My Favorite Film Stocks Right Now
When you get into film photography, one of the biggest questions that comes up is: “What film stock should I use?” With so many options out there, it can feel overwhelming—especially when you're just starting out. Each roll of film comes with its own personality, quirks, and visual fingerprint. Some are punchy and vibrant, others soft and muted. Some love contrast, others thrive in subtlety. And finding the ones that really match your style? That takes time, experimentation, and—let’s be honest—a fair bit of money.
Lately, I’ve been running a lot of film through my cameras in an effort to dial in a few personal go-to’s—stocks I can rely on to deliver the look I love. A few have really stood out. These aren’t necessarily the best films out there—because that’s completely subjective—but they are the ones that have been working best for me creatively. They’re the films I keep coming back to, the ones I’ve grown to trust, and the ones that still get me excited to shoot.
So in this article, I’m sharing my favorite film stocks right now—a mix of black-and-white staples and a few beautiful color emulsions that have earned a permanent spot in my bag. Whether you're just getting into film or looking to try something new, maybe you’ll find something here worth loading into your next roll.
The Role of Film in the Final Image
It’s easy to think of film as just the medium you shoot on—but the truth is, the stock you choose plays a huge role in shaping the overall look, feel, and mood of your images. Each film brings a unique blend of characteristics: grain structure, contrast profile, color palette, dynamic range. Those subtle differences can dramatically affect the final result.
Choosing a film stock is a lot like choosing your brush and color palette before painting. Some films are high-contrast and bold, while others offer a flatter, more subdued look. Some are tack-sharp, while others embrace a grittier, grain-forward aesthetic. Some lean warm and golden, others cool and clinical. But beyond all of that, film stocks have moods. They have personalities. They react differently to light, to shadows, to movement. Learning how each one behaves helps you become more intentional with your work. It gives you the ability to pre-visualize—not just what you’re photographing, but how you want it to feel. That’s why I think it’s so important to try a variety of stocks and really get to know them. Eventually, a few will start to stand out. And that’s where the magic begins.
Ilford HP5
If I had to pick just one black-and-white film to shoot for the rest of the year, it’d be Ilford HP5. It has beautiful tonality, generous latitude, and that sweet, sweet grain that gives images a timeless, almost cinematic quality. What I love most about HP5 is its versatility. It handles just about any lighting condition with ease. Harsh midday sun? Flat, foggy skies? No problem. In fact, the grain fills in those empty skies and gives the image some bite.
Whether I’m shooting street scenes, landscapes, or night photography, HP5 handles it all with confidence. But what really makes it shine is how forgiving it is. You can overexpose or underexpose it and still end up with usable—and sometimes even surprisingly good—results. One of my favorite ways to shoot HP5 is by pushing it two stops to 1600 ISO. The contrast kicks up, which fits the kind of mood I’m usually going for. And if you like grain—oh man—pushing HP5 makes it look like you stuffed your camera with sand and somehow still came out with a beautiful image.
Right now, I’m in the middle of a six-month challenge to shoot only black and white film, and HP5 has been my go-to throughout. Working without color has pushed me to think more critically about light, texture, and composition. I’ve honestly been surprised at how much my skills have grown just by simplifying things. There’s something really freeing about stripping an image down to its essentials—and HP5 is the perfect tool for that.
(I’ll be writing more about this challenge in a future post, so stay tuned.)
Kodak TMax 400
If HP5 is my daily driver—reliable, gritty, full of character—then Kodak TMax 400 is the film I reach for when I want something clean, modern, and a little more refined. It’s the suit-and-tie of black and white stocks. While I love grain and grit, sometimes I need my images to look sharp, polished, and professional. Something more suited for my website or for client work. That’s where TMax shines.
What sets TMax apart is its incredible sharpness. I’ll usually load it when I want a more controlled, professional result—something that feels intentional, not just expressive. Unlike HP5, I don’t push TMax. I know you can, and it’ll technically hold up just fine, but in my experience, it’s already pretty contrasty out of the box. Pushing it would just take it somewhere that feels too harsh for my style.
I like TMax best when it’s doing what it does naturally—delivering smooth tonal transitions, deep blacks, bright whites, and a sharp image edge-to-edge. I don’t shoot it every day, and I don’t think I’d want to—it’s a little too clean for my usual work. But when precision matters more than personality, it’s the film I trust. It’s like a well-made tool: maybe not flashy, but when you need it, there’s nothing better.
Kodak Gold 200
I’ll be honest—Kodak Gold was never supposed to be one of my go-to film stocks. At first glance, it comes across as a budget-friendly consumer film. Something you’d throw in a point-and-shoot for casual snapshots. I only gave it a shot because I liked the warmth of Portra, and Gold offered a similar vibe at a fraction of the cost. But here’s the surprise: Kodak Gold didn’t just hold its own—it quietly outperformed my expectations and earned a spot in my regular rotation. In fact, if you scroll through my portfolio, a big chunk of my color work was shot on Gold. And not just filler shots—some of my favorite images.
It consistently delivers rich, balanced colors—warm without going overboard, vibrant without feeling artificial, and natural without being flat. Compared to Portra, I actually find Gold’s palette more visually interesting. It feels less clinical, more alive.
Sure, it has its drawbacks. It can struggle in low light, and the grain is more noticeable than higher-end stocks. But honestly? I don’t mind. That grain adds soul. And in most lighting conditions, Gold gives me everything I’m looking for in a film: beautiful tones, reliable results, and enough personality to keep things interesting.
Kodak Gold may have started as a budget option, but it’s become something much more than that. It’s proof that great work doesn’t require the fanciest tools—just the right eye, the right light, and a film stock that gets the job done.
Cinestill 400D & 800T
It’s hard to pin down exactly what it is about Cinestill films that I love—but maybe that’s part of their charm. Both 400D and 800T have this cinematic quality that’s hard to replicate. The colors pop, the contrast hits just right, and everything feels a little more… dramatic. If there’s one thing that draws me in, it’s the halations. That signature red glow around highlights, especially in backlit scenes. Some people see it as a flaw—I see it as a feature. An imperfection that adds character. A reminder that you’re shooting film, not chasing sterile perfection.
Between the two, 400D has become a fantastic all-around color film. It handles daylight beautifully, and ISO 400 gives you enough flexibility without too much grain. But when the sun goes down, 800T takes over. I love the grain at night—it adds atmosphere and grit. That said, 800T’s tungsten balance can be a little tricky in daylight. I usually throw an 812 warming filter on the lens to correct the cool tones—unless it’s nighttime, when the cooler temperature works perfectly with neon signs, street lamps, and all those city glow vibes.
What sets Cinestill apart isn’t just what you can do with it—it’s what the film does. It has a mind of its own. Halations, grain, color shifts… they just happen. You’re not in total control. And that’s the point. Shooting Cinestill is less about technical perfection and more about creative collaboration. That unpredictability? That’s the soul of it.
The Bottom Line
At the end of the day, film stock is just one piece of the puzzle. Sure, choosing the right one helps you get closer to the look or feeling you’re after—but it’s not everything. What matters most is that you go out and shoot. After all, the film stock doesn’t take the picture. You do.
It’s easy to get caught up in comparisons, obsess over sample galleries, or overthink your choice of film. But no amount of research replaces real experience. Load what you’ve got, and get out there. Because truthfully? The best film is always the one already loaded in your camera.
If you liked any of the images featured here, check out my print shop. Your walls could use a little more grain.
Until next time—happy shooting!
