Edition Fifty Five

An interview with Suzi from @suziinframe

Substack has the ability to connect people.

People who have never met. Live on different continents & different cities. And share many things but one of them draws us together.

Like photography.

I’m unsure about how I found

Suzi

but the quality of her photos and what she wrote made me subscribe immediately. I’m not a film photographer but each time I read about someone using film as their go-to way of photography I feel motivated to do the same.

If you haven’t read her publication do yourself a favor and have a read. You’ll be met by interesting experiences and more importantly great film photography.

And now…onto the meat and potatoes.

Hello Suzi. Thanks for agreeing to the interview, I really appreciate it : ) Could you please tell us about yourself, how you got started in photography, a few things we won’t find on the About page.

Hello to everyone taking the time to read this article.

When Richard asked me to do an interview for his newsletter, I was both delighted and nervous. I’m very much the quiet type—but that said, I promised myself that 2025 would be the year I start speaking more about my photography and the journey I’ve had with it. So, a big thank you to Richard for giving me this chance.

At 47, I still feel like I’m growing as a photographer. I’m entirely self-taught, aside from the odd YouTube video over the years. I don’t consider myself a technical photographer, I have no desire to dive deep into camera menus—my main concerns are the f-number, focus, and what’s in the frame. For me, the joy comes from being out in the world, discovering places that capture my interest, and trying to document them in a way that stays true to the moment and how it made me feel.

Photography has been a slow-burn passion. For a long time, I struggled to figure out what I even wanted to photograph—until one day, walking along an old railway line, I found a car seat just sitting in a clearing. It was weather-beaten, worn from years outdoors, with weeds growing through the torn stitching. It started to rain heavily, and with my small Canon point-and-shoot, I began taking photos. For the first time, it felt right—it felt fun. I realise now I was drawn to its oddness, its abandonment. It wasn’t pretty, but it was beautiful in its own strange way.

After getting drenched that Sunday, I went home and started researching derelict buildings. From then on, I was hooked. I spent the next few years obsessed with old churches, hospitals, homes, military buildings—anything abandoned. Mostly around the UK, though I once ventured to Italy just to see an old asylum that had stuck with me from photos I’d seen online.

Eventually, I tried to branch out from that world and embrace more of nature and the everyday. It was difficult at first, until a moment in an abandoned farmhouse where I came across an old typewriter. It was framed perfectly against a white and pink wall, with plaster falling away. That image became a turning point for me. I began to see beauty in the mundane, and my work started to lean more into minimalism and subtlety.

The rest, I guess, is history. I still struggle with inspiration for months at a time—and I think that’s normal, at least for me. My creativity often links closely with my emotional state. Not that I’m unhappy, but like everyone, life gets in the way sometimes, and in those moments, it’s especially hard to create.

This year, I’m beginning a photography degree, which is both exciting and a big deal for me. After years of draining day jobs and never having the mental energy to fully pursue what I love, I applied—and was thrilled to be accepted. I’m doing it in hopes that it’ll push me creatively, help me produce work I might not have otherwise, and surround me with others who share my passion. It feels like a new chapter, and I can’t wait to begin.

When I’m not doing photography, I’m usually spending time with my girlfriend and our dog, Cass—just enjoying the simple things in life.

"This year I have decided to experiment and shoot with 35mm film and I wanted to share my journey here." Your Substack focuses on your journey shooting 35mm film. What has it been like over the past few months? Can you share a few highlights and some drawbacks to shooting only film?

I’ve always been drawn to the look and feel of film photography. There’s a quality to it that digital can’t quite replicate—the colours, the softness. With university starting, I thought it was the perfect time to experiment with film. It’s taught me a lot already. Film forces you to slow down and think. It can also break your heart—there’s no rescuing a roll you’ve accidentally over-wound or didn’t rewind properly. I learned that the hard way. But sometimes that’s the best way.

These last few months have been a steep learning curve, with their share of heartbreak, but also a lot of joy. I love the process: choosing film stock, waiting for it to arrive, loading the camera, and especially the feeling of winding it on and pressing the shutter. There’s something tactile about it that digital often lacks—unless you’re using one of the newer cameras designed like old film ones. Personally, I prefer having physical dials I can touch. I think connection often comes through tangibility, and that’s why so many people love film.

I even enjoy the imperfections—light streaks, slight flaws—they make the images feel more unique. I still struggle with getting things straight in-camera and with exposure. I’m shooting everything at box speed because I’m too nervous to experiment too much yet. And film is expensive, which makes that even harder. But I’ve enjoyed it and I’ll continue with it. I’m already thinking about which film stocks to bring on our next trip.

Film is a much more involved process than digital. You have limited shots, you can't see what you just photographed, developing can often go wrong and your roll of photos might be gone. What is the best and worst part of film photography in your opinion?

The worst part of film photography, for me, is how easily things can go wrong. A jammed roll, a failure to wind on properly—and then, the heartbreak of discovering your shots are gone, lost forever. I’m thinking of one such moment in a Reykjavik hotel. Lesson learned. Film teaches you to be open to disappointment.

But the best part? Getting your scans back and discovering which shots turned out well. There’s something powerful about delayed gratification. In a world where everything is instant, it’s refreshing—and maybe even necessary—to have something that teaches patience and appreciation. Shooting film has made me question whether instant gratification really brings us happiness.

In the past few years there has been a resurgence in film photography. Despite film being more expensive than digital photos to shoot & prepare people still shoot with it. What is your take on this? Do film photographers see digital as going over to the dark side?

I can't speak for others, but for me, I’ve always enjoyed the look of film. It feels much more tangible than digital, and I really prefer that. That said, I do love digital too. It allows for more experimentation, and it doesn’t cost anything to shoot—which is especially helpful when you’re just starting out in photography. It definitely was for me.

With digital, you can go out and take hundreds of images, trying different compositions or subject matter until you find what works for you. There’s no right or wrong way to do it—it all comes down to personal preference. Whether you shoot film, digital, or both, I say do what makes you happy.

Do you have any advice you can give to someone who is looking to start shooting film? Perhaps something you picked up from your own experiences while shooting film.

As a rookie myself I can only go on the mistakes I have made so far. Don't rush, choose a camera you will enjoy holding and that feels right to you, always check your settings, watch videos on how your camera works, don't give up, expect heartbreak and enjoy those highs with a smile on your face and a pat on the back :)

The images I’d like to share with you are from two distinct phases of my photography. The first set comes from my early days of urban exploring, a time when I was deeply obsessed with capturing every little detail. Among those early shots, two have always stood out to me: the one of the chair by the window with a cardigan draped across the back, and another taken at an old RAF base featuring a set of sinks. There’s something about them that’s always resonated with me.

The second set includes recent film photos from a trip I took to the US in March, mostly from Vermont and the road trip I did across New England. These images are some of my personal favorites to date that I’m sharing for the first time. I really enjoyed shooting with film during this trip—it added something special to the experience.

Thank you all for reading and to Richard for reaching out and asking to collaborate. It's been a joy!

In closing.

If you’re making a list of film photographers on Substack then Suzi’s publication needs to be on your list. Good photos and interesting stories about her travels and experiences while shooting film.

Subscribe now : )

Thanks for reading : )