Why we choose film Ep.2 -Veronica Mubangizi

Episode 2 - Veronica Mubangizi

By Storm Simpson

Veronica joined the analogue photography renaissance in 2018 when she purchased a simple point and shoot camera and a roll of film somewhere in Long Street and “just went wild.”

“It was a trend I wanted to follow and I say that without shame,” she said.

Initially, she romanticised film and was drawn to the nostalgic nature of the medium before gradually immersing herself in the hands-on process of making photographs.

This was when I bought my first point and shoot and wanted to photograph anything and everything, November 2018 (Fuji C200). All images courtesy of the artist.

“Buying the right film, loading it and making the most out of every shot because it costs something,” said Veronica. “I find that moments caught on film are more authentic because you know a shot wasn’t the most perfect one out of 20 opportunities. It’s one click, one moment.”

Veronica finds art wherever she looks and this is reflected in her work, which is inspired by aesthetic pleasure and preserving memories. “I am motivated by the fact that there are so many beautiful moments I have yet to witness in my life, waiting to be captured.”

Her creativity is boundless and she shoots consistently because “there is never a bad time to photograph.”

Mistake with an Interesting Result, February 2019 (Kodak Gold 200)

Other photographers also inspire her — she credits them with teaching her how to look at life differently and developing her eye. She is particularly fond of Nina Kirsten’s (@stellenboschonfilm) “warm and nostalgic” style. 

“Her photos are so beautiful,” said Veronica. “Her page is a perfect example of how to make any moment look beautiful.”

Tothills Photo-Chemists is entrusted with developing the memories Veronica captured on celluloid because of their speedy turnaround time. She said, “Getting film back feels like Christmas morning because by the end of a roll I can’t possibly remember what’s on it.”

Veronica uses the Minolta AF-S point and shoot and while she is still exploring different film stocks, FujiColor C200 stands out as “it’s affordable and the colours are perfect, not too warm like Kodak Gold.”

I can’t explain what I love about this picture. It’s just perfect to me. Maybe it’s the colours, or the natural geometry of the homeJuly 2020 (Kodak Ultramax 400)

She recently acquired a second-hand single-lens reflex (SLR) camera along with some expired Agfa film and put some rolls through it but the results were disappointing.

“Two of the rolls came out either blank or unusable,” said Veronica. “But I know it happens to every film photographer at some point and it’s a learning experience.”

I’m not sure why, but this got so many replies when it was on my story, July 2020 (Kodak Portra 160)

“Don’t overestimate the lighting!” is her piece of advice for burgeoning film photographers. “It took me longer than it should have to learn that an analogue camera’s light sensor is not the same as my human eyes.”

“When working with a point and shoot, google your camera’s built-in aperture and ISO setting, and buy film stocks accordingly,” she said.

Veronica encourages anyone curious about the medium to pick up a camera and start shooting. “It’s a creative outlet, regardless of whether you consider yourself a creative person,” she said. 

“I think there’s value in keeping the art of film alive,” she added. “It goes far beyond a simple trend. It’s not about being ‘cool’ or ‘alternative’. It’s about preserving memories to look as beautiful as they felt in the moment.”

To see more of Veronica’s photographs visit her Instagram pages @veescamera and @veronigrace

This one reminds me of a grungey, Tumblr-era pic. It also reminds me of the album cover for Thursday by The Weeknd, July 2020 (Kodak Ultramax 400) 

Some of Veronica’s other work:

Leave a Reply

Your email address will not be published. Required fields are marked *