In Part 1, we explored the very beginning of the film journey: choosing your film, rule of thirds, and shooting friends, family, and landscapes. Now it’s time to take things a step further. Whether you’re learning to shoot without a meter, pushing and pulling film for creative control, or challenging your own mindset as an artist, Part 2 is about building confidence and exploring what’s possible.
Shooting Without a Light Meter: The Sunny 16 Rule
Not every situation calls for a handheld light meter. In fact, with practice, you can read the light around you using a tried-and-true method: the Sunny 16 Rule.
If you’re shooting at noon on a bright day, set your aperture to f/16 and your shutter speed to match your film speed (for example, 1/250 for ISO 200 film). Then, adjust from there:
- Partial cloud cover with soft shadows → open up to f/11
- Overcast sky with no shadows → open up to f/8
- Heavy clouds or rain → open to f/5.6
- Sunset or dawn (sun above horizon) → try f/4
- Twilight (sun below horizon) → open all the way to f/2.8
This practice not only teaches you exposure—it sharpens your eye for light. Watch the full breakdown here.
Owning Your Tools and Your Process
A question every artist faces: what kind of camera should I use?
Brooke Wilen, fine art photographer and Icon collaborator, offers a refreshing perspective: it doesn’t matter what tool you use, it matters how you use it, and how confidently you own your process. In her video diary, Brooke shares how she embraced spontaneity by shooting on her phone, printing large-scale works, and reframing her device as a valid artistic tool.
The lesson here: don’t let equipment dictate your creative worth. Push yourself to create with what you have, test papers and print methods (we can help at The Icon), and trust that what you’re making is valid.
Try something new! Keep your film camera handy,i It’s in the moments you least expect it that you’ll want to capture the moment. Share your work with us by mailing in your film. We’d love to see what you found behind the lens.
Pushing and Pulling Film
Once you’re comfortable with exposure, you can begin experimenting with pushing and pulling film: a powerful technique for adjusting contrast, mood, and exposure latitude.
- Pushing film: Rate your film higher than box speed (e.g., shoot ISO 400 film at 800). This underexposes the negative, then we compensate in development with longer chemical time. Results: more contrast, deeper shadows, and sometimes richer color saturation.
- Pulling film: Rate your film lower than box speed (e.g., shoot ISO 400 film at 200). This overexposes the negative, then we cut development time. Results: softer contrast, muted colors, and smoother tonal range.
At The Icon, we process within wide ranges. C41 films can be pushed up to +5 stops or pulled down to –2.5 stops; black-and-white from –2 to +2.5; E6 from –1.5 to +4. That gives you plenty of room to experiment.
Deep dive into pushing/pulling and how we handle it at The Icon.
Expanding Your Mindset
Part of becoming a more advanced film photographer isn’t just technical—it’s mental.
It’s about taking risks: trying new film stocks, trusting your instincts without a meter, experimenting with development, or breaking free from limiting beliefs about what your art should look like.
Brooke puts it best: “There comes a time with every artist where you stand up and you say—I’m an artist. This is how I’m creating, and it’s valid.”
That’s the next step in this journey: confidence.
Final Thoughts
Film photography is a balance of craft and courage. As you move beyond the basics, give yourself permission to play, to make mistakes, and to push the medium in ways that surprise you.
And when you’re ready to take those experiments into print, we’re here to help, learn more about our services at The Icon.
Don’t wait. Ship your undeveloped film to the Icon.
