Through the Lens: Our Team's Film Stories - Meet Sarah
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- 1 day ago
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We're back with our third instalment of our through the lens series, and we're heading all the way back to the 80s this time as we're shining the spotlight on Sarah, the co-founder (and lab queen!) of FilmProcessing.co.uk. Having learned on film in the 1980s, she's remained at the forefront of the industry through its digital shift and film’s recent resurgence.
Sarah holds a wealth of knowledge when it comes to all things film photograhy and processing and we're so excited to bring you this insight into Sarah's early background with film, along with some of her top tips from her 40 years worth of experience for new film shooters.
Let's hear it from Sarah!
Q: What initially drew you into the world of film photography, and how did that passion evolve over time?
A: My introduction to film photography came through my grandad, who had his own home darkroom. He introduced me to the fundamentals—camera mechanics, developing equipment, and the chemical processes behind producing prints. He’d take me on photo walks where we’d discuss composition, light, and exposure, laying the groundwork for my understanding of the technical aspects of photography.
At 15, I enrolled in an evening photography class with his encouragement. I was the youngest student, and it was my first experience working in a proper darkroom.
I’ll never forget the moment I watched an image gradually appear on photographic paper in the developer tray—it was my first real glimpse into the science behind the art. That hands-on experience with manual cameras, light meters, and chemical processing sparked a passion for analogue photography that has evolved into a deep appreciation for the craft and control film offers.
Q: Which camera model is your go-to for shooting film, and what makes it special to you?
A: Currently, my go-to film camera is the Nikon FM3a. Before film saw its resurgence, I used to rely on the Canon EOS 3, but unfortunately, I sold it along with its lenses when film fell out of favour. I now also own a Nikon F1, which is a great complement to my Nikon digital setup, as I can interchange lenses between the two.
That said, the camera I reach for most often is the FM3a. Its compact size, timeless aesthetics, and fully manual controls give it a classic feel that really connects me to the process—it feels like the “real deal” every time I shoot with it.
Q: Do you have a favourite film stock (or type of film) you consistently reach for? What sets it apart?
A: For colour I would nearly always pick up a Fujifilm either 200 or 400 dependent on conditions, it tends to be slightly cooler than the warm tones of kodaks offering, which I personally prefer, but I would probably choose Ektar 100 if I were looking for a more saturated warmer effect.
I have also experimented with some of the newer films on the market like Lomography Metropolis, purplechrome and turquoise and have been delighted with the results especially the metropolis which adds a vintage vibe to the photos.
Q: What’s one of your most memorable or meaningful moments behind the camera?
I take a camera just about everywhere with me, so to choose one most memorable would be difficult, I would say that the most meaningful moments for me are those that record a time in history of an event/ occasion that I want to look back upon and remember the emotions that were felt at the time.
My younger sister asked me to photograph her wedding, and although I agreed, I was incredibly nervous about something going wrong. On the morning of the big day, I woke up with a terrible migraine, but somehow managed to push through and capture the entire event.
My style is very much documentary, so I focused on telling the story of the day from the sidelines. Seeing her reaction when she received the finished photo book made all the pain and stress completely worth it.
More recently, my two sisters and I took our mum away for a few days after she was diagnosed with terminal cancer. Those days were incredibly special—we shared unforgettable moments that I captured on both digital and film. The memories we made are priceless, and the photos now allow us to relive those precious days again and again.
Q: How does your approach change when shooting film versus digital, and why do you think film remains so appealing?
A: To me, film and digital photography are two very different experiences, each with its own place in the world of photography. I don’t see one as better than the other — just different. With digital, I tend to shoot more freely. I have an end result in mind, but I know I can take as many shots as needed until I’m happy with the outcome. In contrast, shooting with film slows me down. I think more carefully about the subject and the final image I want to create. I spend more time composing the shot through the viewfinder, adjusting my position and perspective before committing to pressing the shutter.
I love the tactile nature of film, its look, its imperfections — the entire process feels more authentic and raw. There’s a depth and character in the final image that often feels missing from its digital counterpart. That said, I also appreciate the flexibility of digital photography — the ability to review and reshoot instantly is incredibly useful.
Lately, I’ve found myself reaching for my analogue camera more often. Film feels more like creating art. I think it’s because it requires greater creativity at the moment of capture, whereas digital allows for more adjustment afterward. Somehow, that difference makes the film process more intentional and rewarding for me.
Q: What have been some of the biggest learning curves or challenges in working with analogue photography?
A: I’ve been fortunate to grow up with analogue photography and studied it at college, back before digital photography became mainstream. So this time around, the learning curve wasn’t too steep—it felt more like a rekindling of my love for using a manual film camera and being more intentional with each shot.
If I’ve faced any challenges, they’ve been in those moments where I’ve missed the shot because I spent too long checking my settings—making sure the exposure suited the lighting, the depth of field matched my vision, the focus was sharp, and of course, that the subject looked just right through the lens—by which point, the moment had often passed.
Q: What are your thoughts on the resurgence of film photography, and why do you think it’s making a comeback?
A: I was initially puzzled by the resurgence of film photography—it’s certainly not a cheap hobby. But there’s something undeniably magical about it, both in the act of taking a photograph and in the anticipation of waiting to see the final image you envisioned through the lens. That delayed gratification adds a sense of wonder that’s often lost in today’s instant digital world.
For first-timers, I imagine the experience feels even more enchanting. They're not only capturing images but also learning a new blend of art and science, which can be incredibly rewarding. Shooting with film encourages a slower, more deliberate approach—each frame matters, which makes you more thoughtful about composition, light, and timing.
I believe film photography is making a comeback because people are craving more intentional experiences. In a fast-paced, screen-saturated world, film offers a tactile, grounding process that invites us to see life differently—more patiently, and perhaps more appreciatively.
Q: Could you share a bit about your process—from choosing a film stock to the final scan—and how you make creative decisions along the way?
A: I choose my film stock based on the types of photos I will be taking and the lighting conditions that are predicted, so typically a low ISO for sunny weather, mid- range ISO for cloudier days and a high ISO for low light or if I want to shoot action type images, i.e. a fast moving subject.
I prefer more natural colours over strong vibrant colours (although these have their place), so for everyday photography will choose Fujifilm stock. Although I do like Ektar 100 as although it displays vibrant colours, they appear softer than some of the kodak counterparts. If shooting Black and White, I grew up on Ilford stock and return time and time again to Ilford HP5 and FP4, although I have experimented with many of the new films on the market and loved the Lady Grey from Lomography.
Q: Are there any particular techniques or shooting styles (e.g., double exposures, push/pull processing) that you enjoy experimenting with?
A: I tend to be more of a traditionalist when it comes to taking photos, so have not experimented with many techniques, if I have double exposed a photo it is generally made in error.
When at College I did have fun experimenting with polaroid film by manipulating the chemicals within the film stock itself whilst the image was developing which resulted in changing the look of the final image. It was a very expensive experiment but I had a lot of fun, I’m not sure if it’s possible with todays polaroid stock, maybe I’ll have a go again ☺
Q: What advice would you give to someone just starting their journey with film photography, especially in choosing gear and film types?
A: Do your research. Whenever I'm trying something new, I always take the time to do my homework first. Set a clear budget and aim to buy the best gear you can within it. You might want to begin with a simple point-and-shoot camera that handles most of the settings for you, or dive straight into a fully manual camera that gives you full creative control. It really depends on what you’re hoping to gain from your film photography experience.
If your goal is to capture sharp, high-quality images, then the lens may be the most important part of your kit. There’s a lot to learn, and often the best lessons come from simply getting out there and shooting. Don’t be discouraged by mistakes—they’re a key part of the learning process.
If you're using a manual camera, I’d recommend keeping a journal. Note each shot’s exposure settings, lighting conditions, and anything else you think is relevant. Then, when your film is developed and scanned, compare your notes to the results. This can help you troubleshoot issues and improve with each roll you shoot.
When it comes to film, it really boils down to personal preference. While you're learning, it's a good idea to start with a more budget-friendly film stock. That way, any mistakes you make won’t be too costly, and you'll feel freer to experiment.
Here are some more of Sarah's film photos from over the years to enjoy. Let us know in the comments below which is your favourite!
We hope you enjoyed meeting Sarah in this instalment of through the lens! Keep an eye out for our next instalment from the team coming very soon.
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