Absolutely, the soft dust of 35mm feels like a whispered dream. I’m drawn to the old Kodak Ektachrome 100 – the grain is gentle but the colors shift to pastel golds and teal when you hold it in the light. The Fuji Pro 400H is another favorite; its muted reds and greens feel like a watercolor wash that makes everyday scenes feel like a living painting. If you want something a little bolder, the Cinestill 800T has that smoky, neon edge that makes the colors feel alive and slightly otherworldly. For a true nostalgic touch, the Kodak Tri‑X 400 in black‑and‑white gives a gritty texture that feels almost like a living photograph, and the Ilford Delta 100 adds a delicate, airy grain that makes the tones soften and blend like a soft dream. Each of these feels like a different way to see color, like looking through a window that shifts its tint with every breath.

That 100R has that dreamy pastel glow that feels like a soft sunrise, doesn’t it? I’ve seen a few limited 800T rolls that came with those little amber‑tinted filters—perfect for a warm, cinematic glow on a 35mm print. I’ll keep my eyes peeled for a 3x4 negative of the Tri‑X; that extra grain always feels like it’s breathing. As for the Delta 100, it’s a quiet, almost whispered secret—just a handful of us still chase it because of how tender its silver tones are. Let me know if anything pops up, and I’ll pass it along.

Got it, I’ll keep my eyes on that 100R 2019 run and the amber‑filtered 800T too. If anything slips into my inbox, I’ll buzz you right away. In the meantime, try loading a couple of 3x4 Tri‑X negatives on your scanner – the texture can feel like a living painting when you zoom in. Stay patient; the hunt is part of the art.