AI is here…and so is film.

I was already nervous walking into photo assisting interviews, but this one had me sweating. Instead of the photographer, I faced the first and second assistants, who timed how fast I could shoot and flip 4x5 film—a practice I later realized was absurd for the slow pace of still life photography. Still, I had much to learn, and as a woman, I felt the pressure to prove myself.

In 2003, I was shooting 4x5 Velvia film on a Sinar F1, the first camera I bought with my assisting income. I learned to load film (120 and 4x5) on the job while assisting interiors and still-life photographers, grateful for every crew member who helped me along the way. Some of my first portfolio shots are shown above.

When I began shooting on my own, many of my early jobs were high-volume silos (products on white backgrounds) for editorials: product reviews, gift guides, beauty awards. All shot on that 4x5 camera. I eventually landed a contract with Seventeen magazine and other clients, booked nearly year-round except for Thanksgiving and Christmas. Shot lists grew longer, days stretched on, and I was constantly working—but grateful just to be making a living.

The pace soon took its toll, though. Lighting products the way I envisioned became harder, and loading film in a blacked-out bathroom grew tiresome. Every shot required exposure bracketing, and eventually the slowness of the Sinar became an obstacle. I switched to a Mamiya RZ67 Pro, first with 220 film and then finally with a Phase One P45+ digital back—an investment far larger than I ever imagined. Convincing clients to embrace digital took coaxing, and together we learned new workflows, color profiles, and resolutions. But we adapted. Whether it was for better or worse is beside the point. Digital fulfilled a need, and we can’t imagine going back.

When I hear people resist AI, I think back to that transition. What started as a ripple became an avalanche, and I expect the same from AI. Image generators are advancing faster than we can track, yet film and vintage aesthetics are resurging too—I’m glad I held onto my old cameras. At the same time, I’m excited to test the newest AI tools and prompts others have pioneered. Brands are already using AI, so this isn’t a “what if”—it’s happening now.

It’s a lot of fun to explore how to use every tool—film, digital, or AI—and it takes the human mind to determine the best tool to achieve an aesthetic goal. As standards and laws take shape around AI, it’s exciting to imagine what we can create, within an ethical framework. Our generation will help shape those boundaries, hopefully sooner than later. Experiment, share, learn—we’re already seeing incredible things emerge.

Thanks so much for reading. I would love to hear your thoughts on the transition from film to digital to AI!

For a history of the transition from film to digital, there’s an interesting article from Fstoppers, The Birth of the Digital Camera: From Film to Filmless Revolution.

For a some great insight into what AI cannot do, watch Chris Do’s “How to NOT get replaced by AI”.