photography facts that I didn’t know when I started |
| 10/13/2025 | How to shoot in manual mode |
| 10/20/2025 | The different types of lenses |
| 10/27/2025 | All about camera filters |
| 11/3/2025 | On-camera flash vs off-camera flash |
| 11/10/2025 | How to use tripods and stabilizers |
| 11/17/2025 | What is ISO? |
| 11/24/2025 | Film vs digital? |
| 12/1/2025 | How to find and organize your photos in a logical manner |
| 12/8/2025 | Understanding long-exposure photography |
| 12/15/2025 | Enhancing the sky in your photos |
| 12/22/2025 | Where and how to learn more about photography techniques |
| 12/29/2025 | DSLR vs mirrorless cameras |
| 1/5/2026 | The exposure triangle |
| 1/12/2026 | How to develop your own personal photography style |
| 1/19/2026 | Color theory (histograms) in photography |
| 1/26/2026 | Photography ethics in the digital age |
| 2/2/2026 | The future of film and where the analog industry is going |
| 2/9/2026 | How to build a portfolio |
| 2/16/2026 | Photography hints and tips |
| 2/23/2026 | How to take action/motion photos |
| 3/2/2026 | Explaining photography terms |
| 3/9/2026 | Macro photography hints and tips |
| 3/16/2026 | Landscape photography hints and tips |
| 3/23/2026 | Portrait photography hints and tips |
| 3/30/2026 | Night photography hints and tips |
| 4/6/2026 | F-stops and how to use them |
| 4/13/2026 | What are the AE-L, AF-L, and *-buttons? What do they do? |
| 4/20/2026 | White balance explained |
| 4/27/2026 |
https://thediabeticham.com/previous-and-upcoming-photography-discussion-roundtable-topics/
A Quiz on this week’s Photography Discussion Net topic:
Which factor most strongly supports the continued niche demand for 35mm film in the future?
- A growing interest in tactile, slower creative processes among photographers
- The complete disappearance of film processing labs worldwide
- The rapid increase in megapixels of smartphone cameras
- The fact that 35mm film is always cheaper than digital equipment
Correct answer:
- This option is correct because it points to a motivational and emotional driver for using 35mm film that digital cannot easily replicate. Many photographers intentionally choose film to slow down, think before pressing the shutter, and enjoy the physical aspects of photography: handling rolls, advancing frames, and receiving developed negatives or prints. Over time, this ritual can become part of their creative identity. Furthermore, film’s unique look—such as characteristic grain, color palettes, and highlight roll-off—combined with the anticipation of not seeing results immediately, makes the process feel special. This experiential value does not depend on film being mainstream or cheap; it only requires a committed community that appreciates these qualities. That is why growing interest in tactile, slower creative processes is a strong foundation for the continued niche demand for 35mm film.
Historically, why did 35mm film become the dominant still photography format in the 20th century?
- It was only used by professional studio photographers
- Its compact size allowed for portable cameras with acceptable image quality
- It produced the largest negatives of any common film format
- It was the first photographic format ever invented
Correct answer:
2. This option is correct because the key historical advantage of 35mm film was its compromise between size and performance. The frame size of approximately allowed manufacturers to build compact rangefinders and SLRs that were easy to carry all day. This portability opened new possibilities for candid street photography, war reporting, and travel documentation. At the same time, improvements in film sensitivity and lens design meant that, despite being smaller than medium or large format, 35mm negatives could still be enlarged to make detailed prints. This combination of convenience and sufficient quality allowed 35mm to dominate consumer and professional markets throughout much of the 20th century.
Which development most directly threatened the mass-market dominance of 35mm film in the early 21st century?
- The rise of affordable digital cameras and smartphones
- The introduction of color film in the mid-20th century
- The invention of roll film in the 19th century
- The shift from rangefinder to SLR cameras
Correct answer:
1. This option is correct because affordable digital cameras and later smartphones directly replaced the main everyday uses of 35mm film. Digital imaging removed many barriers associated with film: you could shoot thousands of images at almost no additional cost, see results immediately, and delete mistakes. As image quality improved, digital compact cameras and DSLRs surpassed the needs of most consumers and many professionals. Smartphones then put capable cameras into nearly everyone’s pocket, making it unnecessary for most people to carry a separate film camera. This combination of convenience, cost savings over time, and integration with social media deeply undermined the business case for 35mm film as a mass-market product.
Looking to the future, which business strategy is most likely to help 35mm film manufacturers remain sustainable?
- Focusing on high-volume, low-margin mass production for all consumers
- Positioning film as a premium, artisanal product for enthusiasts
- Competing directly with smartphones on convenience and speed
- Abandoning physical film and producing only smartphone apps
Correct answer:
2. This option is correct because it recognizes that 35mm film is unlikely to return to mass-market dominance and instead will survive as a niche, premium product. By framing film as an intentional choice—similar to choosing vinyl records, fountain pens, or mechanical watches—manufacturers can justify higher prices that cover production costs at lower volumes. They can offer limited runs, special emulsions, and strong branding that appeals to collectors and serious hobbyists. This strategy also encourages investment in quality control and innovation within the analog space. Rather than chasing convenience, companies lean into what makes film different: its aesthetic, tactile process, and connection to photographic history, helping ensure long-term sustainability within a smaller but passionate community.
In the history of 35mm film, what was a major impact of widespread minilab processing (such as the one-hour labs in stores) during the late 20th century?
- It restricted film development to professional darkrooms only
- It made film photography slower and less accessible to casual users
- It dramatically increased convenience, reinforcing 35mm as the default consumer format
- It eliminated the need for film manufacturers by replacing physical film
Correct answer:
3. This option is correct because one-hour minilabs simplified the entire process of film use for ordinary people. Instead of mailing film away or visiting specialized labs with long turnaround times, customers could rely on neighborhood stores for quick service. This convenience encouraged frequent shooting and created a routine around dropping off and picking up film. As a result, 35mm remained deeply integrated into daily life—vacations, birthdays, and school events were all documented on film. The ease of processing also supported high volumes of film sales, which sustained manufacturers, camera makers, and the retail ecosystem around analog photography.
