A Room in Barcelona: Captured on Delta 3200 Posted On 13th May 2025 To Magazine & Stories

A Room in Barcelona by Tiffany Roubert: Capturing Intimacy on ILFORD Delta 3200

There’s something about film photography that forces you to be present. The tangible process, the limitations, the patience required, each frame becomes deliberate, considered. A little while ago, I shot a project called A Room in Barcelona, entirely on film. More precisely, entirely on ILFORD Delta 3200. The premise was simple: create intimacy with a total stranger in a confined space. No grand backdrops, no elaborate set design; just a model, a room, and the evolving relationship between subject and photographer.

The Film & Camera Setup

For this series, I used ILFORD Delta 3200, a high-speed black-and-white film known for its grain and depth. Many photographers reserve it for low-light scenarios, but I wanted to experiment with its dynamic range, pushing and pulling the light within the room. The choice of camera was my trusted Leica mp, a workhorse that never lets me down.

Shooting at 3200 ISO allowed me to work with available light, embracing the natural ambiance rather than relying on artificial sources. The grain structure added an atmospheric quality, heightening the sense of intimacy. Some images were metered at box speed, while others were pushed slightly to enhance contrast. This variation gave the series a moody, dreamlike aesthetic, perfect for the theme of quiet, unfolding connection.

Creating a Connection

When working with a model for the first time, especially in such a personal setting, establishing trust is everything. Film naturally slows down the process, making each shot more intentional. There’s no instant gratification, no checking the back of a screen. Instead, the pauses between frames allow for conversation, subtle shifts in posture, and moments of genuine interaction.

I kept the direction minimal, letting the model settle into the space. The silence between clicks became part of the rhythm, an unspoken dialogue. Without the pressure of constant feedback from a digital screen, we leaned into the moment. The result? A series that truly feels organic.

Light & Atmosphere

Barcelona’s light is legendary, shifting from soft morning haze to sharp afternoon contrasts. In A Room in Barcelona, I used a mix of window light and shadows to sculpt the images. Positioning the model near the window allowed for natural diffusion, while deeper shadows in the corners created a sense of depth and mystery.

Some frames leaned into high contrast, where light carved out sharp silhouettes. Others embraced softer gradations, where skin tones blended seamlessly into the grain of the film. The unpredictability of film made each shot an experiment in exposure, but that’s part of the magic.

The Outcome

I was thrilled with how the series turned out. The images carried a quiet intimacy, a rawness that would have been difficult to replicate digitally. The slow pace of film encouraged a more natural, unrushed interaction, something I now try to bring into all my shoots, regardless of format.

The entire series was later published in OTHERS MAGAZINE, a moment of validation for a project that felt deeply personal. Seeing the images in print, tangible and textured, reinforced why I continue to shoot film.

Final Thoughts

Shooting A Room in Barcelona reaffirmed my love for film photography, not just as a medium but as a mindset. It forces you to be present, to embrace imperfections, and to trust the process. ILFORD Delta 3200, with its grain and grit, was the perfect film to capture this fleeting intimacy, reminding me why I fell in love with the art in the first place.

Images ©Tiffany Roubert