35mm Film Wedding Photography

Film photography is having a bit of a revival — although really, it never disappeared. Film just became harder to get hold of… and then very, very expensive. I actually learned to shoot on film back when I was studying for my Graphic Art Degree. Weddings, on the other hand, have mostly been digital — but with 35mm film firmly back in the spotlight, it feels like the perfect time to offer it as an add-on for the lovely couples I work with. 35mm film wedding photography

Analogue coverage of your wedding day

Shrigley Photography & Film is a documentary-style wedding photographer and filmmaker based in Hertfordshire and covering London and the UK.

I’m drawn to the grain, the unique character of different film stocks, and the way film responds so differently depending on the light. The imperfections, subtle shifts in colour, the depth in the shadows — all of that magic is what makes it so special.

So here’s how 35mm film works for weddings. With full-day coverage, I’ll shoot 1-2 of rolls of film across the day and deliver high-quality scans alongside your digital images, suitable for printing up to A4. I’ll select the film stocks to suit the feel and conditions of your day, and you’re welcome to choose colour, black and white, or a mix (unlike digital, this choice is set by the film itself).

For winter weddings, film can be a little more challenging as it needs plenty of light, and not all stocks perform well in darker conditions — but we can absolutely chat through the options and see what will work best for you.

Why would I want film for my wedding photographs?

In an increasingly digital world, there’s something deeply honest about film photography. It embraces grain, softness, and imperfection — the very qualities that give film images their beauty and character. Shooting on film isn’t about taking hundreds of frames; it’s a slower, more intentional process, focused on recognising the decisive moment and pressing the shutter just once, rather than relying on bursts. At a time when images can even be generated by computers using AI, film sits at the opposite end of the spectrum — tangible, real, and about as far from fakery as photography can get.

Film is also incredibly flattering. The natural softness and grain create a gentler, more organic look than digital, and while it’s possible to imitate elements of this aesthetic digitally, nothing truly compares to the real thing. The final look of a film photograph is shaped by many factors — the film stock itself, its ISO sensitivity, and even the developer used. Different colour films produce distinctly different tones, while black and white films vary in contrast, texture, and grain.

More and more of my couples are drawn to film wedding photography because it’s what their parents or grandparents had, and they love the sense of nostalgia it brings. Others already shoot on analogue cameras themselves and feel a real connection to the medium.

My approach to film wedding photography isn’t about perfection — it’s about feeling. I photograph how the day felt, not just how it looked. Anyone can document appearances; film allows me to create something more emotive. I choose to shoot film because I love its imperfections and the honesty they bring to every image.

What works well on film

Film really shines when there’s a bit more breathing room to create. It works beautifully during morning preparations, for wedding details, quiet in-between moments, and especially for couple portraits. Ceremonies can also be a great fit.
Faster-paced parts of the day — travelling between venues, hopping on Routemaster buses, or lots of candid, on-the-move moments — are often better suited to digital. It’s more flexible, far more forgiving, and doesn’t cost £££ every time the shutter clicks. That’s exactly why film and digital work so well together; they complement each other perfectly.

What kind of conditions do I need?

Film is a bit of a light-hungry medium, particularly colour film, which rarely goes beyond ISO 800. Black and white film tends to offer more options for low-light situations. So, for something like a candlelit winter wedding after sunset, you’d generally be looking at shooting in black and white or introducing flash, which naturally creates a different feel. Summer weddings, on the other hand, offer far more flexibility and opportunity for film. If you’re thinking about including film in your wedding coverage, let’s have a chat and I can talk you through what will work best.

What are your favourite film stocks?

Is it a cliché to say Kodak Portra? Possibly — but for good reason. It’s a fantastic all-rounder, and Portra 800 in particular is brilliant when you need a little extra exposure latitude indoors. I also love experimenting with expired film; when it’s been well stored, it’s surprisingly robust, and the subtle colour shifts give images a beautifully nostalgic, genuinely “filmy” feel.

For black and white, I’m completely smitten with Ilford HP5 and use it for the majority of my B&W work.