Celeste Jacobs is a passionate advocate for the timeless art of film photography. She has carved out a unique niche of her own that resonates with both purists and newcomers alike. In this exclusive interview, she shares her journey, the inspiration behind her work, and why she believes film photography continues to hold an irreplaceable charm in today’s fast-paced digital age. Join us as we delve into the world of Celeste Jacobs and discover what makes her click.
Please tell us about your background and how you got into film photography.
I’m mainly a words person – I worked in magazines for years and then moved to agency life. I currently work as an editor. Photographer felt like a natural progression in terms of looking at other avenues for expression. I’ve always loved it – but it wasn’t until about 2020 that I started shooting film. It’s an incentive to leave the house and get some time outdoors.
What inspired you to choose film over digital photography?
I love that it’s analogue – in the same way that I love print publications. It just felt like ‘the one’ to me and that’s the feeling that’s been the feeling I’ve had about it since I started.
Are there any photographers or artists who have influenced your work?
I love Marina Abramovic – she’s such an incredible and iconic performance artist – it’s a very different medium for sure! But I’m inspired by her conviction, creativity, courage, and determination.
What is your preferred film stock and why?
I reach for Kodak Gold quite often – but also really enjoy shooting Portra 400. Both of these stocks handle colour really well and create images that feel warm.
How do you decide on the subjects or themes for your photography projects?
It’s mostly about looking for moments and hoping they find me too – I see it as a form of expression and a way to process my thoughts and feelings. With that approach, there’s room to find symbolism in moments that could ordinarily pass me by.
What cameras and lenses do you typically use, and what do you like about them?
I love my Canon AE-1 – I’m almost certain this will always be a favourite camera – it’s really reliable and feels good in my hands. For the most part, I’m quite happy to shoot on a 50mm lens, but I’ll also slot on some other options if there’s a need.
How do you handle the unpredictability and limitations of film compared to digital?
What unpredictability or limitations? :’) I feel like that’s the one thing about film – it’s got a slightly volatile reputation. However, it’s very possible to have positive experiences with it. To actually even love it as a medium. I don’t see it as unpredictable and the only limit is that a person might want to explore other mediums entirely – but to me, film is wonderful. And, there’s nothing wrong with digital – I’m not a purist like that and don’t want one to seem better than the other. It’s like asking a painter if they prefer acrylic or oil. I think these are choices any creative makes when looking to express themselves. Sometimes it’s like asking yourself, how do I say this in a way that feels true to me? In my case, that means wanting to take photos on film. At least, for now. Knowing that your medium can evolve or change as your expression shifts is also part of the process.
What do you enjoy most about shooting on film?
I love how it treats colour, how you can play with light, and the process.
How do you approach composition and lighting in your work?
I like taking my time to first see something – whether I’m out on a walk or in the studio – and then deciding what it’d take for me to bring that across. That moment, depending on how quickly it needs to be, is a time to consider angles, settings, film stock, and the importance of being mindful when I press down on the shutter. I think those moments are also part of an energy exchange in real-time, but later on, if you share the images, there’s that exchange too.
Do you have a favourite type of film or camera for specific situations (e.g., portrait, landscape, street photography)?
I generally stick to my Canon AE-1. I also use a Mamiya C33 for medium-format images. Both are versatile across portrait, landscape, and street photography genres. It’s just a case of choosing which gear I think would be better for the moment and to convey what I’d like to get across.
What are some of the biggest challenges you face as a film photographer?
I don’t think it’s just in film photography – but across photography in general – I don’t think women of colour are represented enough. I think there’s a big focus on it still being quite a male-dominated industry, changing that is a shift I look forward to seeing.
Can you share a particularly memorable experience or photograph from your career?
I like this one a lot – it was taken in Paris last year – and I was starting to feel curious about taking photos of strangers. I loved this moment and thought it had a certain type of effortless beauty. I wanted to bring it across in a photograph.
How do you see the future of film photography in an increasingly digital world?
As long as there is film, cameras, people who can service cameras, and the necessary chemicals, I think we’ll be alright!
What advice would you give to someone just starting out with film photography?
I think, like with anything new, first check that it’s something you really enjoy. I’d start with an entry-level body or a reusable point-and-shoot, and see from there. Put a few rolls through and see if you like the process – you don’t necessarily need to love the results immediately – but the process is important. You might even find that if it’s something you stick with, looking back on older rolls can be beautiful because you can reflect on your process and growth and still find something special about knowing that being a beginner is wonderful. I think just allowing yourself to be guided by how it makes you feel – if you enjoy it – it’s easier to put the effort into understanding and being comfortable with the medium.
Can you share any upcoming projects or exhibitions you’re excited about?
I’m currently showing with Accidentally Wes Anderson in a group show in Shenzhen, China. It’s my 4th time showing with them, and this exhibition has been running since 3 March and closes on 30 July. Next, I’ll show at the Gallery at Glen Carlou from 28 July to 8 September. It’s their Winter Salon and a group show. Apart from that, some of my work is available through SMAC, their SAD stores, and also through me. The latter will hopefully be made a lot easier when my website launches later this month – nearly there!
