Film Photography: Preserving the Past, Sustaining the Future

In the world of film photography, a silent revolution is taking place—a rekindling of the love for vintage film cameras and the allure they bring to our modern-day storytelling. However, as more and more photographers emerge, there comes an inevitable divide—the desire for sustainable practices that honour both artistic expression and the environment.

Nestled within the bayside town of Williamstown, Melbourne, film photography lab Ikigai Film is on a mission to redefine the way film waste is handled. Comprising a dedicated team of Peter Davison, Damon Langley and Nathan Gillam, their journey is one of ingenuity and resourcefulness — fueled by a profound commitment to sustainability. With each roll of film processed, they have a unified goal — to minimise the environmental footprint of a craft cherished by photographers around the world.

The inspiration for this sustainable approach springs from an alarming reality—waste has long plagued the film industry. With the resurgence of film photography, labs now face a deluge of rolls, accompanied by small but significant amounts of non-recyclable plastic—approximately 6 grams per roll. To overcome this challenge, the lab continues to pioneer new methods to harness these thermoplastics, rendering them suitable for injection moulding—a step towards a circular economy.

“With almost every one of those rolls comes about 6 grams of plastic that most local councils won't recycle – anything smaller than a credit card can contaminate a batch from a yellow bin pickup. Thankfully these are relatively clean thermoplastics, so they're somewhat suitable for injection moulding.”

The recycling process begins with meticulous sorting—lids separated from bottoms, ensuring the purity of the plastic streams. Any stickers or markings that may compromise the final products are carefully removed. Next, the plastics are transformed into small flakes through an industrial shredder, paving the way for their transformation. These flakes undergo a rigorous process—be it through injection moulding, extrusion, or pressing.

The possibilities that unfold from recycled film waste are as diverse as the art it serves. HDPE plastics find new life as colossal sheets, forming sturdy benchtops and furniture. Meanwhile, the lab's focus centres on LDPE plastics, envisioning the creation of a remarkable 35mm film holder called Snap 35—a testament to their commitment to sustainable photography practices.

However, each type of plastic presents its own set of challenges. For instance, the HDPE plastics derived from film canisters possess unique characteristics—a high melt flow index that facilitates injection moulding but poses a risk of brittleness. Redesigning moulds and exploring alternative applications becomes a necessity to ensure the success of their vision.

Engaging customers in the recycling process ultimately becomes pivotal. By partnering with local labs to spread the message and facilitate the return of empty film canisters, Ikigai has developed a hassle-free, reply-paid system where canisters embark on a second chapter, avoiding landfill.

“Part of the challenge is getting the word out,” Peter says. “To encourage labs to take part, we made the system free – which doesn’t require any sorting on their end. We currently have 22 labs in Australia taking part.”

By sharing their knowledge and expertise with international labs, Ikigai Film aspires to ignite a global movement that embraces the sustainable potential within film photography. Locally, their arms remain open, welcoming more labs into the fold of recycling efforts, and fostering a community united in its commitment to sustainability.

To further reduce their environmental impact, consumers too can play a vital role. By returning their film containers for recycling, limiting the use of disposable cameras (as they are not recyclable), and refraining from purchasing plastic reusable cameras that contribute to mixed plastic waste, photographers can champion sustainable film practices. Instead, they are encouraged to explore the timeless allure of second-hand film cameras—a choice that imbues their art with character and minimises their ecological footprint.

In the revival of film photography, sustainability emerges as an inseparable companion. By supporting local labs that embrace responsible practices, photographers and hobbyists alike can find comfort in a future where creativity and sustainability coexist — by preserving the art they love while safeguarding the planet for generations to come.

To learn more about Ikigai's sustainability initiatives, find a lab near you that supports their recycling program, or to get involved, visit their website.

Did you know Urth makes versatile lens adapters allowing photographers to use third-party and vintage lenses with your camera? Shop our range of lens adapters online or discover the best vintage lenses to pair with your film camera for an analog aesthetic here on Urth Magazine.