The 10 Best Used 35mm Film Cameras (and who they’re perfect for)

Hunting for a used 35mm film camera can feel like thrifting for a leather jacket—half the fun is in the chase, and the “right” one is the one that fits your style and budget. Below are ten time-tested winners you can still find on the used market. I’ve mixed manual-focus SLRs, autofocus sleepers, rangefinders, and pocketable compacts so there’s something for every kind of shooter. For each pick you’ll get a quick vibe check, what it does brilliantly, and what to watch out for before you click “buy.”

1) Pentax K1000 — The Forever Student Camera

Why it’s great: The K1000 is the gateway drug of film SLRs: fully mechanical, straightforward, and built like a brick. One needle-in-the-viewfinder meter, one shutter speed dial, one ISO ring—done. The Pentax K-mount lens ecosystem is huge and affordable, from the classic 50mm f/2 to gorgeous SMC primes.

Best for: Beginners, teachers, and anyone who wants a no-nonsense camera that just works.

Pros

• All-mechanical shutter (fires without batteries)

• Vast, inexpensive K-mount lenses

• Simple meter you can learn in 5 minutes

Cons

• No aperture-priority or program modes

• Meter uses now-old LEDs/needle; check accuracy

• Prices have climbed thanks to its reputation

Buying tip: Budget for a CLA (clean, lube, adjust) if the advance feels gritty or the meter is jumpy.

2) Canon AE-1 Program — The Crowd-Pleaser

Why it’s great: The AE-1 Program modernized SLR shooting for the masses: Program and shutter-priority modes with a bright finder and punchy Canon FD glass. It’s a step up in automation while keeping that classic feel.

Best for: Shooters who want dependable auto exposure with manual control nearby.

Pros

• Program mode for point-and-shoot simplicity

• Excellent, affordable FD lenses (28/2.8, 50/1.4, 135/2.8)

• Easy to find bodies and parts

Cons

• The infamous “shutter squeak” (serviceable, but listen for it)

• Requires battery for shutter

• FD mount is orphaned (not a con if you’re staying in film land)

Buying tip: Dry fire on all speeds. A sluggish mirror return or squeal means it’s due for service.

3) Nikon FM2 (or FM2n) — The Tank with a Stopwatch

Why it’s great: A pro-grade, fully mechanical Nikon with 1/4000s top speed and 1/250s flash sync. If you love manual focus and precision, the FM2 is a lifetime camera that’s happy in rain, cold, and chaos.

Best for: Street shooters, travel photographers, and anyone who wants indestructible reliability.

Pros

• Mechanical shutter, meter sips power

• 1/4000s + 1/250s sync is fantastic for daylight flash

• Access to Nikon F-mount glass from budget to legendary (AI/AI-S)

Cons

• No auto exposure

• Good copies aren’t cheap

• Meter readout is basic LEDs (some prefer a needle)

Buying tip: Confirm the lens mount indexing (AI/AI-S) and avoid pre-AI lenses unless they’ve been converted.

4) Olympus OM-1 (or OM-1n) — The Compact Classic

Why it’s great: Small, quiet, and elegant. The shutter speed ring around the lens throat makes for fast, intuitive control. Zuiko primes are sharp, lightweight, and underrated.

Best for: Minimalists, hikers, and anyone who wants an SLR that feels like a rangefinder.

Pros

• Tiny for an SLR; whispery shutter

• Beautiful Zuiko prime lenses (28/3.5, 50/1.8, 85/2)

• All-mechanical operation

Cons

• Designed for mercury PX625 cells; plan a meter mod or adapter

• Light seals often need replacing

• OM system accessories can be more niche to source

Buying tip: Ask if the meter has been converted or calibrated for modern 1.5v cells.

5) Minolta X-700 — The Aperture-Priority Overachiever

Why it’s great: APEX-priority joy with a bright finder and superb Minolta Rokkor glass. It adds Program mode, TTL flash, and an easy user experience—without Leica prices.

Best for: Creatives who want aperture priority and gorgeous color rendering from classic Rokkors.

Pros

• Aperture priority + Program mode

• Great ergonomics; crisp viewfinder

• Rokkor primes are stellar and good value

Cons

• Common capacitor failure (power-up issues)

• Battery dependent for all shutter speeds

• Slightly plasticky compared to earlier Minoltas

Buying tip: Look for documentation of a capacitor replacement; it’s a known longevity fix.

6) Canon EOS-3 — Autofocus Sleeper with Pro DNA

Why it’s great: If you want modern AF in a film body, the EOS-3 is a beast: fast AF, 45 AF points, 1/8000s shutter, and compatibility with EF lenses (including L-glass). Eye-controlled focus is a party trick that actually works for many users.

Best for: Action, portrait, and wedding shooters who already own EF lenses—or want modern performance.

Pros

• Top-tier AF and metering for film

• 1/8000s + advanced flash system

• EF lens compatibility (huge ecosystem)

Cons

• Larger, heavier body

• Some features need custom functions learning curve

• Batteries are 2CR5 (easy to get, but not AAA-cheap)

Buying tip: Check the rubberized coating and command dial for wear; test eye-control calibration if possible.

7) Nikon F3 — The Pro Workhorse with Soul

Why it’s great: Designed by Giugiaro, built for newsrooms and war zones. The F3 offers aperture priority with a buttery manual experience and a huge system of finders, backs, and screens if you like to tinker.

Best for: Serious shooters who appreciate modularity and a dense, premium feel.

Pros

• Pro build and silky controls

• Aperture priority + full manual

• Extensive accessories; crisp 80/20 center-weighted meter

Cons

• LCD in finder can fade with age

• Requires batteries for shutter (mechanical backup at 1/60 “M90”)

• Heavier than consumer bodies

Buying tip: Inspect the prism LCD and light meter accuracy; many F3s are still spot-on if cared for.

8) Canonet QL17 GIII — The Street-Smart Rangefinder

Why it’s great: A fixed-lens 40mm f/1.7 rangefinder that slides into a coat pocket, focuses quickly, and looks classy. Leaf shutter = quiet. Perfect for candid family shots and urban wandering.

Best for: Street photographers and travelers who want small, quiet, and sharp.

Pros

• Fast 40/1.7 lens with pleasing rendering

• Quick-load film system is genuinely handy

• Shutter is near-silent; great for indoor low light

Cons

• Mercury battery era (meter workarounds needed)

• Rangefinder patch can be dim; check alignment

• Minimum focus not as close as SLRs

Buying tip: Ask about a meter conversion or plan to use a handheld/phone meter. Verify rangefinder contrast.

9) Olympus XA (or XA2) — The Pocket Spy

Why it’s great: A true pocket camera with a sliding clamshell, off-the-charts stealth factor, and a surprisingly sharp 35mm lens. The XA (rangefinder) gives you aperture priority and focus; the XA2 is zone-focus simplicity.

Best for: Everyday carry, concerts, and travel where you want “invisible” shooting.

Pros

• Fits in jeans pocket with room to spare

• Quiet leaf shutter; zero intimidation factor

• XA has a real rangefinder; XA2 is point-and-shoot simple

Cons

• Rangefinder baselength is short; critical focus takes practice (XA)

• Fragile feeling if abused; keep it in a pouch

• Flash is a detachable accessory (A11/A16)

Buying tip: Ensure the clamshell slides smoothly and the light meter responds quickly to changes.

10) Yashica T4 (or T4 Super/T5) — The Cult Compact

Why it’s great: Beloved for its Zeiss Tessar 35mm f/3.5 lens and straightforward automation, the T4 turns everyday scenes into punchy, high-contrast prints. Weather-resistant, with a quirky waist-level “Super Scope” on the T4 Super/T5.

Best for: Point-and-shoot fans who want great glass without thinking too hard.

Pros

• Zeiss Tessar lens is crisp with great micro-contrast

• True pocket camera with auto everything

• Weather-sealed enough for drizzle and beach days

Cons

• Prices can be… ambitious

• Fully automatic exposure can fight you in tricky light

• Electronics are not service-friendly

Buying tip: Test the flash charge time and AF confirmation; pass on bodies with LCD bleed or corrosion.

Choosing the Right Body for You

On a tight budget?
Pentax K1000, Minolta X-700, or Olympus OM-1 bodies with a 50mm prime deliver pro-looking results for less. Your money goes further on glass here than with Nikon/Canon pro lines.

Want autofocus and speed?
Canon EOS-3 is a bargain pro experience, especially if you already own EF lenses. It’s the easiest jump from modern digital to film without relearning everything.

Prefer small and discreet?
Olympus XA/XA2 or Canonet QL17 GIII rule the compact, quiet niche. The Yashica T4 adds true point-and-shoot ease with stellar optics.

Crave pro feel and longevity?
Nikon FM2/FM2n (mechanical precision) or Nikon F3 (pro sophistication) are lifetime keepers with tons of lens options.

What to Check Before You Buy

• Light seals & mirror foam: Crumbling foam = light leaks and goop. Replacing seals is cheap and DIY-able.

• Shutter accuracy: Listen for hesitations at slow speeds; inconsistent exposures suggest a service is due.

• Meter behavior: Aim from bright window to dark room—the needle/LEDs should respond smoothly.

• Battery type: Some classics were designed for mercury cells. Plan for adapters, recalibration, or handheld metering.

• Common model quirks:

  • AE-1 Program: shutter squeak (serviceable)

  • X-700: capacitors (replace and forget)

  • OM-1: meter battery conversion

  • T4: electronics/lcd health is make-or-break

• Lens condition: Shine a flashlight through—look for haze, fungus threads, separation, or oily aperture blades.

Lenses: Where the Magic Happens

Even the best body is just a film transport without good glass. A few no-brainer starting points:

• 50mm normals: Cheap, fast, and sharp on every system (Pentax 50/1.7, Canon FD 50/1.4, Nikon 50/1.8 AI-S, Minolta 50/1.7).

• Wides: Olympus 28/3.5 Zuiko and Nikon 28/2.8 AI-S are stellar values.

• Portraits: Canon FD 85/1.8, Minolta 85/2, or Nikkor 105/2.5 for classic rendering.

Film Stocks That Pair Nicely

• Everyday color: Kodak Gold 200 or Ultramax 400 for warm, punchy family photos.

• Fine-grain color: Kodak Portra 160/400 for skin tones and latitude.

• Black & white: Ilford HP5+ (for flexibility) or Kodak Tri-X (for that timeless grit).

• Experiment: Cinestill 800T for neon nights or any ECN-2 stock if your lab (hi! 👋) processes it properly.

Final Frames

The “best” used 35mm camera is the one that makes you want to take it everywhere. If you’re learning exposure, grab a Pentax K1000 or Nikon FM2 and build muscle memory. If you want modern convenience, the Canon EOS-3 feels like a DSLR that happens to shoot film. Craving stealth? Pocket an Olympus XA or Yashica T4 and capture life as it happens.

Whichever you choose, give it fresh light seals, load a roll you’re excited about, and get out there. And when you’re ready to see those frames shine, send them to Shutter Junkies Photo Lab—we develop 35mm (C-41, B&W, and ECN-2), scan with care, and ship nationwide. We’ll treat your new-to-you classic like it’s our own.

Developing Disposable Cameras: A Step by Step Guide

Disposable cameras have been gaining popularity for the past 10 years and today, they are as popular as they ever were back in the day. Disposable cameras have become popular at weddings, travel with kids to summer camp, snap the first photos of newborns at the hospital, and everything in between. But after you’ve taken the last picture on your disposable, what happens next?

We’ve got several guides on where to take your disposable camera once you’re ready to develop it. This blog post is going to look at the developing process so that you can understand what happens during the process. From dropping it off at your lab to getting the digital images or prints, we’ll walk you through the entire process.

Step 1 - Choose Your Film Lab

For many first time disposable camera shooters, this is the most difficult and confusing step. There’s an entire rich culture in the film world that is a little overwhelming for anyone new to disposable cameras and film. The process, the options, the turn-around time, and understanding a lot of strange terms film photographers use can be confusing. There are a few things to consider when it comes to choosing your film lab, and we will discuss each one briefly.

Should I Mail in My Disposable Camera, or Find a Local Lab

After the film apocalypse in the early 2000’s, most of the film labs went out of business. Unless you live in a big city or an area with a lot of artistic and creative influence, there’s a really good chance that there won’t be a local film lab near you. A quick Google or AI search for “Film Labs Near Me” will help you locate any close by. Many local film labs are ran by passionate individuals who deeply love film and are working hard to keep film alive. But as I can tell you from experience, that is a very very difficult process. You may run into long lead times or higher prices, or both at the local film lab as constant changes to our industry and unpredictable price increases have made the film lab business a difficult one to maintain. Some smaller or new local film labs may struggle with quality and customer service also. There are many posts on Reddit about really poor service or just awful developing at smaller local labs. However, every lab is different and if you’ll take the opportunity to get to know the individuals in the lab and do some research on reviews and customer feedback, you’ll have a much better experience in choosing a lab that will do a good job for you.

A temptation exists, for the sake of convenience, for many to head to a big box store like CVS, Walgreens, or Walmart to get your film developed. However, this almost always results in a negative experience for many customers. I can’t tell you how many photographers have come in with their disposable cameras telling us that it was going to take 8 weeks or that they were just told flat out that they weren’t accept disposable cameras to develop at that time. And even when they take the disposable cameras to develop, the turn around times are often double the amount of time quote and none of the three return your negatives (they destroy them after scanning).

Walmart, CVS, and Walgreens send their disposable cameras off to a factory somewhere else to get developed and scanned. If there was ever a problem or a mix-up, it would be impossible to recovery or rescan your images. While there are some customers who have a good experience taking their disposable cameras into the CVS, Walmart, or Walgreens, I’ve heard so many complaints that I honestly can’t recommend using them at all.

If local labs aren’t an option, for whatever reason, there are many mail-in film labs that exist and are amazing. Many of the mail-in labs have been in business for many years and have a proven track record of quality and reliability. The majority of our film and disposable camera developing comes from our mail-in film developing service. We love our customers, no matter where they are from and like all of the other mail-in labs, do our absolute best to return the best quality images and customer service we can to them. The DarkRoom, Shutter Junkies Photo Lab, House of 35, and many other mail-in labs are out there. However, the downside to using a mail in lab is that you have to pay for postage and wait a little longer for the package to make the trip from you to them. The upside to using a mail-in lab is that generally they stay much busier and have a more refined and higher quality service than most local-only film labs. We would definitely recommend you considering a mail-in film lab as an option for getting your disposable camera developed.

Step 2 - The Lab Gets to Work

Once your disposable throw away cameras arrive at the lab, there are several steps that have to take place to convert the latent image on your film into a digital or printed image. Here’s a detailed breakdown of everything we do in our lab:

1. Your package has to be opened and contents inspected and we need to identify who the package came from.

2. We confirm the quantity, types of disposable cameras included, and details of your order

3. An order envelop is created with your details

4. Your throw away camera has to be inspected for damage or issues. We also check to see if all of the pictures have been taken.

5. We break open the disposable camera - yes, we have to break them open with a screwdriver. Once opened up, we can pull the film out and remove the battery. Newer cameras are set aside to re-use and older cameras are recycled

6. We have to extract the film leader from the 35mm film cartridge contained inside.

7. We trim the film leader and add a twin check tag (a little sticker that comes in twos with a four digit number. And is adhered to your film and the other to you order envelop

8. Your film is placed in a line of film to be developed and your order envelop moves to the next step

9. Your order develop is sent for data entry where we take any notes we’ve added during receiving and the twin check numbers and we enter that information into our database. This helps us to identify and keep everyone’s order sorted. At this point, the system sends an automated email to you to let you know that your order has been received and in-processed.

10. For most of our disposable cameras, the film is taped to a leader card and ran through our Noritsu V30 developer. The film moves throughout all of the chemicals and is monitored by a technician at all times.

11. The film comes out of the machine dry, where the technician inspects each roll for quality and then hangs the film on a film hanger to be scanned.

12. Another technician takes each hanging roll of film and checks it again the order envelope and then sets the scanner to the required settings for the order.

13. As the roll is scanned, the technician examines the images to check for correct color balance and framing. A scanning technician has to be good at quick and accurate color correction, a skill that takes quite a while to master!

14. Your digital images are saved to our storage device and if you ordered prints, the digital images are transferred over our laser photo printer where you images are printed oh photographic paper and then developed much like your film was developed!

15. Your images are inspected one more time and then set in the upload queue.

16. Your negatives are sleeved and returned to you (if you selected that option at check-out).

17. Your prints are ran and packaged and mailed back to you.

Step 3 - View Your Digital Images

Almost every lab uses an online gallery system. These systems generally send you an email automatically once your order completes with a secure link for you to view and download your images. Many more professional labs use some of the same systems, what are just branded and look a little bit different, but they all function the same. Here are a few things to be aware of once you receive your digital gallery link from your lab!

Your Gallery Probably has an Expiration Date

Our lab, handles literally millions of individual images each year. That’s a lot of data to try to keep up with and in order to keep all of our systems working efficiently and keep your images secure, your galleries expire and the images are deleted. Our lab, Shutter Junkies Photo Lab keeps galleries open for 30 days. Some labs keep your galleries online longer and some shorter. There is usually an option to create an account and store the images permanently, so ask your photo lab about that option. Our lab will allow you to create an account for free and store your images permanently so you don’t lose them, but you do have to set that option up before the gallery expires. Once you have an account, all future disposable camera images you send in to be developed can easily be saved to your account. We do not charge for this feature, but some labs do charge an annual fee.

You can Order Prints from Your Online Gallery

Almost every lab gives you the option to order prints from you online gallery after the images are scanned. This is usually a fast and easy process and gives you the option to have your images printed in several different sizes and on a variety of papers and products!

You Should Download Your Images to at Least One Device

Accidents, glitches, and even data losses can occur so it’s absolutely necessary to download your images to a local device (phone, tablet, computer, etc) as soon as possible. And make a back-up copy somewhere else if you can. I cannot tell you how many individuals download their images to their phone only to have them disappear or get lost or the phone gets destroy and there is no cloud back-up. Even if you download them and then re-upload them to a Google Drive, at least you have a back-up!

From Moments to Memories - Disposable Cameras are a Great Too

That pretty much covers the entire process. While some people consider disposables just to be nothing more than a throwaway camera, I can tell you that some of the most amazing and beautiful moments in peoples lives are captured daily on disposable cameras. They have a unique look, and unique feel, and are so much fun to use. Our lab processes hundreds of them each day and I can tell you that they are a reliable and simple way to get photos without the risk or distractions a smart phone provides. And knowing more about how the process of developing them works and how your labs process your little throw away cameras hopefully will give you a little more piece of mind!

If you have any questions, you can always reach out to us at info@shutterjunkies.org . And if you’re ready to get started developing your disposable cameras, we’d be happy to help you out! Just click the button below to get started.

Meet the Canon EOS R6 Mark III

If you’re a photographer who follows the full-frame mirrorless arms race, you’ll be excited to hear that Canon has officially announced the EOS R6 Mark III. This is the next iteration of the very popular R6 line and brings several meaningful upgrades that are worth a look.

What’s new (and notable)

Here are some of the key new features and improvements:

Higher resolution stills

The R6 Mark III steps up to a 32.5-megapixel full-frame sensor, compared with the previous generation’s ~24 MP class. That means more detail, more cropping latitude, and more flexibility for clients who want large prints or aggressive cropping.

Hybrid photo/video chops

This model leans hard into the hybrid shooter territory:

• Up to 7K RAW (60 fps) video recording, plus open-gate mode (using full sensor) for maximum flexibility in post.

• 4K up to 120 fps for slow-motion work.

For a portrait/kids/family/headshot photographer, this means when you want to tie in moving-image content (behind-the-scenes, short-form social clips), you’ve got serious muscle under the hood.

Faster bursts & advanced AF

The R6 Mark III maintains a blistering electronic shutter burst rate (up to ~40 fps) even with that higher resolution sensor. The autofocus system gets a big bump too: tracking of people, animals, even vehicles, with smart subject-recognition and improved low-light AF sensitivity.

In real-world terms, if you do any fast-moving subjects (kids running, pets, outdoor family sessions, sports/action portrait work) this is a huge plus.

Dual card slots + workflow advantages

The new body supports a dual-card setup with one CFexpress Type B slot (for high throughput) and one SD slot. That gives you the flexibility of serious pro workflows while maintaining backwards-compatibility with existing card ecosystems.

Image stabilization & robust build

Canon reports a very strong in-body image stabilization (IBIS) system (up to ~8.5 stops, according to some coverage). That means sharp hand-held images in lower light, very beneficial when you’re shooting events, indoor sessions, or ambient-light portraits without flash. Build, ergonomics and Canon’s RF-mount lens ecosystem continue to shine.

Who should consider upgrading (or buying)?

Ideal upgrade-candidates

• Photographers doing hybrid work: If you are already doing stills and video (maybe short-form videos for families, behind-the-scenes, reels, social content) the R6 Mark III is a powerful one-body solution.

• Action-oriented portrait work: If you frequently shoot kids/family sessions with movement, pets, siblings, or outdoor sessions where tracking fast motion matters, the improved AF + high-burst rate + high resolution give you an edge.

• Print-heavy workflows: If you deliver large prints, wall art, or want extra resolution for cropping/retouching, the 32.5 MP sensor gives you more headroom.

• Existing Canon RF shooters: If you already own RF-mount lenses (or are invested in Canon’s system) this makes a lot of sense. Staying in the ecosystem means your lens investment continues to pay off.

Who might wait or skip

• Still-only shooters on a budget: If your primary work is headshots/portraits in controlled lighting, and you’re happy with ~24 MP stills, then the previous generation (R6 Mark II or even R6) might suffice and save you money.

• Legacy non-Canon users: If you’re using another ecosystem (Sony, Nikon, etc), this upgrade is less compelling unless you’re switching systems.

• Low-budget business builders: If your business is just starting and you don’t yet need ultra-high specs, investing the savings in marketing, lighting, or client experience might be more impactful than jumping for the latest body.

Final thoughts

The Canon EOS R6 Mark III is a compelling upgrade — it doesn’t reinvent the wheel, but it significantly refines and elevates the hybrid-capable full-frame mirrorless toolset. If you’re a photographer who wants to do more than stills (video, hybrid workflows), who shoots fast-moving subjects (kids/family sessions, outdoor), or who wants large print flexibility, this camera is a strong contender. If you’re more stills-focused and budget-conscious, you may find better value in your current gear and invest savings elsewhere.

Kodak Is Back with Kodak Gold and Ultramax

Eastman Kodak out of Rochester New York has shocked the film photography world for a second time in very short time. 35mm film photography news is also ways somewhat slow as development and release of new cameras and films takes a long time and the entire industry is mostly stable thanks to a very reliable and predictable customer base. But Kodak has done something none of us were expecting and now, they’ve done it twice!

For years, if you wanted fresh Kodak color film, it always flowed through one familiar channel: Kodak Alaris.

Alaris was the company that handled the retail distribution, the consumer branding, and the “Kodak” film boxes we all know. Meanwhile, Eastman Kodak — in Rochester, NY — actually manufactured the film.

It’s always been a two-company system. There were two Kodaks.

But now something big has shifted.

Recently, Eastman Kodak began offering Kodak Gold 200 and Kodak UltraMax 400 directly from themselves instead of routing all sales through Kodak Alaris. That means the Rochester factory is now directly handling the product release and distribution on two of the most iconic consumer color films still being made today.

This follows right behind October’s surprise launch of Kodacolor 100 and 200 — which were also released directly by Eastman Kodak.

This isn’t just “new packaging.”
This is a distribution model change.

And it raises a lot of questions.

What does “direct from Eastman Kodak” mean?

So far, what we know is this:

• Eastman Kodak is promoting and selling Gold 200 and UltraMax 400 directly to retailers and distributors.

• New packaging has been revealed that matches the retro look of the Kodacolor boxes.

• Multiple retailers have already started showing “coming soon” listings with the new packaging.

• Kodak Alaris pages still list these films — which means both companies now appear to be active at the same time.

This is the first time since Kodak’s 2012 bankruptcy that Rochester has stepped in this visibly toward the consumer still-film market.

Why would Kodak do this?

There are several very possible reasons:

1. Demand is way higher than supply
Film demand has blown up since 2020. Kodak has even publicly stated they had to pause production lines to upgrade equipment just to keep up.

2. Cutting a middle layer could reduce friction
If Rochester sells directly to retailers, they may have more control on inventory allocation, and MAY be able to keep pricing steadier.

3. Brand ownership
Kodak Alaris is technically a separate company that licenses the Kodak name. Eastman Kodak might be trying to bring more of the Kodak film identity back “home” to Rochester again.

Which films could be next?

Right now, only:

• Kodacolor 100 / 200 (already announced direct by Eastman Kodak)

• Gold 200

• UltraMax 400

are confirmed flowing through this new channel.

But if this continues… it opens the door for:

• Portra family

• Ektar 100

• Tri-X 400

moving under the Eastman direct model too.

If THAT happens — then the entire still film division may end up being unified under one Kodak again.

What does this mean for the future of film?

Optimism + uncertainty.

On the optimistic side:

• If Rochester is taking the reins, we might see better stock availability.

• We might see less of the random price swings.

• We might see more new product development (Kodacolor proved they still have the chemistry + creativity to release new films).

BUT — there are questions that still haven’t been answered:

• Is Kodak Alaris being phased out?

• Or will both companies continue to handle film?

• How will retailers manage inventory during a transition?

• How will pricing shake out once the supply chain reconfigures?

Right now we’re seeing the first moves of a shift — but not the full road map.

For labs and shooters, the bottom line is this:

Kodak film is not dying.
If anything, Kodak is getting more active.

They’re reorganizing and re-positioning.

And Rochester is stepping up and taking a more direct position in the film photography economy again.

We may look back on late 2024 / early 2025 as the moment where Kodak decided to “own film again” — instead of outsourcing the brand to a license holder.

And if Kodak wants film to keep growing, this is the strategic move that makes the most sense.

So… should we be encouraged?

Honestly?

Yes — cautiously.

More direct control tends to make markets more stable, not less.

More products coming from the manufacturer directly tends to mean they are investing, not retreating.

And a company doesn’t redesign packaging and launch new emulsions if they're planning to shut the lights off.

This looks less like “Kodak might shut film down”
and more like
“Kodak wants film to be a bigger part of their direct business again.”

That’s huge.

The next 6–12 months will tell us how deep this shift goes. If Portra or Tri-X start appearing in the same direct pipeline — then this new Kodak film era is fully real.

Until then: stay tuned, stock your fridge as needed, and keep shooting.

Film is not just surviving — it appears to be reassembling itself to survive long-term.

Film Photography Gift Guide 2025

The Best Gear, Film & Lab Gifts

There’s something especially magical about opening a gift and knowing it’s going to fuel someone’s creativity — especially when that someone shoots film. Whether you’re shopping for a seasoned 35 mm enthusiast, a disposable-camera weekend warrior, or a complete beginner curious about the analog world, this gift guide has you covered. From excellent film stocks to must-have accessories and lab-friendly upgrades, here are top picks that fit the film-photography vibe.

🎁 Gift Categories & Top Picks

I’ve grouped the options so you can match gifts to the type of shooter or budget level. Each item includes a bit of context, why it works for film shooters, and what makes it special.

1. Film & Consumables — Give the Shot Themselves

Because the best film gift is more film.

• Lomography Metal Film Case
  – A stylish and practical way to store film rolls. Holds six 35 mm rolls (or mix in 120 if they shoot multiple formats).
  – Why it’s great: Film photographers often have a drawer bursting with rolls; a dedicated case gives them a tidy, safe way to carry or store them.
  – Bonus: It’s inexpensive (~$9–10) so it works as a stocking stuffer.

• Sissi Lu DO NOT X‑RAY Film Pouch
  – A protective pouch to shield unexposed film from airport security X-rays.
  – Why it’s useful: For anyone traveling with film (holiday trips, road-trips, visits to grandparents), this gives peace of mind.

• Film Rolls (not a product listing here, but highly recommended)
  – Although I haven’t pulled a specific stock here, plenty of sources suggest that gifting premium film (e.g., Kodak Portra 400, or Lomography LomoChrome) is always a hit.
  – Tip: Choose a classic, high-quality film that the shooter might hesitate to buy themselves as a treat.

2. Beginner / Starter Gear — Hook Them On Film

For someone new to film, you want something approachable but still meaningful.

• Kodak Ektar H35 Half‑Frame Film Camera
  – A half-frame 35mm camera: meaning you get twice the number of frames per roll (great for experimenting). Built-in flash, compact 22mm lens.
  – Why: It’s fun, less intimidating for someone starting analog, and the half-frame format invites creativity (and less wasted film).

• Film Photography Pocket Guide
  – A compact, digestible book covering the basics of film: loading rolls, exposure tips, composition for 35mm.
  – Why: Shooting film can feel a little mysterious when you’re used to digital. A guide like this lowers the barrier and makes it fun rather than intimidating.

3. Accessories that Make Film Life Better

Once someone is already shooting film, accessories become the “aha” gifts—they refine & upgrade the experience.

• Kodak Mobile Film Scanner
  – A clever way to digitize negatives/slides via smartphone. Back-lit base, simple setup.
  – Why: Many film shooters want to share or archive their work digitally. A scanner makes that smoother.

• Negative Supply Basic Film Carrier 35
  – A more advanced tool: helps flatten full-length 35mm negatives for scanning with a digital camera.
  – Why: For the film enthusiast who also scans and edits, this is a thoughtful upgrade—not super cheap but very appreciated.

• Moment Reusable Travel Film Pouch
  – A tough, water-resistant pouch designed for film rolls or small gear.
  – Why: For the film shooter on the go (vacations, carry-on, bag switching), good storage makes a big difference.

4. Lab & Development Gifts — For the DIY or Service Lover

Especially if your audience is into developing their own rolls, or you want to highlight lab services (hey, like your business!).

• Ilford Film Processing Starter Kit
  – A full kit: tank, chemicals, measuring cylinders—everything needed to develop 35mm (or 120) at home.
  – Why: Developing film yourself is part of the analog ritual. This helps someone take that step.

5. Fun / Miscellaneous Film-Themed Gifts

Small gifts that show you get film photography and the personality around it.

• Eco‑Friendly Film Lover Tote Bag
  – A simple cotton tote printed with a film-inspired design (“Real Photographers Use Film”).
  – Why: Fun, affordable, and perfect as a bonus gift or add-on.

• Camera Sticky Note Film‑Lover Gift
  – A quirky notepad styled like a camera for jotting down thoughts, shot notes, or lab orders.
  – Why: Film shooters often track frames, settings, moods—this is a fun way to lean into that habit.

• Polaroid Photo Album
  – A classic photo album (though styled for instant photos) stores prints or contact sheets.
  – Why: Film yields physical prints/negatives, and having a place to store and show them completes the experience.

🧭 How to Use This Guide (and Choose the Right Gift)

Here are tips for picking the most fitting gift:

• Newbie vs. Seasoned: If someone is brand-new, go simple (film, a starter camera, a guidebook). If someone already shoots regularly, pick something they may not have (scanner, carrier, lab kit).

• Format & Style: Know whether they shoot 35 mm, 120 (medium format), or both. Accessories and film vary accordingly.

• Budget: Film rolls and pouches can be <$20; cameras and lab kits can range significantly higher. Choose accordingly.

• Personality: Some shoot film for nostalgia and fun; others are serious analog artists. Tailor: fun tote or sticky notes for the former; high-end carrier or chemical kit for the latter.

• Add a Personal Note: For instance: “Enjoy your next roll on me!” or “Let’s develop together this year.” That kind of personal touch goes a long way in the analog world.

✅ Why These Gifts Matter for Film Photographers

From gift-guide research: film shooters are often looking for tools that facilitate creativity, experimentation, and upgrading their workflow. For example:

• One forum user advised: “Niche film stocks and camera straps are great ideas! … a toy camera like a Holga or Lomo Diana or a reusable disposable + film can be a fun gift.” Reddit

• A curated list of film-photographer gifts emphasized everything from film containers to inspiration cards and adapters. Haelio Photo

• Another recent guide noted: “From cameras and must-have film stocks to modern accessories and DIY darkroom kits, here are the top 10 gift ideas that will delight any film photography enthusiast.” Kelsey Smith Photography

Film photography isn’t just about the final print—it’s about the process, the tactile nature of it, the waiting, the surprise, the grain. A great gift acknowledges that process, not just the outcome.

🔔 Bonus Tip: Gift Your Film Lab Service

Since your business is running a lab and shipping nationally, don’t forget to include gift subscriptions or gift cards for lab services in your guide.

• A “Send me your roll” mail-in kit is a perfect gift for someone just exploring film.

• Or a “Develop + scan” package for a film shooter who already has gear but wants polished results.

• You can include this idea alongside product gifts as something uniquely you: e.g., “Pair this nice film roll + lab credit — you shoot, we develop, you relive.”

📝 Final Thoughts

Film photography is a combination of craft, nostalgia, surprise, and reward. When you give a gift that speaks to that, you’re not just helping someone take photos—you’re helping them build memories, experiment, make mistakes, wait (the best part!), and get delightfully surprised when the prints come back.

Whatever you choose from this guide, wrap it with a little note: “Let’s shoot a roll together,” or “Here’s your next adventure in analog.” That little extra means more than any gadget.

Here’s to excellent gifts, rich rolls, beautiful grain, and more stories told on film in the year ahead.

Happy gifting — and happy shooting!

Shoot Film This Christmas: 10 Holiday Photo Ideas for 35mm and Disposable Cameras

If you’ve ever looked back at a box of old family Christmas photos—the slightly out-of-focus tree, the weird flash shadows, Uncle Dave blinking mid-blink—you know exactly why film is perfect for the holidays. Film photography captures not just the image, but the feeling of the season: warm lights, real smiles, and a bit of imperfect charm that digital just can’t touch.

Whether you’re dusting off your trusty 35mm camera or picking up a few disposable cameras for the family, shooting film this Christmas is one of the best ways to preserve the magic. To help you make the most of it, here are 10 holiday photo ideas to try with film this year—plus a few tips to make sure your rolls come out looking merry and bright.

1. The Christmas Tree Glow-Up

There’s something timeless about a Christmas tree on film. The warm glow of string lights, the shiny ornaments, and maybe a little chaos as the kids (or cats) get involved.

🎞 Tips:

• Use a high-speed color film like Kodak Ultramax 400 or Fuji Superia 400 to handle the low light indoors.

• Skip the flash and let the glow of the lights shine. Try bracing your camera on a steady surface or using a tripod.

• Shoot a few frames wide to show the full tree, then move in close for ornament details.

💡 Pro move: Take a before-and-after shot—the tree as it’s being decorated, and again on Christmas Eve when it’s fully lit up and surrounded by gifts.

2. Candid Family Chaos

Forget the posed group photo—some of the best holiday shots happen in the middle of the action. Grandma laughing at a joke. Kids sneaking extra cookies. Someone struggling to tape the last piece of wrapping paper.

🎞 Tips:

• Keep your disposable camera or 35mm loaded and nearby all day.

• Don’t stress about perfect composition; these moments are all about real emotion.

• Try shooting from the hip—you’ll capture authentic expressions and reactions.

📸 Film choice: Color negative film like Kodak Gold 200 or Lomography 400 gives a warm, nostalgic tone perfect for family moments.

3. Christmas Lights and Bokeh Nights

Holiday lights at night are basically film photography magic waiting to happen. Whether it’s your front yard, the neighborhood display, or a trip to a local light show, this is your chance to experiment.

🎞 Tips:

• Use 800-speed film (Cinestill 800T or Lomography 800) if you can find it—it’s made for low-light conditions.

• Try focusing manually to create big, soft light circles (bokeh).

• If you’re using a disposable camera, shoot a mix—some close-up with flash, others farther away without it.

💡 Pro move: Hold a sparkler close to the lens (carefully!) or shoot through a frosty window for dreamy, glowy results.

4. The Gift Unwrapping Explosion

You know that moment—wrapping paper flying, ribbons on the dog, the pure joy on someone’s face when they get what they wanted (or the confusion when they don’t). Those are golden frames.

🎞 Tips:

• Use the flash indoors if the light is dim, especially with disposable cameras.

• Shoot fast! Once the paper starts flying, it’s over in seconds.

• Capture reactions from multiple people—givers and receivers alike.

📸 Pro move: Give everyone a disposable camera before gift time and see the day from multiple perspectives. You’ll get hilarious and heartwarming shots you wouldn’t have caught otherwise.

5. A Roll of Memories: Christmas Morning on Film

The soft light creeping in, the smell of coffee, the excitement in the air—it’s cinematic perfection. Christmas morning is your chance to slow down, shoot intentionally, and tell the story of your family’s holiday.

🎞 Tips:

• Start with the little details: stockings, breakfast, the view from the window.

• Capture the atmosphere before everyone wakes up, then the joyful chaos that follows.

• Don’t burn through the whole roll in 10 minutes—space it out to capture the full morning.

💡 Pro move: Choose one roll of film specifically for Christmas morning. Label it and store it with your negatives year after year. It’ll become a tradition worth keeping.

6. Holiday Portraits with Character

Forget stiff, over-posed Christmas cards. Film portraits have a softness and authenticity that’s unbeatable.

🎞 Tips:

• Use natural window light whenever possible. Film loves it.

• Ask your subject to hold a cup of cocoa, a pet, or a prop—it helps them relax and adds personality.

• If you’re outside, try shooting around golden hour when the sun is low and warm.

📸 Film choice: Portra 400 or Kodak Gold 200 for warm tones and soft skin color. Disposable cameras also do surprisingly well here—especially for candid close-ups.

💡 Pro move: Set up a simple holiday backdrop (like twinkle lights or wrapping paper) and shoot an impromptu photo booth for friends and family.

7. The Ugly Sweater Party (Film Edition)

If there’s ever a time to shoot a roll of film just for fun, it’s an ugly sweater party. These nights are full of laughter, bad fashion, and unpredictable moments—perfect for disposable cameras.

🎞 Tips:

• Bring a few disposables and pass them around. Let everyone take a turn.

• The flash will make colors pop and capture that hilarious vintage energy.

• Don’t worry about composition—this one’s all about fun.

💡 Pro move: After developing the film, make prints and mail them to your friends as “vintage party photos.” Everyone loves seeing their goofy selves through film grain.

8. Winter Walks and Cold Weather Film

Not every holiday shot needs tinsel and lights. Winter walks—bare trees, cloudy skies, cozy coats—make for moody, cinematic film photos.

🎞 Tips:

• Overexpose by one stop to keep snow scenes from turning gray.

• Be gentle with your camera in the cold—keep it inside your jacket between shots.

• Black-and-white film (like Ilford HP5 or Kodak Tri-X) looks stunning in winter landscapes.

💡 Pro move: Shoot a few frames on both color and black-and-white film to compare the mood. The difference is striking.

9. The Holiday Film Swap

This is a fun one for the community-minded shooter. Grab a friend, each shoot a roll during the holidays, then swap and double-expose it. The results are unpredictable—and often beautiful.

🎞 Tips:

• Use ISO 200 or 400 film to keep exposure balanced.

• Shoot big shapes and colors; avoid overly detailed scenes.

• Label your rolls clearly so you don’t forget which is which.

💡 Pro move: Post your results and tag #ShutterJunkiesFilmSwap. You might inspire others to try it next year.

10. Preserve the Past: Scanning and Sharing Your Holiday Film

Shooting film is half the magic—developing and sharing is the rest. When your rolls are ready, send them to a trusted lab (like, say, Shutter Junkies Photo Lab) for high-quality developing and scanning.

🎞 Tips:

• Choose “high-resolution scans” for prints or digital sharing.

• Save your negatives—it’s your physical backup.

• Consider ordering doubles of your prints to share with family or to tuck inside Christmas cards next year.

💡 Pro move: Create a “Holiday Film Album” on your computer or a physical photo book. Add to it every year and watch your family history unfold in grain and color.

Why Film Feels Right at Christmas

There’s something poetic about using film to capture the holidays. It forces you to slow down, to think before you click, and to embrace imperfections. Every frame becomes intentional—every moment feels earned.

Digital can document, but film remembers.

You’ll see the warmth of tungsten bulbs, the texture of wrapping paper, the real color of candlelight. Even the occasional blur or lens flare feels like part of the story. Film photography turns ordinary holiday chaos into timeless memories.

And when your rolls come back from the lab weeks later, it’s like a second Christmas morning.

Final Tip: Make It a Tradition

This year, challenge yourself to shoot one full roll of film every Christmas. Label each with the year, the film type, and maybe a few notes on the back of the prints. Over time, you’ll build a visual timeline of your family’s holidays—captured in all their grainy, glowing glory.

So grab a few rolls of 35mm film, toss a disposable camera or two into the stockings, and get ready to shoot film this Christmas. The memories you make will last far longer than the batteries in your phone.

📬 Ready to Bring Your Holiday Film to Life?

Develop your rolls with Shutter Junkies Photo Lab — we process 35mm, disposable cameras, 120, 110, and Advantix film right here in Greenville, TX, and ship across the U.S.

Order film developing at:
👉 www.shutterjunkies.org

Disposable Cameras Are Back (Again) — And Here’s Why That’s Awesome

If you’ve been scrolling through social media lately, you’ve probably seen them — that nostalgic flash, the film grain, and those wonderfully imperfect snapshots. Yep, disposable cameras are having another big moment.

But this time, it’s not just a throwback trend. Companies like Fujifilm and Kodak are releasing new versions of their one-time-use cameras, showing that film photography isn’t just surviving — it’s thriving.

A New Generation Discovers the Joy of the Click-Wind-Wait

For anyone who grew up in the pre-iPhone era, disposable cameras were the gateway drug to photography. You took 27 shots, dropped the camera off for developing, and waited to see what you got — sometimes gold, sometimes total blur, always a surprise.

Now, Gen Z is rediscovering that exact magic. Influencers are bringing disposables to parties, weddings, and concerts. The “film aesthetic” is trending hard — and for once, it’s not being faked with an Instagram filter.

That demand spike has caught the attention of film giants. Fujifilm recently released a new QuickSnap 2025 edition pre-loaded with Fujicolor 400. Kodak, never one to miss the nostalgia wave, is experimenting with new packaging and even hybrid “digital disposable” devices aimed at the TikTok crowd.

And you know what that means for labs like ours? More film to develop, more grainy goodness to scan, and more happy customers reliving their favorite moments the old-fashioned way.

What Makes Disposables So Appealing in 2025

Sure, smartphones can outshoot them technically. But that’s not the point. Disposable cameras offer something that digital never will — intentional imperfection.

• They slow you down. You only get a few dozen frames, so you think before you click.

• They build anticipation. You don’t know how your photos turned out until you develop the roll.

• They’re worry-free. No batteries to charge, no settings to fiddle with, no screens to distract you.

For parties, road trips, weddings, and family gatherings, they’re pure fun. Everyone can join in — no photography degree required.

And now, with fresh stock hitting the shelves from Fujifilm and Kodak, they’re easier to find (and more reliable) than the expired rolls that pop up on eBay.

The Shutter Junkies Take

Here at Shutter Junkies Photo Lab, we’re thrilled to see this comeback. We’ve been developing disposable-camera film for years, and it’s one of the most satisfying parts of the job. Each batch feels like opening a time capsule — laughter, chaos, and unplanned beauty, all captured on 35 mm.

So, whether you’re picking up the new Fujifilm QuickSnap or dusting off a classic Kodak FunSaver, we’re ready to develop, scan, and print every frame with the care it deserves.

Want to join the trend? Grab a few disposables for your next weekend adventure, then send them our way at ShutterJunkies.org. Because film photography never really died — it just needed a fresh flash. 💥

Lomography’s Lomo MC-A: A Modern Classic for the Analog Generation

If you’ve been itching for something new in the 35mm world, Lomography just dropped a treat for all of us film junkies. The Lomo MC-A — short for “Metal Compact-Automatic” — isn’t just another toy camera or nostalgic throwback. It’s a full-metal, USB-C-rechargeable, manual-capable, film-shooting machine that’s ready to go head-to-head with the beloved point-and-shoots of the 1980s and ‘90s.

In an age where vintage cameras are skyrocketing in price and half of eBay seems to be “for parts only,” Lomography has finally given us what we’ve all been waiting for: a brand-new, compact film camera that doesn’t feel like a plastic souvenir.

Let’s dive into what makes this little silver (or black) beauty such a big deal.

The Camera We’ve Been Waiting For

Lomography has always had a knack for keeping analog alive. From the LC-A+ to the Simple Use cameras, they’ve made film photography fun, accessible, and a little unpredictable. But the Lomo MC-A is a different beast altogether. It’s not a novelty camera — it’s a serious compact for people who love film but don’t want to baby their thirty-year-old Olympus Stylus or pay a small fortune for a Contax T2.

Right out of the box, the MC-A makes a statement. It’s solid metal, giving it a reassuring heft that most modern film cameras lack. Gone is the creaky plastic. Instead, it feels like something your grandfather would’ve trusted on vacation — if your grandfather had access to USB-C.

Let’s Talk Features (Because There Are Plenty)

Here’s the rundown of what you’re getting when you pick up the MC-A:

• 32mm f/2.8 multi-coated glass lens — not plastic, not a pinhole, but the real deal.

• Full metal body — available in black or silver.

• Automatic exposure and aperture priority modes.

• Full manual mode for the control freaks among us.

• Zone focusing from 0.8 m to infinity.

• Built-in flash with auto, fill, and off options (plus first-curtain sync).

• Multiple exposure mode (because one frame is never enough).

• Built-in light meter.

• USB-C rechargeable battery (no more hunting for weird button cells).

• LCD screen for mode display and shot count.

It’s essentially a mash-up of everything we loved about compact film cameras — but with modern sensibilities and fresh parts.

That Lens: The Heart of the MC-A

One of the biggest questions film shooters always ask is, “Yeah, but how’s the lens?”

The MC-A’s 32 mm f/2.8 glass lens is what Lomography calls a multi-coated optical lens, designed for clarity and vibrant color rendition. Early test shots from reviewers show it has that classic Lomography charm — contrasty, a touch of vignetting, and full of character.

It’s sharp enough to make portraits pop and wide enough to capture your weekend adventures without needing to step back into traffic. That 32 mm focal length sits right in the sweet spot between wide and standard — a perfect everyday companion whether you’re shooting street scenes, travel photos, or family life.

If you’ve ever wished your favorite vintage compact had a new lease on life (and didn’t leak light like a sieve), this lens will feel like a familiar friend.

The Build: Sturdy. Sleek. Reliable.

Pick it up, and you immediately know this isn’t your average Lomography camera. The metal construction feels premium — the kind of weight that makes you trust it won’t crumble in your backpack. The controls are tactile, the dials click with confidence, and the ergonomics strike that balance between retro and comfortable.

It’s available in two finishes — classic silver and matte black — both of which scream vintage cool without being gaudy. Think “retro-futuristic point-and-shoot” rather than “hipster gimmick.”

The USB-C charging port is tucked discreetly on the side, giving it a modern edge while keeping the design clean. That might sound small, but the convenience of charging your camera with the same cable you use for your phone is worth celebrating.

Automatic, Aperture, or Full Manual — You Choose

Here’s where the MC-A stands apart from most of today’s film cameras: it’s not just point-and-shoot.

You can go full auto and let the camera handle everything (perfect for beginners or those quick-draw street shots). But you can also switch to aperture priority to control your depth of field or dive into full manual to fine-tune your exposure.

That kind of flexibility is rare in new film gear today. Most new 35 mm options either oversimplify things or throw you into the deep end with full manual only. The MC-A lands squarely in the middle — giving you room to grow.

It’s basically a camera that says: “You can start with me, and you’ll still be using me years from now.”

The Flash & Multiple Exposure Mode

Let’s be honest — Lomography has always loved creative features, and the MC-A doesn’t disappoint. The built-in flash offers multiple modes, including auto, fill, and off, plus a first-curtain sync option for those light-trail-and-movement experiments.

And then there’s multiple exposure mode — a Lomography staple. Whether you want to double your portraits with cloudscapes or stack silhouettes, it’s a playground for creativity straight out of the box.

In a time where most compact film cameras are simple point-and-shoot boxes, features like these make the MC-A stand out for people who actually want to experiment.

Battery Life & Usability

Good news: the MC-A uses a built-in rechargeable lithium battery, charged via USB-C. According to Lomography, one charge should last dozens of rolls — though your mileage may vary depending on how often you use the flash or LCD screen.

No more stockpiling CR123s or trying to find obscure button cells online. You can charge this camera anywhere, even from a power bank in the field. That’s a small but meaningful upgrade for anyone who shoots film regularly.

The small LCD screen on top gives you quick access to your mode and frame counter. It’s subtle and modern, but it doesn’t ruin the analog feel — just a nice touch of convenience.

Price: $499 and Worth Every Penny?

Let’s talk dollars. At launch, the Lomo MC-A retails for $499 USD — and yes, that’s a bit of sticker shock for a Lomography camera. But context matters.

Compare that to the secondhand market, where a clean Olympus Stylus Epic now sells for $400+, and a Contax T2 can easily break the $1,500 barrier. In that light, $499 for a brand-new, warrantied, metal-bodied compact with manual control suddenly feels like a bargain.

Plus, you’re not dealing with sticky shutters, expired light seals, or batteries that no longer exist. You’re buying a film camera that works today, with today’s tech, and will likely outlive most of the fragile point-and-shoots floating around on eBay.

It’s also worth noting that Lomography tends to keep their limited runs limited. Once these sell out, don’t be surprised if prices creep up.

Who It’s For

The MC-A sits perfectly between entry-level and pro. Here’s how it breaks down:

• Beginners will love the automatic and aperture-priority modes, plus the fact that it’s dead simple to load and use.

• Intermediate shooters will enjoy the manual mode and control over exposure.

• Pros and collectors will appreciate the build quality, reliability, and that it’s a new camera in a market full of repair bills.

It’s especially appealing for anyone who wants to shoot film seriously without relying on decades-old gear. And for labs like ours at Shutter Junkies, that’s great news — more people shooting film means more beautiful negatives rolling through our scanners.

Real-World Use: What to Expect

From the first hands-on reviews, the MC-A is showing promising results. The lens delivers crisp images with a slightly warm tone — true to the Lomography look. The exposure system is accurate in daylight and surprisingly consistent indoors when paired with the flash.

It’s compact enough to toss in your bag but sturdy enough to feel like a “real camera.” Focus is manual zone style (like most classic compacts), so it rewards shooters who understand distance and composition. If you’re coming from digital, it’ll teach you to slow down and think before you shoot — and honestly, that’s half the fun of film.

Why It Matters for Film Photography

Every time a new film camera is announced, it’s a big deal. Manufacturing for film gear isn’t easy, and every modern release helps keep analog photography alive. The MC-A proves there’s still a market — and a growing one — for newfilm cameras built to last.

It also means younger photographers who fell in love with disposables or half-frames have a new “step-up” camera to graduate to. That’s healthy for the community, for labs like ours, and for the entire analog ecosystem.

When people buy new cameras, they buy film. When they buy film, they need developing. And when they develop, they discover places like Shutter Junkies Photo Lab — keeping the magic of film alive, one frame at a time.

Final Thoughts: Should You Buy It?

If you love film, want reliability, and don’t mind investing in something that will last for years, the Lomo MC-A is worth every penny. It’s stylish, solid, and refreshingly new in a sea of vintage uncertainty.

It’s not pretending to be a Leica, and it’s not trying to be a disposable. It’s something in between — a tool that invites creativity without breaking the bank.

Whether you’re capturing family moments, road trips, or weekend adventures, this camera feels like it’s made for film photographers today — the ones who value the craft, the process, and that satisfying click-wind-repeat rhythm we all love.

And when that roll is done?
You know where to send it. 😉
Develop your film at ShutterJunkies.org

Kodacolor is back: Eastman Kodak launches Kodacolor 100 & 200—and sells them itself

Film photographers just got a curveball we didn’t see coming. Eastman Kodak (the Rochester-based manufacturer) has launched KODACOLOR 100 and KODACOLOR 200—two daylight-balanced, color-negative 35mm films—and, for the first time in more than a decade, Kodak is distributing these rolls ITSELF rather than through Kodak Alaris. That single sentence is the headline and the plot twist.

What’s actually new here?

Three things.

1) New boxes on shelves: Kodacolor 100 and 200 are now listed on Kodak’s own site under “Still Film,” with product copy that emphasizes fine grain, saturated but natural color, high sharpness, and wide latitude. In other words: everyday, shoot-it-anywhere stocks.

2) Kodak is the seller, not Alaris: For years, the arrangement was simple if confusing: Eastman Kodak made the still films; Kodak Alaris marketed and sold them (Portra, Ektar, Gold, UltraMax, Ektachrome, etc.). Kodacolor changes that—Eastman Kodak is selling these rolls directly to distributors, a first in 10+ years. That’s not rumor; Kodak said so in its announcement.

3) Why do this now? Kodak says the direct-to-distributor move is meant to increase supply and “help create greater stability” in a market where prices have been swinging. This follows a 2024 production shutdown to upgrade the Rochester factory so it could meet surging demand for film. The timing makes sense.

The films at a glance

• Formats & speed: 35mm (135), ISO 100 and ISO 200, both daylight-balanced C-41 color negative films.

• Grain / look: Kodak markets both as fine grain, high sharpness, natural color, and wide exposure latitude—ideal for general picture-taking. Think travel, portraits, family, street in good light.

• Exposures: 36-exposure rolls are already live at major retailers (B&H, among others).

• Price (early days): We’re seeing listings around $8.99–$9.50 per roll—not official MSRPs, but a helpful ballpark as retailers open orders.

• Where first: Kodak says the initial availability is U.S. and Canada, online and in-store at photo retailers.

Are these truly “new” emulsions?

Kodak’s language is careful: the company calls Kodacolor 100 and 200 “sub-brands of existing Kodak films.” That hints at familiar emulsions presented in new packaging/positioning, not chemistry never seen before. The company hasn’t said which stocks they map to, and that’s deliberate.

The photo press and retailer listings add a bit of color, with responsible caveats:

• Some reporting suggests Kodacolor 200 looks like a rebrand of ColorPlus 200—a long-time budget favorite—though Kodak has not confirmed this.

• Others note Kodacolor 100 might behave similarly to Pro Image 100 (again, not confirmed by Kodak). The early retailer copy describes a more natural, less punchy palette than Ektar 100, which lines up with that vibe.

Bottom line: expect friendly color, good skin tones, and latitude rather than the ultra-snap of Ektar or the premium skin-tone neutrality (and premium price) of Portra. We’ll know more as sample galleries and lab tests roll in, but the early take is “everyday usable” over “special-occasion specialized.”

Why this matters beyond the box

Supply and pricing stability: Kodak’s statement ties the direct-distribution move to supply and price stability. That’s significant in a year when film prices and availability have kept shooters guessing. If Kodak can take some friction out of the channel, shelves could stay fuller and prices less volatile.

Manufacturing capacity: The 2024 factory upgrades were framed as necessary to meet demand across still and motion stocks. A refreshed line plus a simpler distribution path is Kodak’s way of saying, “We’re investing in film.” That’s encouraging for anyone who loves the medium—and it counters the doom-scroll headlines.

The Alaris question: Since Kodak’s 2012 bankruptcy, Kodak Alaris (a separate UK-based company, recently sold to private equity) has controlled marketing and distribution of Kodak-branded still films, while Eastman Kodak manufactured them. Kodacolor doesn’t end that relationship, but it does show Eastman Kodak asserting direct control on at least part of the still-film lineup—an interesting precedent for the future.

How Kodacolor fits in Kodak’s lineup

Think of the family like this:

• Ektar 100: ultra-sharp, saturated, punchy—loves lenses and light; can be ruthless on skin tones.

• Portra (160/400/800): the portrait king—neutral, forgiving, pricey.

• Gold 200 / UltraMax 400: consumer-friendly color with a warm tilt and familiar “Kodak” vibe.

• ColorPlus 200: budget-minded, simple, classic look.

Kodacolor 100/200 aims squarely at the everyday sweet spot: clean grain, true-to-life color, and enough latitude to survive mixed light and the occasional metering miss—without the premium price of Portra or the saturated swing of Ektar. Early retailer descriptions even pitch Kodacolor as a better choice than Gold 200 when you want more naturalcolors, and less saturated than Ektar.

Early buying and shooting tips

• Start where you shop now. Major U.S. retailers already list Kodacolor; if you see “in stock,” grab a couple of rolls to test. Price is competitive (sub-$10 as of this writing for 36 exposures), which is refreshing.

• Pick 100 vs. 200 by light.

  • Kodacolor 100: crispest grain and highest sharpness; thrives in bright daylight, travel, landscapes, and flash portraits.

  • Kodacolor 200: a bit more flexibility for late afternoon, overcast, and indoor-with-window-light. Still not a night film, but a friendlier daily carry.

• Expose generously. Kodak’s C-41 negs generally like a touch of overexposure. If you’re on the fence, rate at EI 80 (for 100) or EI 160 (for 200) and meter for the shadows. The “wide exposure latitude” messaging suggests they’ll take it well

• Process is standard C-41. Any minilab or pro lab running color negative can handle it; scan at high resolution to enjoy the fine grain you’re paying for.

What it could mean next

Kodacolor 100/200 aren’t boutique experiments; they’re access films—priced and positioned to get more people shooting. If Eastman Kodak’s direct-to-distributor model works—keeping shelves stocked and prices calmer—expect ripple effects across the category. This could ease the bottlenecks that have frustrated newcomers and veterans alike, and it might give

A quick reality check on the branding

The Kodacolor name isn’t new; it’s a venerable Kodak brand dating back decades. Today’s Kodacolor 100/200 are modern color-negative stocks carrying that legacy banner. The company’s own phrasing—“sub-brands of existing Kodak films”—is a gentle reminder to judge them by results, not nostalgia or speculation. Shoot them, look at scans/prints, and decide where they land in your kit.

Our take

This is the kind of “quietly big” news film shooters should celebrate. The stocks look useful and affordable. The strategy—Eastman Kodak stepping in to sell still film directly—could help with the two pain points we’ve all felt: availability and price stability. And the timing follows a substantial factory upgrade meant to keep the emulsion train rolling. If you’ve been rationing Portra or wrestling with backorders, add Kodacolor 100 or 200 to your test queue this month and see if one of them becomes your everyday staple.

Sources & further reading: Kodak’s product pages for KODACOLOR 100 and KODACOLOR 200; coverage and context from Digital Camera World, Kosmo Foto, PetaPixel, 404 Media; retailer specs from B&H Photo Video; background on Kodak’s factory upgrade from The Verge.

Is This the End of Kodak and Film Photography?

For over a century, Kodak wasn't just a company—it was the poster child of photography. It shaped how the world captured and preserved memories, from the Brownie camera to the iconic phrase “Kodak moment.” But today, the unthinkable specter looms: could the fall of Kodak signal the end of film photography? Let’s unpack the situation, then explore why the analog world might still have a bright future.

Kodak’s Plummet: How Bad Is It?

As of August 12, 2025, Eastman Kodak has issued a troubling going-concern warning, stating that it may not have enough liquidity or committed financing to safely meet its debt obligations over the next year. This is a formal admission that its financial foundation is shaky at best.

The market reacted swiftly and decisively. Kodak's stock plunged between 25% and 26%, landing around $5 per share. Meanwhile, reputable outlets like the Times of India and AP News have also flagged concerns, noting that Kodak’s inability to cover debts has sparked serious doubts about its capacity to continue as a going concern.

Moreover, the company has taken drastic steps, such as terminating its pension plan contributions, and is relying on the questionable potential of a pension reversion to shore up cash reserves—yet accounting rules delay recognition of those funds until December. Kodak holds $155 million in cash (with about $70 million in U.S. holdings), but with debt looming, that may not be nearly enough.

This isn't Kodak's first brush with collapse. Remember its 2012 Chapter 11 bankruptcy, when it emerged from under a mountain of $6.75 billion in debt? Today’s news signals that, despite a decade of effort to reinvent itself—through pharmaceuticals, chemicals, and printing—Kodak’s future remains perilously uncertain.

So yes—right now, it looks dire. The mightiest of film-era giants is visibly faltering.

But Film Isn’t Dead Yet: Other Players Are Stepping Up

All is not lost for the world of analog imagery. Thankfully, other manufacturers are continuing to invest in, innovate, and release new film—especially 35mm.

1. Harman (Ilford)

Under the umbrella of Ilford Photo and Harman Technology (UK), a host of timeless black-and-white films remain in steady production. Think FP4+, HP5+, Delta series, and new Kentmere variants as affordable options for modern photographers.

In 2025, Harman launched Phoenix II 200, a refined update to their high-contrast color negative film; and RED 125, a redscale version in 120 format released in June. These moves signal active R&D and experimentation.

They’ve also continued their Ultra Large Format (ULF) and custom-size film campaigns, inviting niche enthusiasts and artists to order uncommon film sizes—another encouraging nod to analog’s artisanal side.

2. Luckyfilm

Based in China, Luckyfilm reintroduced black-and-white classics like SHD 100 and SHD 400 in 2024. They’re even considering a return to color film if demand holds.

3. Ferrania (Italy)

Though not explicitly mentioned originally, launching films like P33 (ISO 160) in 2024 and Orto (ISO 50 orthochromatic) in 2023 highlights continued European analog activity.

4. Others

Analog.Cafe’s June 2025 recap noted new additions including Ilfocolor 400 Cine Tone, Harman Red (120), and other format expansions from niche suppliers Analog Cafe.

What This Means for Photographers: A Crossroads

Kodak’s downfall hurts—no doubt.

As a symbol, Kodak’s decline is deeply symbolic of analog photography's wider struggles. But its business troubles are not synonymous with the end of film.

The film ecosystem remains resilient and nimble.

Where Kodak may falter, smaller and more agile players continue to thrive, driven by community demand and creative passion. These companies can adapt nimbly and offer new, specialized products.

Artistic value and analog revival persist.

For many, the allure of film lies beyond nostalgia—it’s about texture, craft, and intention. With demand sustained by enthusiasts, educators, and artists, the market may continue to sustain analog projects, even if on a smaller scale.

So, Is This the End of Film Photography?

Not at all.

Film, like photography itself, has always been a medium shaped by flux. While Kodak’s potential collapse may mark the end of an era, it doesn’t signal the death of film. Instead, it's a reminder to diversify, support smaller suppliers, and celebrate analog’s ongoing evolution.

Finding Hope at the End

As you wrap up your blog post, consider leaping off the precipice of uncertainty into a space of renewed optimism:

• Support independent film makers: Buying from Ilford, Harman, Luckyfilm, Ferrania, or Leica isn't just a purchase—it’s preservation.

• Celebrate new releases: Phoenix II 200, RED 125, Monopan 50—they’re proof that creativity endures.

• Explore niche formats: Ultra Large Format, custom films, and regional brands expand the palette of possibilities.

• Document the renaissance: Share your analog journeys. Whether through blog posts, galleries, or local groups—film’s story is still being written.

Wrapping Up

Kodak's current crisis may feel like a shutter slamming shut on analog photography’s grand legacy, but the race isn’t over. Across the globe—from the streets of Shanghai to the labs of Mobberley—makers are still coating emulsion, winding film, and lighting darkrooms. The decline of one giant doesn’t equate to the end of a medium. Rather, it marks a tipping point—inviting new champions to step forward, new voices to tell old stories, and new images to be captured on silver and celluloid. Isn’t that what photography’s about, after all?