Everyone loves film. Its luscious color and grainy character have made its popularity far outlast its practical necessity. But incorporating film photography into your photo business isn’t just a matter of grabbing a different kind of camera one day. We asked a few wedding photographers who shoot film how digital photographers can work it into their repertoire without running into problems.

Manage Costs

New Orleans–based Mo Davis shot weddings digitally like everyone else for years, but when she saw film photography start trending, she jumped at the chance to get back to her favorite medium. “I just said to myself, I’m going to start shooting film,” she says. “I don’t care what it costs.”

But the fact is, film costs a pretty penny, and its price is only going up. “On top of that, once the wedding’s over, you have to process the film,” says Davis, who now shoots about 90 percent of her images on film.

[Read: Trend or Fad: Analog Film’s Comeback and Why We Love It]

As a well-established artist, Davis is able to charge a premium rate to cover the costs of purchasing, shipping, developing, and scanning film. But for photographers who are just starting out or aren’t serving a market that can pay higher rates, striking the right balance of film and digital shooting can help manage costs.

Los Angeles–based Anya Kernes has kept her rates the same while adding film photography to the mix, but she never shoots more than 30 rolls per wedding. “One friend that I know shoots over a hundred,” says Kernes. “Her costs from film are a few thousand dollars. So if you’re a photographer who charges your clients $3,000 to $5,000, you’re essentially not making any profit.”

Your style of shooting and the pace of events can affect costs too. New York–based Liron Erel pays an assistant who loads film and swaps out film backs so that he can keep shooting film even during high-pressure portrait sessions. “Sometimes I only get 15 minutes with a couple, sometimes less,” says Erel. “I don’t have time, especially shooting medium format, to roll film and switch backs.”

Know Each Medium’s Forte—Film Photography and Digital

Fortunately, using a mix of film and digital to control costs works well from a creative standpoint, because each medium has its forte. Digital sensors offer a range and sensitivity that film can’t match, making them the obvious choice to capture fast-moving and dimly lit stages of the day, like receptions. With film, Davis points out, “you’re having to think about lighting constantly.”

And when you need to deliver fast results, only digital will do it. Kernes notes that some film shooters have moved back toward digital as the demand for instant gratification has grown. “People want to see sneak peeks on Instagram, and those are usually the day after,” she explains.

[Read: Why I’m Falling in Love with Film Photography All Over Again]

With no instant LCD feedback, film is also not the option to choose for once-in-a-lifetime moments until you’re sure of your technical skills. But with ample light and confidence, you’ll discover why the relative ease of shooting digital didn’t kill film. “It’s something that’s always just been beautiful,” says Davis. “It’s a lot more challenging, and it’s a lot more time consuming. . .but it just makes you more disciplined. Film actually demands that you are a better photographer.”

Tips on Getting Started in Film Photography:

Begin with Little Gifts

“In the beginning just offer a limited amount,” says Mo Davis, who started working film into her business by giving clients a couple rolls of film photos as a special gift, then gradually ramped up her film offerings and adjusted her prices.

Keep it Simple

“Start with a point and shoot and just use it as a secondary tool,” says Erel. “Nail it down digitally and then do it on film.” Move to more advanced cameras as your film-shooting skill develops.

Start with Still Life

“At first I was more comfortable shooting things on film that were still,” says Kernes, “so details, flat lays and decor-related items. Then little by little, I would incorporate one roll of film during portraits, one roll of film during the bridal party.”

Look for Light

Film loves light. “When in doubt, always overexpose,” says Erel. “Underexposed images are just muddy and not very aesthetically pleasing most of the time.”

Match your Look

When you’re delivering a mix of digital and film images in an album, you probably don’t want their look to be wildly different. Use your film scans as a point of reference when fine-tuning colors and tone. Kernes uses Goodlight and Archetype profiles to do it.

Film Photography Shooter Favorites:

Films

All three photographers shoot lots of Kodak Portra 400. Davis also loves the graininess of Ilford Delta 3200 for black and whites, and Erel recommends Kodak Gold 200 as an affordable option. They all emphasize the value of experimenting with different films. “I don’t think people realize that there are so many different types of film out there,” says Davis.

Cameras

Davis shoots medium format with a Pentax 645, and Erel and Kernes use the Pentax 645n. For 35mm, Davis loves the Minolta X-700 and Erel carries point-and-shoots like the Yashica T5, Ricoh GR1s, or a basic Kodak pocket camera.

Labs

Davis sends her film to Richard Photo Lab in California, Kernes ships hers to Goodman Film Lab in Texas, and Erel uses those two labs as well as theFINDlab in Utah and Indie Film Lab in Alabama. He recommends finding a lab that offers both Noritsu and Frontier scanners. “If you want to get more details in highlights and shadows, you’ll want to opt for Noritsu,” he says, “whereas if you want to get punchier while feeling okay about losing some of the shadows and highlights, definitely go for the Frontier.”