A professional photographer with 40 years of experience has sparked discussion in the photography community by sharing his perspective on the ongoing film versus digital photography debate. Simon Burn, who has spent equal time shooting with both film and digital cameras throughout his career, argues that the debate often becomes unnecessarily heated when personal opinions are mistaken for absolute facts.
Burn's photography journey began in college with a basic film camera, leading to 20 years of shooting exclusively on 35mm and medium format film cameras. During this period, he estimates shooting hundreds of thousands of film photos, starting with a used 1970s Nikon camera that he still owns today. By the late 1990s, he had upgraded to professional equipment including a Nikon F5 flagship camera and a Bronica ETRS for larger commercial projects.
The transition to digital photography came gradually for Burn, who found early digital cameras like the Nikon D200 and D300 inadequate for his professional needs. It wasn't until 2008 with the release of the Nikon D700 that he felt digital technology had matured enough to meet his standards. This camera marked the beginning of his second 20-year period, this time shooting digital.
Despite acknowledging the benefits of digital technology, Burn has developed what he describes as a "love-hate relationship" with modern camera development. He criticizes the rapid turnover of camera models, often with minimal improvements, and the shift toward plasticky construction that breaks more easily than older equipment. His recent experience purchasing a Nikon Z6 III instead of simply replacing his worn Z6 exemplifies his frustration with unnecessary technological additions that don't improve image quality.
Burn particularly criticizes photography influencers on YouTube who he believes prioritize gear sales over creative education. He argues that the photography community needs more discussions about creativity and artistic vision rather than constant equipment upgrades. "We need to understand a new camera is not going to make us a better photographer—practicing and experimenting is," he states.
The photographer expresses concern that modern cameras, loaded with numerous features, can overwhelm newcomers to photography. He believes that too many options can actually block creativity and prevent new photographers from learning fundamental concepts like aperture, shutter speed, and exposure control. This contrasts with film photography, where understanding these basics was essential for capturing any image.
Currently, Burn uses a mix of cameras depending on the situation: a six-year-old Nikon Z50 for hiking, an eight-year-old Z6 for travel and street photography, and increasingly, his 17-year-old Nikon D700 for urban and landscape projects. For black-and-white photography, his primary passion, he purchased a Leica Q2 Monochrom two years ago, appreciating its simplicity and film-like operation.
When recommending cameras to others, Burn suggests either vintage options like the 2012 Nikon D800 or the underrated Nikon Z5 for those wanting modern mirrorless technology. He emphasizes the importance of pairing these cameras with well-built manual focus lenses rather than modern "focus-by-wire plastic" alternatives.
Burn expresses admiration for Leica's approach to camera design, particularly their philosophy of deliberately not offering everything that's technically possible, but rather remaining "limited to what's photographically useful." He recently purchased a 70-year-old Leica M3, describing it as a "mechanical masterpiece" made with brass components that represents the kind of craftsmanship he values.
Regarding the core debate about image quality, Burn acknowledges that film photos don't necessarily look better than digital photos, and that film aesthetics can be achieved digitally with proper technique. For him, film photography is primarily about the experience, nostalgia, and the tactile pleasure of using well-crafted mechanical instruments.
Burn's personal solution involves carrying two small cameras on photography outings. For black-and-white work, he brings both his Leica Q2 Monochrom for quick digital shooting and his Leica M3 loaded with HP5 film for more deliberate, experiential photography. This approach allows him to shoot hundreds of digital frames when needed while limiting film usage to perhaps 4-5 shots per outing, making the cost manageable.
The photographer identifies two key advantages that digital cameras offer over film: the ability to zoom in for precise manual focusing assistance, and the availability of histograms for accurate exposure control. Interestingly, he notes that the viewfinders and focus systems on vintage film cameras like the M3 are often superior to modern digital equivalents.
Burn concludes that there is no universal solution to the film versus digital debate, emphasizing that photographers should choose whatever makes them happy and helps them create the images they envision. His year of experimentation has led him to embrace both technologies, using each for their respective strengths rather than viewing them as mutually exclusive options.
