Actually quite a few people still shoot in film. I was still shooting film (as well as digital) until about 6 months ago. 35 mm with a Canon SLR EOS camera. There are many still shooting in medium format and large format cameras using film. The general consuming public has gone digital but many diehard avid photographers still shoot in film, especially in black and white, because there is a distinct difference in the result between digital and film. However, it is getting more and more difficult to find labs to process the film. I never got into processing my own film, but wish I had. It would have simplified things.
I mostly am a medium and large format user, but there's nothing like shooting Tri-X in a 35mm camera. It's my most used film-both in 35mm and medium format-and it's just such a great all around film. Unfortunately, I'm not happy about the fact that only Tri-X Professional(TXP-320) is available in 4x5, while standard Tri-X (TX-400) is only available in 35mm and 120. The films are quite different in the "toe" region, so all my experience with TX-400 is mostly irrelevant. I did fortunately pick up some expired TXP-320 in 220(along with a $10 220 back for my Bronica) so have been playing with it before I crack open the $100 box of TXP-320 4x5 in my freezer
I've also been shooting Ilford FP4+ since it's exactly the same emulsion in 35mm, 120, and 4x5 and I like supporting Ilford. It's an indirect replacement for my old favorite of Kodak Plus-X(I have a lot of 35mm Plus-X in the freezer) but it's a great film in its own right.
I shoot very little color print film, although I do really like the new Ektar 100. E-6 has been my mainstay for color work for years, though, and I love Fuji Velvia 50. Unfortuantelly, all I can get in the US in 4x5(fresh) is Velvia 100(RVP100), although I have some expired "original" Velvia 50(RVP, not RVP50). Still, both RVP50 and RVP100 remain great films, and are jaw dropping on the light table in any format.
I was never an Ektachrome guy, although I did like E100GS, which was a bit warmer and a bit more saturated than the standard E100G and the consumer Elite Chrome 100(have about 50 rolls of the latter in the freezer). E100GS reminded me vaguely of Provia 100F, although I still give Provia the edge. Even 35mm slides still have a certain "wow" factor on the light table and in a good scanner that's hard to beat, and a well exposed Velvia can wow an audience who has never seen a good slide show. When Ektachrome comes out this fall, I will give it a fair chance, although I wish it was coming in more than 35mm.
I have been processing B&W at home for years. The chemistry is simple and cheap, and especially with films like Tri-X you have to try to mess it up. Plus, B&W has so much variation in different developers and times are usually unique for a certain film/developer combination. Developers and dilution also impart their own characteristic I have never had outstanding results from a commercial lab-I have had good but not outstanding negatives.
I have recently started doing E-6 at home, as I can't find any local lab that can handle sheet film. It brings its own challenges as the chemistry is SO much more complicated-in B&W you can get away with the bare basics of developer and fixer(although some will add a stop bath between the two and a rinse agent for the final step). The kit I have uses 3 chemicals, although traditional kits use 4 or 5 baths(not counting stop bath and rinse). Fortunately, the chemistry is cheap relative to commercial lab costs, and developing times/temps are standardized. On the other hand, it's done at high temperatures(105ºF, vs. 65-70º for B&W) and must be maintained at that. I still use a lab for 35mm, as I'm not set up to mount my own slides.
