If there’s ever a way to turn a random drive into a full-blown analog adventure, it’s by having classic gear at the ready. On this impromptu photo journey, I had two distinctly different cameras and film stocks loaded and waiting: the rugged, all-manual Minolta SRT102 paired with Rollei RPX 100 black and white film, and the plasticky but charming Kodak VR35 loaded with Kodak Ultra Max 400 color film. With both camera straps at my side—one aiming for crisp monochrome, the other for vibrant color—I set out to capture sunlight, shadows, and all the stories hiding on a property I’d never photographed before.

It’s the spontaneous moments that often become favorites for film photographers. That’s exactly what happened on a recent drive when I spotted an intriguing property I’d always wanted to photograph. With a bit of luck, the owner let me in, inviting me to shoot as much as I liked—a rare gift for anyone passionate about documenting unique places on film. What followed was an impromptu shoot that tested my gear and my ability to adapt to bright, unforgiving light.

Working with the Light You’re Given

Midday sun is notorious for making photography tough. The harsh light can blow out highlights and flatten shadow detail, but sometimes the most interesting shots are made by embracing those imperfections. On this day, the sun was blazing overhead—far from ideal for most film, but perfect for challenging myself creatively.

I relied on the Minolta SRT102, loaded with Rollei RPX 100 black and white film. The SRT102 is a classic fully-mechanical SLR from the 1970s, offering full manual control and through-the-lens metering. Paired with a 50mm lens, I kept the aperture around f/8 and the shutter at 1/250th or 1/500th, watching the needle in the match-needle viewfinder to nail my exposure. The RPX 100 film is a modern favorite—fine-grained, great sharpness, and able to handle strong contrast without blocking up shadows or losing highlight detail.

Alongside the SRT102, I brought the Kodak VR35—a classic 1980s point-and-shoot loaded with Kodak Ultra Max 400, a versatile color negative film that thrives in bright conditions. The VR35, with its 38mm f/5.6 lens and auto-exposure, quickly became my weapon of choice for grab shots around the property. Despite its humble plastic construction, it has a surprising knack for sharp, vibrant images.

The beauty of a rural Missouri small town is captured through the lens of a Pentax 645 medium format 120 camera and 45-85mm zoom lens. The film, Delta 400, adds a unique grain and character to the images, showcasing the power of classic photography techniques.

What do you think of Delta 400 and what is your favorite conditions to shoot it? Also, what are your thoughts on the Pentax 645 camera? Thanks for watching!

I test my new-to-me Mamiya 645 1000s medium format film camera loaded with Kentmere 400 black and white 120 film shot at box speed. I also have the perfect lens for this location in the Mamiya 55-110mm f/4.5 zoom. It offers crisp, sharp images at any focal length and is perfect for walk-around photography.

Small midwestern towns lend themselves to plenty of photo opportunities, the towns in this video are no exception. Follow me as I shoot two rolls of Kentmere 400 pushed to 800 with my Pentax 645 medium format camera, developed in Cinestill DF96 developer. And is that a funeral hearse!?

Do you ever get out of your hometown for random photography in rural areas? Helps that I have a job that requires travel, but what about you? Do you get out as often as you'd like?

Follow me as I shoot two rolls of Kentmere 400 pushed to 800 with my Pentax 645 medium format camera, developed in Cinestill DF96 developer in some backroads and small towns in rural Indiana.