A trend I found fascinating: more and more people are bringing analog cameras to soccer stadiums. In an era where every fan has a cell phone in their pocket, why choose film?
It all started with the desire to recreate the aesthetic of old photos, but it has become a serious movement. Some photographers have started publishing this work on social media and have gained a reputation within the fan communities.
Gabriel Wisniewski, 25, documents the Coritiba fans on the "Coxa Analógico" profile. With 24 or 36 exposures per roll and without seeing the results immediately, he says he really has to think about what he's doing. The film also forces him to get closer, talk to people, and be in the middle of the fans, among the banners and drums. At the stadium, he's become known as "the analog guy." He felt there was a need for someone to show the everyday life of the stands, not just the players and the key moments.
Júnior César, 35, from "Grêmio Analógico," sees film as a way to slow down: "Film is a counter-culture in this digital world." Because each click has a cost, you have to reflect before pressing the shutter.
And the cost is significant: a roll of 36 exposures costs around R$ 50, and developing and digitizing costs another R$ 50. César estimates between R$ 4 and R$ 5 per image; Wisniewski has used as many as five to eight rolls in a single game. There are also risks: a whole roll can be lost, there can be exposure errors, lack of light at night, and even running out of film just as the "Green Hell" was about to begin, the green flares party of the Coritiba fans.
The wait is part of the experience. Wisniewski waits a week or a week and a half for the lab results and doesn't edit the images much to preserve the film's aesthetic. César keeps rolls undeveloped and, when he receives the photos, he rediscovers moments he might have forgotten.
The movement extends beyond Brazil: projects like "AnalogFootball" bring together photographers from countries like Brazil, Mexico, the United States, and France who document soccer on film.
Source: Portal Jornalismo ESPM
Over the past year or two, the world of film cameras has slowly started buzzing again. It used to be a given that you'd hunt for a used one, but now “film cameras you can buy brand-new” are gradually becoming more common. For someone like me who loves film, this is a truly welcome change.
Even in an article I wrote in 2024, I could feel film's popularity coming back, but I think 2025 is the year it really took shape. What stands out to me most is that many of the new models getting attention come from overseas manufacturers. You can sense manufacturing know-how and passion that differ from Japan's film culture, and just looking at them gets me excited. Having more brand-new options should also be a big boost for people who want to start shooting film.
I myself started out with an SLR my father used to use. The tension of having only 36 shots, and the color rendition when the prints come back from the lab. That feeling is something you can never get with digital. I'm genuinely happy to see the culture of taking each shot with care being passed on to a new generation.
Film and developing prices have gone up, but the fact that new cameras keep coming out one after another means this culture is going to continue for a long time yet. The camera that becomes your next one is surely among them.
Source: Sunrise Camera
In early October 2025, Kodak announced two new color negative films, Kodacolor 100 and Kodacolor 200. 3DNews reported this, citing The Verge, and it struck me as one of the most welcome pieces of news for film photographers in a while.
An important detail: the company plans to sell these films itself. Until now distribution was handled by Kodak Alaris, which had taken on that role since the company was split after its 2012 bankruptcy. Kodak itself calls Kodacolor "sub-brands of existing films," meaning these are not entirely new emulsions. Experts believe Kodacolor 100 is based on ProImage 100, and Kodacolor 200 on Color Plus 200.
Both films are color negative and are developed in the C-41 process. Kodacolor 100 has ISO 100, finer grain and a warm tonality; it works well in bright light and produces clean, detailed frames. Kodacolor 200 is more versatile in moderate light, with more neutral colors and slightly coarser grain; it is a film for everyday shooting.
The article also notes that upgrading the Rochester plant has increased production capacity, and that cutting out intermediaries should speed up deliveries. Since 2020, color film prices have risen by at least 50%, and for some types by a factor of two, so the publication hopes that more supply will help stabilize prices. A roll of the new film costs about 9 dollars. Personally, I hope this is one more step toward more affordable film.
Source: 3DNews
Lomography has been busy this autumn. Two new colourways of the Sprocket Rocket, the panoramic 35mm camera that exposes right over the sprocket holes, have just landed: Starlight, in a chrome-effect silver plastic, and Ultra Violet, in a deep purple. Both are on sale now at £45 in the UK.
The Sprocket Rocket first appeared back in 2010, and the spec sheet hasn't changed since: a 30mm lens, apertures of f10.8 and f16, a 1/100 shutter plus Bulb, a hotshoe for flash, a tripod mount and support for multiple exposures. It is a very simple camera, and that is much of its charm.
The other news is the Lomomatic 110 Ladybug, a red, ladybug-styled version of the 110-format camera that Lomography quietly launched in 2024. It has a 23mm lens, f2.8 and f5.6 apertures, an auto mode running from 30 seconds to 1/250, and a dedicated flash. No price or release date has been given for the Ladybug yet.
I like that 110 keeps getting attention. It is a format many people wrote off years ago, and seeing a new camera for it, even a playful one, is a nice sign for anyone who still hunts for 110 cartridges. If you have used either of these cameras, tell us how the panoramic frames or the tiny 110 negatives turned out.
Source: Kosmo Foto
On September 5, 2026, the Analog Art Affair took place at BASE in Carlswerk in Cologne-Mülheim, a trade fair and community event centered on analog photography. Dirk Trampedach wrote a detailed review on fotowissen, and I enjoyed reading it because it shows so well how lively the scene is right now.
The event has only existed since 2025. Across about 1,500 square meters, more than 50 exhibitors came together: artists, labs, publishers, brands and collectors. Entry was free, and there were free photo walks, live podcasts and, in the evening, a get-together with live vinyl sets. The event was organized mainly by Ben Hammer and his team.
According to the report, even before the doors opened, photographers were standing outside the building with cameras ranging from a Leica M3 and Pentax, Canon, Minolta and Olympus to rarities like Plaubel and Zeiss. The author himself came with a Nikon F3 HP, a Nikkor 50mm 1:1.4 lens and Wolfen NP 100 film. Inside there was a bright area and a dark one, and in the dark area talks ran, including one by Ilford about its own films.
The encounters he describes stood out to me. Dan Hummel hand-colors black-and-white photos with brush and paint. Hannah Sophie Huber shows photos of everyday encounters. At one booth, pictures in a 65×24 format hung on the wall, shot with a small 35mm camera that exposes only a narrow strip in the middle of the negative. The photo walk led by the Berlin Filmriss photo club was about lines that continue within other lines. As the author himself writes, he needed half of the 90 minutes just to understand the approach.
His conclusion is very positive: good organization and infrastructure, many fresh ideas, and a well-balanced presence of professional companies. He explicitly highlights that such a large fair is free. A report like this makes me curious about the next edition.
Source: fotowissen
The name Praktica is back on a very simple film camera: the VF212, introduced in early July 2026 by Phototrend. It is a fully plastic point-and-shoot compact that works like a disposable camera, with one big difference: you can change the film once the roll is finished.
In terms of specs, it measures 119 x 67 x 41 mm and weighs 98 g. It takes 35 mm film in 24 or 36 exposures, with a fixed 31 mm lens at f/9 to f/11 and a tunnel viewfinder. Winding and rewinding are manual, and a built-in flash runs on an AAA battery. The announced price is 37 euros, in cream white or grey, sold on Amazon.fr.
What amuses me is the history this name carries. Praktica first meant cameras made in Dresden from 1949 onward: metal-bodied SLRs with M42 mounts, East Germany's answer to Japanese cameras during the Cold War. The last German model, the BX20s, came out in June 2001. Since then the brand has been licensed for film and digital cameras made in China, and the VF212 is the most recent of these.
The article presents it as a gateway to film, especially for young photographers, and highlights its retro design, lightness and simplicity. It also notes that competition is well established, notably Lomography's Simple Use range. I find it good news that options at this price are appearing: to try film without a big investment, this is exactly the kind of camera that was missing.
Source: Phototrend
A new reference site for film camera fans went live at the end of September. Camera Index, started by Pierro Pozella of PPP Cameras, is a free website that sets out to catalogue every film camera ever made.
It launched on 29 September with more than 1,400 cameras, all from makers whose names begin with A, such as Agfa, Ansco, Alpa and Argus. Pozella describes it as a long-term project that will take several years. The big manufacturers and popular models come first, and the obscure entries will be filled in later. The plan also reaches beyond bodies to lenses, accessories and other bits of photographic history.
A few details I found interesting. It is a working database rather than a printed book, so entries can be corrected and extended. Each camera gets a short, clear summary drawn from books and the web, plus a thumbnail image generated with software Pozella wrote himself. He expects tens of thousands of images when the archive is done. Blogs, repair material and a list of reputable shops are also on the wish list.
Some entries are still sparse, which is only to be expected this early. Still, for anyone trying to identify a camera found at a flea market or in a relative's cupboard, a free index like this could become a very handy first stop. I will be watching how fast the letters after A appear.
Source: Kosmo Foto
This story really hit home for me, because it brings together analog photography, craftsmanship and family memory. In Río Cuarto, Córdoba, photographer Gerardo González spent a year building his own minutera camera, which he named "La Petro", and he's using it to bring this technique back to the city's plazas.
For anyone unfamiliar with it, minutera photography lets you take, develop and hand over a picture in just a few minutes, all inside the camera itself and right in front of the person being photographed. González got curious about the minuteras he kept seeing on social media and in films, and got in touch with a photographer from La Pampa who works with a similar camera originally brought over from France. Working from a set of plans, he put the pieces together one by one, taking great care with the wood cuts so no light could get in.
The name is a tribute: his grandfather, whose surname was Petrocelli and who was known as "El Petro", was an amateur photographer who developed his own prints at home.
The best part is the encounters the camera is bringing him. Many older locals come up to tell him they remember the old minuteros of Parque Sarmiento. One man arrived with his two grandchildren and told him he treasures a photo of himself with his own grandfather, taken when he was 5 or 6; he wanted to recreate the scene so he could leave them the same memory.
What stays with me is the idea behind it all: in contrast to the instant gratification of the phone, here the waiting is part of the experience. The "La Petro" exhibition can be seen at the Espacio Cultural Franklin Arregui Cano, in Río Cuarto's Municipal Palace.
Source: Puntal
When I saw Lomography's three new special edition film cameras, my first reaction was: gorgeous! This time we have the Sprocket Rocket Starlight, the Sprocket Rocket Ultra Violet, and the Lomomatic 110 Ladybug. The main changes are in the color schemes; the body specs are basically unchanged.
The Sprocket Rocket uses 35mm film with a 30mm lens, two aperture settings of f/10.8 and f/16, a 1/100 sec shutter plus Bulb mode, and it can do multiple exposures. Its biggest feature is that it captures the film's sprocket holes in the frame too, producing wide-format photos with a lot of character.
The Lomomatic 110 Ladybug has a red exterior and a 23mm glass lens, with two apertures of f/2.8 and f/5.6. It supports switching between ISO 100/200/400 and multiple exposures, and runs on a single CR2 battery. It sticks with 110 film, which is pretty rare these days, and I think it's admirable that they keep making 110 cameras.
Both Sprocket Rocket models are already on sale, each priced at £45 in the UK; UK pricing for the Lomomatic 110 Ladybug hasn't been announced yet. The new models are already listed on Lomography's official website.
Honestly, these cameras were never about image quality in the first place — their biggest selling point is that they're fun. The Sprocket Rocket in particular, with sprocket holes right in the photo, really oozes that film feel.
Source: 摄影笔记 (NetEase account)
China Lucky Film, which has been on a roll with its color films, has now released new black-and-white products. There are two: "Yingzhe (影哲) 100" and "Yingzhe 400", and according to a Reddit post, they already appear to be available on Chinese e-commerce platforms.
One thing to note is that these are separate products from the existing SHD 100 / 400, which were revived in 2024. Fragmentary teasers had apparently been circulating on social media before the launch, and on September 6 a Reddit user posted screenshots of a Chinese sales page, writing that it is "a completely new product, not the vintage (new) SHD series." The price is said to be quite close to Ilford Pan 100, and I'm curious to see how it renders, too.
They are not yet in the lineup of Reflx Lab, which often brings Chinese films to the West early. Whether they'll be available overseas depends on how things develop from here.
China Lucky has been a really active manufacturer over the past year. It released Lucky C200 in summer 2025, which is now widely distributed in Europe as well, priced about the same as Kodak's consumer color films. On top of that, the ISO 400 C400 has come out and is starting to appear in shops outside China.
In Japan, it's hard to say there's a proper official distribution channel yet, but as a film lover, more options are simply good news. I'd like to judge the actual look once enough sample photos from overseas are out.
Source: FilmFocus
Film scanning is something I'm always struggling with, so I couldn't help reacting to this news. Britain's Soke Engineering is reportedly preparing to launch "Knokke," a 35mm film scanner for home use. It can apparently scan a 36-exposure roll in under three minutes at about 22 megapixels per frame, with a planned UK price of £799. Pre-orders are being taken with a £200 deposit, and shipping is planned to roll out from early December.
There's no holder: the unit advances the film itself, finds the gaps between frames, and automatically crops each frame one by one. As long as the height is 24mm, the aspect ratio doesn't matter, so it's nice that half-frame, panoramic, and the wide XPan format can all be handled as they are.
What caught my attention most is the "trichrome" method, which lights each frame in turn with red, green, and blue LEDs and captures it three times. Since it doesn't rely on Bayer interpolation, it can reportedly read the dye layers of color negatives cleanly and separately. Infrared dust and scratch removal is also said to be usable with almost no increase in scan time.
The bundled software, "Korova," offers D/C/M/Y correction controls modeled on the Fujifilm Frontier, aiming to recreate the feel of a lab right at your desk. However, some have pointed out that the open-sourcing promised at the original announcement hasn't happened yet, and that the terms of use prohibit modifications and the like. I'm hoping that changes down the line.
Source: FilmFocus
At first glance I thought this was just a new box, but Ilford has actually changed something under the hood. Harman Technology has released a small run of Ilford Delta 400 Professional in 35mm with the same emulsion as usual, coated on a clearer roll-film base with anti-halation protection. It is the first time Ilford has used this kind of base on a 35mm black-and-white film.
According to Ilford, that brings better dynamic range, more shadow detail, extra sharpness, easier scanning and less halation around bright highlights. Speed and development times stay the same, so whatever routine you already use for Delta 400 still works. It comes in an all-black cassette and box, which I have to admit looks great.
The interesting part is that Ilford is treating this as a test of demand. If people like the results, it could go into regular production, though probably at a higher price, since the anti-halation layer costs more to make.
Stock is very limited, at roughly £13.08 a roll in the UK and $15.19 in the US. The tip I liked most: if Delta 400 is your usual film, shoot one of these next to a standard roll on the same day and compare. That is exactly what I would want to do.
Source: Camera Jabber
