Classic Chrome Meets Portra 160: Evaluating the Pentax ME Super and Fujifilm X100F

Let’s talk about two of my favorite cameras—the Fujifilm X100F and the Pentax ME Super. While these cameras belong to entirely different eras of photography, they share a surprising similarity in size and portability. I’ve used both extensively, and today, I want to compare their unique qualities without turning it into a clichéd “film vs. digital” debate.

Photography enthusiasts often find themselves in one of two camps: those who champion the convenience and immediacy of digital, and the purists who swear by the timelessness of film. But if you’ve followed this blog for a while, you’ll know I don’t see things that way. Instead, I value what each format brings to the table, and more importantly, how both contribute to the experience of photography.

A Tale of Two Cameras

For me, photography is more than just the final image—it’s about the journey of capturing it. Any Lomography fan will agree: the process is as important as the outcome. When I shoot with the Fujifilm X100F, I appreciate the immediate feedback of seeing the image on the screen and knowing right away what I’ve captured. But with the Pentax ME Super, it’s a different experience. I have a rough idea of what the film will deliver, but the magic isn’t fully revealed until the film is developed. That anticipation is part of the charm.

For this comparison, I’ve chosen photographs from Northumberland. Its moody, windswept landscapes—places like Alnmouth and the Northumbrian moors—present the perfect canvas for both film and digital. The X100F’s Classic Chrome simulation delivers a retro, muted look, while Kodak Portra 160 film, shot through the Pentax, brings warmth and richness to the tones.

The Fujifilm X100F

The X100F has often been called a bridge between the analogue and digital worlds, and I tend to agree. It’s packed with modern features like autofocus and an electronic viewfinder (EVF), but the controls are refreshingly tactile, with dedicated dials for aperture, shutter speed, and ISO. For anyone with a background in film photography, this setup feels familiar and intuitive.

What sets the X100F apart for me, though, is its Classic Chrome film simulation. It offers a subdued color palette that echoes old film stock, perfect when I want a slightly desaturated, vintage aesthetic. Unlike some over-the-top digital filters, Classic Chrome feels organic and subtle—bringing out details in the shadows without overwhelming the shot with contrast.

The X100F Photos

The Pentax ME Super

On the other hand, the Pentax ME Super is all about slowing down. There’s no EVF, no digital screen, and definitely no autofocus. Instead, you rely on a split-prism focusing system and aperture-priority mode. It forces you to be deliberate with each shot, a process that I find incredibly satisfying.

You’ll often hear film photographers talk about being more “in the moment” when shooting on film, and that’s exactly how I feel with the ME Super. The process of carefully composing each shot, setting exposure manually, and waiting for the film to be developed encourages patience and thoughtfulness.

For this outing, I paired the ME Super with Kodak Portra 160, a film that’s become known for its natural skin tones and soft, warm colors. Paired with the 50mm f/1.7 lens, this combination creates images with that unmistakable film character—shallow depth of field, soft highlights, and rich colors.

Lenses and Sensor Size

One of the most noticeable technical differences between these two cameras is their lenses and sensor sizes. The X100F features a 35mm equivalent f/2.0 fixed lens, while I usually use the 50mm f/1.7 on the Pentax. On the sensor front, the X100F has an APS-C crop sensor, giving it a narrower field of view compared to the full-frame 35mm film in the Pentax.

This technical difference goes beyond field of view. The Pentax ME Super has fixed ISO based on the film I choose, so I need to plan ahead for the lighting conditions I’ll be working in. In contrast, the X100F allows me to adjust ISO on the fly, providing flexibility in rapidly changing environments. This is something digital photographers have come to rely on, and it’s undeniably convenient when shooting in variable light.

The Pentax ME Super photos

Comparing the Images

Now, the big question: which is better, the Pentax ME Super or the Fujifilm X100F? Honestly, neither. They’re different tools for different purposes. Whether you’re drawn to the organic feel of film or the convenience of digital, both formats offer something unique. And that’s the beauty of photography—there’s no one-size-fits-all approach.

The slideshow features shots from both cameras. As you look at them, you might favour one look over the other. The film shots have a warmth and texture that digital sometimes struggles to replicate, while the digital photos are sharp, detailed, and offer instant gratification. But ultimately, this comes down to personal preference, not a matter of one being objectively better.

Final Thoughts

At the end of the day, a camera is just a tool for capturing a scene in a particular way. As long as the final image is pleasing to the eye, I’d say the job is done. So don’t limit yourself to just one format—if you haven’t tried shooting film, give it a go. If you’re a film photographer who’s hesitant to try digital, maybe the X100F will ease that transition with its analogue-like feel.

More than anything, I encourage you to enjoy the process, whether it’s with film, digital, or both. Get out there, take your time, and remember that photography isn’t just about the images you capture—it’s about the experience.

If you’d like to go deeper on the Pentax ME Super specifically, I’ve written a full dedicated review: Why the Pentax ME Super Is the Perfect First Film Camera (Even in 2026).

Post Scriptum: if you’re new here, this blog is mostly camera reviews, photography tips, and whatever I got up to that week with a camera in hand. Have a poke around, and if you’ve got questions about either of these two, drop them in the comments.

Fujifilm X-T2 Review (2026): Still Worth Buying?

Posted on November 1, 2024July 5, 2026 Posted in Bikes, Black and White Photography, Camera reviews, France, Landscape Photography, Nantes Photography, Paris, Street Photography, Travel photographyTagged 18mm lens, 23mm lens, 24 megapixels, 35mm equivalent, 4K video, affordable mirrorless camera, amateur photography, APS-C sensor, autofocus lenses, best mirrorless camera, budget camera, camera comparison, camera gear review, camera review, camera review blog, Classic camera, color reproduction, dynamic range, film camera look, film simulations, France, French photographer, Fuji X-T2, image quality, interchangeable lens camera, Landscape Photography, low light photography, manual focus lenses, mirrorless camera, mirrorless camera review, Nantes, photography enthusiast, Photography equipment, Photography gear, Photography passion, portrait photography, Street Photography, top mirrorless camera, Travel photography, TTArtisan lenses, ujifilm, used camera, used camera review, vintage camera, weather sealed camera, X-T2, X-Trans sensor, X100F9 Comments

The Fujifilm X-T2 is pushing ten years old now, but it’s still a capable, good-looking camera that holds its own against plenty of newer options. Here’s an honest assessment from someone who’s used it alongside film cameras in everyday life, based in Nantes.

The X100F made me do it

It’s no secret to regular readers of this blog that I have a deep fondness, bordering on obsession, for my Fujifilm X100F. It’s a great little camera that gets me excited every time I take it out of the bag. So what does that have to do with the X-T2, Dear Reader? Well, they’re both made by Fuji, they both have an X in the name, and I have a deep affection for a nice cup of tea. Not the same T, I know. Ah well.

How the two compare

I bought the X-T2 as a complement to the X100F, not a replacement, so it’s worth talking about how they actually differ. Both use the same 24 megapixel sensor with an anti-aliasing filter and the same ISO range, 200 to 128000. Both have excellent viewfinders. The X100F’s screen is fixed, the X-T2’s tilts, which matters more than you’d think for waist-level shots. The X100F shoots at 8fps, the X-T2 up to 14fps, and for video the X100F is limited to Full HD while the X-T2 does 4K and can hit 120fps for slow motion. Both have built-in wireless. Weight-wise there’s barely anything in it: 469g for the X100F, 507g for the X-T2.

The real difference is the lens. The X100F is stuck with its fixed 23mm f/2.0 (35mm equivalent), which is no bad thing, but the X-T2 takes the whole X-mount range. That’s the entire reason to own both. The X-T2 also has weather sealing, which the X100F doesn’t.

Why bother with an older body

Because I could, and because it used the same batteries and the same film simulations I already loved on the X100F, even if there were fewer of them back then. That was more than enough for me.

My first lens for it was the 16mm f/2.8 (24mm equivalent), the natural partner to the X100F’s 35mm equivalent. Later I found TTArtisan and 7Artisans, two Chinese firms making cheap manual focus lenses for X-mount. I’ve now got their 35mm f/1.2 (50mm equivalent), 58mm f/1.4 (85mm equivalent), and a 7mm f/2.8 fisheye from each, all for a fraction of the price of the autofocus Fuji glass. The only concession I made to Fuji’s own lenses was the 18-55mm f/2.8 kit zoom, which has image stabilisation built in and earns its keep for that reason alone.

Is it still worth it

Buying secondhand made the decision easy. It doesn’t have as many megapixels as the newer X-T5, and it doesn’t match its spec sheet either, but for someone shooting as an amateur, and I count myself one, that doesn’t matter nearly as much as camera shops would have you believe. Twenty-four megapixels prints comfortably at 20 by 30 inches, which is bigger than most people will ever need.

I’ve just checked mpb.com and X-T2 bodies are going for 487 to 729 euros depending on condition. Lenses range from around 104 euros for a 7Artisans 35mm f/1.2 up to 279 to 340 euros for the Fuji 16mm f/2.8. Considerably cheaper than buying into a current model, and the results aren’t far off.

Ten years on, the X-T2 still holds up: excellent image quality, classic dial-based handling, weather sealing, and access to the whole X-mount lens range. It suits street work and landscapes equally well. It’s never going to out-spec a current camera, and it doesn’t need to. If you want good results without paying current prices, the used market probably has a decent X-T2 waiting for you.

Fujifilm X-T2 mirrorless camera with interchangeable lens

Post script

This camera also shoots 4K video, and I use it at work for training videos for new staff. It’s lighter than my Canon 6D Mark II and gives me a picture style I like straight out of camera. It has no in-body stabilisation, but I use it on a tripod for that work anyway, and if I reach for the 18-55mm kit lens there’s stabilisation in the lens itself.

I’ll try to find you an excerpt of the latest video.

And here it is…

The Opening of the Film Archives—Le Château des Ducs de Bretagne, August 2016

Posted on September 25, 2024July 1, 2026 Posted in Architecture, Black and White Photography, Camera reviews, Film Photography, France, History, Landscape Photography, Nantes Photography, Street Photography, The Film Archives, Travel photography, UrbanTagged 35mm film photography, analog photography, analog vs digital photography, Architectural Photography, Black and White Photography, camera craftsmanship, camera enthusiasts, camera review, Canon AE1, Canon camera review, capturing history, Château des Ducs de Bretagne, Cité des Ducs, classic cameras, European travel photography, exploring nantes, FD 50mm F1.8 lens, film camera review, Film Photography, film photography community, film photography techniques, France, French architecture, French castles, historical photography, historical sites in France, Nantes, Nantes Photography, nostalgic photography, photo archive, photography adventure, Photography equipment, Photography Experience, Photography gear, photography locations in France, photography storytelling, photojournalism, shutter priority mode, split prism focusing, Street Photography, street photography tips, The Film Archives, travel and culture, travel blogs, travel guide to Nantes, Travel photography, urban landscape photography, vintage cameras, vintage lens11 Comments

Welcome back to the Film Archive of IJM Photography! This time, we find ourselves in the beautiful city of Nantes, in the heart of the Cité des Ducs, walking round the Château des Ducs de Bretagne.

As we explore the castle, I’m armed with another one of my favorite cameras from the golden days of film photography—the Canon AE1. This was before the surge of interest from the YouTube hipster crowd, who quickly snatched up every classic camera they could find, driving up prices and making these gems harder to come by.

The Canon AE1 is justifiably sought after, and for good reason. It’s paired here with the FD 50mm F1.8 lens, which has a way of capturing light that makes every shot in this set feel alive.

It feels solid in the hand, and focusing with the split prism is a breeze. The camera is “shutter priority,” and it adapts the f-stop to the speed at which you’re shooting. As a street photographer, I don’t need to shoot at 1/1000th of a second for all my shots, so I have a wider range of options than someone taking pictures of sports. It still provides me with the necessary depth of field.

On this particular day, I was motivated and thought I could walk up the steps to the battlements to get some more interesting shots from a raised standpoint. I captured the urban landscape that spans from the 13th to the 21st century, and in one of the shots, you can see the ever-present figure of the Tour de Bretagne. It once represented the modernity of the 20th century and is now closed for asbestos removal. My feet, however, were firmly rooted much earlier in the castle.

Old stone, a camera that’s older still, and an afternoon well spent.

Why the Olympus Pen EE-S Is the Best Budget Film Camera for Beginners

Posted on August 9, 2024July 5, 2026 Posted in Art, Film Photography, France, Nantes Photography, Street Photography, Travel photographyTagged 1960s camera, 35mm film, affordable film camera, analog photography, best film cameras for beginners, best film cameras for travel, budget film camera, budget travel photography, camera review, diptych, documentary photography, film camera review, Film Photography, film photography blog, film photography community, film photography for beginners, film photography gear, film photography gear guide, film photography gear review, film photography inspiration, film photography inspiration blog, film photography on a budget, film photography resources, film photography tips, film photography tutorials, France, half-frame camera, half-frame film camera review, Japanese camera, Kodak Gold 200, le voyage à Nantes, lvan, Nantes, Nantes Photography, Olympus camera, Olympus Pen EE S, Olympus Pen EE S review, olympus trip 35, Pentax 17, photography review, selenium meter, Social Media Photography, Street Photography, The Film Archives, Travel photography, vintage camera, vintage camera review, zone focusing12 Comments

Why the Olympus Pen EE-S Is the Best Budget Film Camera for Beginners (Even in 2025)

Pentax 17 fever is sweeping the film photography world, and I’ll admit, I was tempted. Half-frame cameras, with their promise of double the shots per roll, sound pretty amazing. But with a price tag of 500€, the Pentax 17 isn’t exactly within my budget. That’s when I rediscovered a little gem tucked away in my camera collection: the Olympus Pen EE S.

This Japanese-made half-frame beauty hails from the 1960s, the same era as the beloved Olympus Trip 35. Like its sibling, the Pen EE S features zone focusing and a selenium cell meter for fuss-free shooting. The lens is an F2.8 22.5mm Zuiko lens. The ISO settings go up to 200 ASA, unlike the Olympus Trip which goes up to 400 ASA. So, despite everything else, it needs light. The half-frame format means you get a whopping 48 exposures on a standard 24-exposure roll. That’s double the shots for your buck, folks!

Now, the idea of twice as many photos for the same developing cost is pretty appealing. But does the Olympus Pen EE S deliver the goods in practice? Stay tuned as I put this vintage camera through its paces and share my findings. Could this be the perfect half-frame hero for those of us who can’t quite swing a Pentax 17? Let’s find out!

Well, for starters, it felt very much like using the Olympus Trip 35. It’s very slightly smaller and weighs next to nothing. The shutter button is almost identical as well. Instead of having four zones for focusing, you have three, but it’s fine, and when you turn the dial, you feel a click as you enter a new zone. You point, and then press. Simple!

Let’s talk about this half-frame shooting experience. When talking about the Pentax 17, “they” talk about how the images are great for sharing on social media. A little like using your phone… This is the mindset that I had when putting in my Kodak Gold 200 to capture those famous Kodak moments in Nantes.

I found it a challenge to get used to the half-frame. “They” say that you have to take your photos as diptychs and remember that the two photos in your full frames are related, not just simple images. The idea is that when the two half frames are put together, you create a story and a suite of ideas, instead of two separate photos. I tried, and the results will show you if I succeeded. I felt that “they” were pulling my leg!

I’ll be honest with you. The idea behind the outing was to test the camera, see how I felt using it, and have a look at the results. It took me out of my comfort zone, which is something rare in photography for me. I was thinking about taking it to the UK with me to record the trip. It takes up next to no space in a camera bag and would allow me to shoot some film while back home. The idea of getting twice as many shots by using just half the frame is attractive. I’m just getting used to the reduced coverage that you get with just using half the frame.

For this outing, I decided to head out towards the Cathedral, and takes some shots of the Voyage à Nantes.

I found myself thinking differently about framing my shots and using my phone as a mental template. As for the resolution of my images, they will be half as much as using my full frame, but were I to print my photos, then I would definitely see a difference. But if they’re just for sharing on social media, then the resolution will be perfectly satisfactory.

The million-dollar question is, will I take it on my trip, and will I use it? Yes, I will. Will it be my main camera? Possibly not. Will it be more like using a new toy? Possibly, even if the toy in question is a vintage 1966 toy…

Here’s what I’ll do. I’ll put some images taken on the X100F, my more modern toy, and let you see how they compare. You’ll see the diptychs and see how the different shooting styles change the outlook and how they change the framing.

These are the X100F photos with editing in Snapseed…

A garden fountain in Nantes photographed on a Fujifilm X100F, shot as a digital reference alongside the Olympus Pen EE-S

Close-up of a garden fountain in Nantes, shot on a Fujifilm X100F as a digital reference comparison to the Olympus Pen EE-S

A large tree in a Nantes garden photographed on a Fujifilm X100F, used as a digital reference alongside half-frame film shots from the Olympus Pen EE-S

The old master's house in Nantes photographed on a Fujifilm X100F, shot alongside Olympus Pen EE-S half-frame film images for comparison

A view through a stone arch toward the cathedral entrance in Nantes, photographed on a Fujifilm X100F as a digital reference

Close-up of an ornate iron fence in Nantes, photographed on a Fujifilm X100F alongside Olympus Pen EE-S half-frame film shots

A view through a stone arch toward the Place Saint-Pierre in Nantes, photographed on a Fujifilm X100F as a digital reference comparison

And these are the half frame images from the Pen EE S… with the editing done in Photoshop using the neural filters to get rid of the scratches on the film.

A street in the Bouffay quarter of Nantes shot on an Olympus Pen EE-S with Kodak Gold 200 colour film, half-frame format

The Saint-Croix church clock tower in Nantes photographed on an Olympus Pen EE-S with Kodak Gold 200, half-frame colour film

The garden near the Église Sainte-Croix in Nantes, shot on an Olympus Pen EE-S with Kodak Gold 200 half-frame colour film

The Sainte-Croix clock tower in Nantes captured on an Olympus Pen EE-S with Kodak Gold 200, demonstrating the half-frame format's rendering of architectural detail

: The bridge over the moat of the Château des Ducs de Bretagne in Nantes, photographed on an Olympus Pen EE-S with Kodak Gold 200 half-frame film

Trees in the courtyard of the Château des Ducs de Bretagne in Nantes, shot on an Olympus Pen EE-S with Kodak Gold 200 colour film

The Château des Ducs de Bretagne seen through trees in Nantes, captured on an Olympus Pen EE-S with Kodak Gold 200 half-frame colour film

The towers of the Château des Ducs de Bretagne in Nantes photographed on an Olympus Pen EE-S with Kodak Gold 200, half-frame film format

A person sunbathing in the gardens of the Château des Ducs de Bretagne in Nantes, shot on an Olympus Pen EE-S with Kodak Gold 200

Trees in the gardens of the Château des Ducs de Bretagne in Nantes, photographed on an Olympus Pen EE-S with Kodak Gold 200 half-frame colour film

The Château des Ducs de Bretagne in Nantes photographed on an Olympus Pen EE-S with Kodak Gold 200, half-frame colour film

A second view of the Château des Ducs de Bretagne in Nantes, shot on an Olympus Pen EE-S with Kodak Gold 200 half-frame filmv

An apple tree in the grounds of the Château des Ducs de Bretagne in Nantes, photographed on an Olympus Pen EE-S with Kodak Gold 200

The walkway leading to the Château des Ducs de Bretagne in Nantes, shot on an Olympus Pen EE-S with Kodak Gold 200 half-frame colour film

A tower of the Château des Ducs de Bretagne in Nantes captured on an Olympus Pen EE-S with Kodak Gold 200, half-frame film format

A tree rising above the moat of the Château des Ducs de Bretagne in Nantes, photographed on an Olympus Pen EE-S with Kodak Gold 200

The statue of Duchesse Anne at the Château des Ducs de Bretagne in Nantes, shot on an Olympus Pen EE-S with Kodak Gold 200 half-frame film

A street corner near the Cathédrale Saint-Pierre-et-Saint-Paul in Nantes, photographed on an Olympus Pen EE-S with Kodak Gold 200 colour film

The side entrance of the Cathédrale Saint-Pierre-et-Saint-Paul in Nantes, shot on an Olympus Pen EE-S with Kodak Gold 200 half-frame colour film

A stone arch leading into a garden near the cathedral in Nantes, photographed on an Olympus Pen EE-S with Kodak Gold 200

The Psalter's House (Maison des Psallettes) in Nantes, shot on an Olympus Pen EE-S with Kodak Gold 200 half-frame colour film

The Cathédrale Saint-Pierre-et-Saint-Paul in Nantes photographed on an Olympus Pen EE-S with Kodak Gold 200, half-frame colour film

A wide view of the Psalter's House (Maison des Psallettes) in Nantes, captured on an Olympus Pen EE-S with Kodak Gold 200 half-frame film

The garden of the Psalter's House (Maison des Psallettes) in Nantes, shot on an Olympus Pen EE-S with Kodak Gold 200 colour film

A second view of the garden at the Psalter's House in Nantes, photographed on an Olympus Pen EE-S with Kodak Gold 200 half-frame colour film

So what do you think? Worth taking?

The Opening of the Film Archives – Clisson May 2016

Posted on July 24, 2024July 30, 2024 Posted in Architecture, Camera reviews, Film Photography, France, The Film Archives, Travel photographyTagged analog photography, Architectural Photography, Artistic Photography, camera review, camera settings, Canon, Canon AE-1 Program, Canon AE1, Canon AE1 film camera, Canon AE1 photography, canon AE1 program, Canon FD lenses, classic cameras, Clisson, color film photography, cultural travel, FD lenses, film archive, film camera collecting, Film cameras, film developing, Film Photography, film photography revival, film vs digital, fine grain film, France, France Travel, French villages, Fuji Superia, Gallic charm, high-speed film, Italian architecture, Landscape Photography, Nantes, nostalgia, people photography, photo essay, photogenic location, Photography Aesthetics, photography basics, Photography Education, Photography gear, photography history, picturesque town, shutter speed priority, spring photography, Travel photography, travel tips, vintage cameras6 Comments

Introduction

Welcome back to the film archives. Today I’m going to share some photos of the first reel from my “new” Canon AE1. Well, not new, but certainly new to me. The Canon AE1s were produced between 1976 and 1984. It is one of those iconic cameras and at the time I must have paid about 50€. When I say iconic, I really mean iconic. It is a shutter speed priority camera using Canon’s FD lenses. I used it an awful lot that summer. I liked it so much that I even bought a second one that I ended up giving to a photographer friend.

Colour

To some people of my generation they represent their first cameras, and were so popular. Talking of popular, the photographs from this part of the archive are from the very popular and photogenic town, Clisson. Also you will have noticed that the photos are in colour. Which only goes to show that not all film photography is black and white photography.

Clisson, as you can see in the photos, is one of those beautiful French villages that oozes Gallic charm. It also exudes a certain Italian charm, and is known for its Italian style architecture.

Canon AE1

I have both a Canon AE1 and AEI Program. The AE1 is the big brother of the AE1 Program, and doesn’t have a program mode, but as you can see from the photos it still works a treat.

Feature	Canon AE-1	Canon AE-1 Program	Differences
Release Year	1976	1981	AE-1 Program released 5 years after AE-1
Exposure Modes	Shutter Priority AE	Shutter Priority AE, Program AE	Program AE added to AE-1 Program
Metering	Center-weighted Average	Center-weighted Average	No difference
Shutter Speeds	2s – 1/1000s	2s – 1/1000s	No difference
Viewfinder Display	LEDs	LEDs	No difference
Film Speed Setting	Manual	Manual	No difference
Self-timer	Yes	Yes	No difference
Depth of Field Preview	Yes	Yes	No difference
Motor Drive Compatibility	Yes	Yes	No difference
Other Notes	First Canon SLR with microprocessor; revolutionary for its time	Simplified controls for easier use; appealed to wider audience	AE-1 Program aimed at beginners and enthusiasts

As you can see there’s not a huge differece between the two. The major difference being the Program option, and the other allowing for easier changing of the ASA film sensitivity setting.

On the day in question I must have parked just next to the river and concentrated on this picturesque area. You can see the castle, the bridge, and the river, all making for a peaceful spring moment.

I think the film was Fuji Superia, and I just wanted to use colour. Thetones are slightly muted and warm, and the flowers, trees and plants were just screaming out to be photographed. I remember the excitement of loading the film into this “new” camera, and the novelty of simply using an iconic camera.

Here is what fuji tells us about the film:

FUJICOLOR SUPERIA X-TRA400

An all-round general purpose, high-performance, high speed color negative film delivering truly fine-grain. Superb for snapshots or action, in low light with flash, outdoors or indoors. Ideal for general use with compact zoom lens cameras.

Excellent skin tones
For beautiful, clear people-shots.
Fine grain
Great results even when enlarged.
High-speed
Superb results, whatever the shooting conditions.
Sensitivity and Film Sizes
ISO : 400
Film Sizes : 135 : 36 exp.

When using digital, it’s so difficult to get that particular film look, and using film and an older camera just changes your whole outlook. The fact of not having your image straight away leaves you with that anticipation that we all used to feel when we sent off our films to the lab.

Give film a try. There are still cheap film cameras out there, and your photography experience will be totally different. I certainly appreciate it.