The question I get most is also the simplest: why film? The honest answer is that film changed how I see, and I've never wanted to go back.
Film is unforgiving in the best way. Twelve frames to a roll, no screen to check, no deleting and trying again. That limitation forces me to slow down and actually look before I press the shutter — to wait for a moment instead of manufacturing it. The discipline of having so few frames is, strangely, exactly what frees me to be present.
There's also the way it looks, which I won't pretend doesn't matter. The grain, the soft roll-off in the highlights, the colour of Kodak Portra, the depth of a medium-format negative — these are things I spent years trying and failing to fake digitally. Film has a texture of memory to it. It looks like something you'd actually remember.
And there's the trust. You don't see your photographs the second they're taken; you wait while every roll is developed and scanned by hand at the lab. That wait asks something of a couple — a little faith — and I think the pictures are better for it. Slowness, limitation, and a look you can't rush. That's why I still load a roll of film.