I'm being a little hyperbolic, but it really seems like, for a non-insignificant portion of the population, that will be true.
Inserting user's mates was a problem in 2006.
That friction of adjusting machinary to capture what we felt against what we saw was part of the process.
It slowed us down just long enough to appreciate the patterns, the textures, the form, the haesscity of a moment that seized our attention.
I understand I am relying more on luck and not being as deliberate with composition when I do that, and I have high respect for people who are able to get great wildlife photos with film. But for amateurs like me, it's far easier to get better pictures simply by taking more pictures.
“It was night and day. Six minutes instead of six years tells the story,” McFadyen says. “Instead of 12 frames per second, I can now shoot at 30 frames per second, so when a bird dives at 30 miles per hour, it makes it so much more likely you’ll capture it at the right moment.
McFadyen says that the focusing system is also “incredibly fast” on mirrorless cameras. “It can lock on the kingfisher’s tiny eye at these super-fast speeds,” he adds.”
https://petapixel.com/2025/11/27/photographer-recreates-king...
This is a bit of a marketing puff piece, but the core insights are correct - the kind of shots the photographer is talking about here were insanely hard to pull off on film, still very tricky to achieve with digital bodies in the 2010s - but modern tech makes them almost trivial.
Otherwise your meter will pick up on color differences in a given framing and meter slightly differently. Shots will be 1/30th of a second, 1/25th of a second, then thanks to the freedom of aperture priority you might get little weird 1/32ths of a second you don't have discretely on a dial. How about iso. same thing, one shot iso 200, another iso 250, 275 this other one. Oh this one went up to iso 800 and the meter cut the shutter speed. Aperture too. This one f2 this one f4 this other one f2.5. This wasn't such a big deal even in the full auto film era since 35mm film has such latitude where you can't really tell a couple stops over or underexposed.
All these shots, ever so slightly different from one another even if the lighting of the scene didn't really change.
Why does this matter? Batch processing. If I shot them all at same iso, same shutter speed, same aperture, and I know the lighting didn't really change over that series of shots, I can just edit one image if needed and carry the settings over to batch process the entire set of shots.
If they were all slightly different that strategy would not work so well. Shots would have to be edited individually or "gasp" full auto button which might deviate from what I had in mind. Plus there are qualitative trade offs too when one balances exposure via shutter speed, vs via aperture, vs via iso.
You want full control you fall into the rabbit hole of dcraw where you can option out how that raw processing engine actually works, what algorithms are used and what parameters for those algorithms. Even lightroom you are just using the algorithm they decided for you already with parameters they decided are fine.
You can approximate the same limitation on digital cameras by simply using a very small SD card.
The best selling SD card on B&H is 128 GB. Let's consider that "regular size".
Fujifilm's GFX100 II is a popular medium-format mirrorless camera. Its sensor is 102MP. So each 14-bit RAW image is about 170 MB.
102M pixels x 14 bits = 1.428B bits = ~178M bytes = ~170 MB
So a 128 GB SD card can hold ~771 images that are 170 MB. That's a lot more images than a standard roll of film.