CGW...I have requested the thread to be shifted/merged/moved to a more appropriate place as you have suggested.

As for the film-only issue. The idea of the collective is not to compete against other Canadian collectives -it's to embrace the aesthetics of film developing and printing as a seperate (yet similar) fine art. And if someone who shoots digital wants to be part of a collective, they have more than enough to chose from or they can start their own. I don't have any evidence on this point, but I suspect a lot of collectives embrace digital for it's speedy workflow and web presence and have little patience for the film photographers who need a month to get a negative scanned or printed. I completely buy into the theory that "a good shot is a good shot" whether it's on an iPhone, pinhole camera or a Leica. Also, the point of the group is to have more gallery presence, which is what I stated before -not to approach newspapers or anything like that. The photographers can obviously choose whatever they want to shoot with for certain projects, but the presence and context in which I would want to present to galleries and on the web would be film in nature. I'm also not out to create a quality collective that is destined for fame and fortune. I want a collective of film photographers that pools in knowledge, support, equipment, ideas, etc. to further our own film-shooting agenda and have a lot of fun doing it. The documentaries do not have to be hard news topics. I'm doing a body of work on the lives of the homeless youth at the shelter I work at, without showing them -using only the architecture and their belongings/rooms/lockers. Subsequently, others can do a body of work on their town, a forest they like visiting, a year-long camping trip, igloos...whatever. We don't need any groundbreaking work here. But if someone is doing something great, I don't think doing it on film will hinder it getting out to the public. In fact, the collective would prop up the exposure if anything. If they shot it on digital for whatever reason, well...they will likely have their own site for that if they're serious enough to cover those kinds of topics.

Basically, I'm not saying the photographer only has to shoot digital, but as a collective, we would be only showcasing work that is done on film. Because our main focus would be a fine-art perspective on documentary photography with the aesthetics of film, we would be focusing on galleries and the like to display those works. We know we're not gonna get rich or famous or that we will be big or produce ground-breaking work in international media (like VII or Magnum), we're just doing this to push one another, pool resources, bounce around ideas and get as creative as we possibly can with film. However, you do have a good point in that if we do look for funding as a collective for a big project that could be done cheaper with digital, we may run into problems.

Also, I think a major point of having a group of film users is that collectively we can be more supportive and helpful with each other's art. What am I going to do to possibly help someone shooting digital? What is someone in the collective who shoots digital going to do to help me? There's no mutual relationship there. Someone might be doing amazing work, but lacks in a certain skill like scanning negs, which is something I can do to help out on my night shifts when I have downtime. Subsequently, if they have a lot of extra paper, they could ship some over to me to print. We can't help each other as well if we have completely different workflows.

A lot of good points are raised about it being film-only, so thanks canuhead...I genuinely appreciate it. It's made me think a little harder about the whole thing.