Analog Road Trip to Celebrate 30 Years of A River Runs Through It

Every great journey begins with a spark. In this case, it started as a simple phone call: Craig Sheffer—star of A River Runs Through It, directed by Robert Redford and co-starring Brad Pitt—invited me on a road trip to commemorate the film’s 30th anniversary. “Let’s head to Livingston, Montana,” he said, “where so much of it was shot.” I barely had to think before saying yes. Craig and I have been friends for ages, and we’ve shared a lot of banter, personal jokes, and light hearted moments over the years. But taking this trip together promised a different level of fun, especially since we both share a deep passion for film photography. Armed with two trusty Leica M5 cameras, a stack of Washi D black-and-white rolls, Cinestill 800T for those neon-lit moments, and some Silbersalz film for vibrant color, we set out to capture the soul of the American West on real celluloid.

Joshua Tree was a place I wasn’t prepared for. The sand was scorching, and even a few minutes out of the car felt like breathing liquid heat.
It was worth it for the Silbersalz 50D film to work its magic.

Starting in Santa Monica: Barnie’s Beanery and the Call of the Road

We kicked things off at Barnie’s Beanery in Santa Monica. There’s nothing like a good meal and some laid-back conversation to prepare for a long drive. I grabbed a hearty plate of their nachos (Craig insisted they’re a local legend) while he went for a classic burger. Over the clinking of glasses and the low hum of passing conversations, we pored over maps—yes, real paper maps—plotting our route to Montana. Our cameras sat on the table, loaded and eager, and we were ready to go.

Joshua Tree: Desert Magic

Leaving Los Angeles behind, we headed toward Joshua Tree, one of California’s most iconic desert landscapes. Daytime temps soared above 100°F, which gave us the perfect excuse to test out the Silbersalz 50D film. I wanted to see how it handled those stark desert contrasts—the spiky silhouettes of the Joshua trees against the blazing sky. My Leica M5, fitted with a 40mm Voigtlander, did justice to the rugged terrain. The film rendered the shadows with a soft grain that hinted at the shimmering heat.

Little-known fact: Joshua Tree National Park is actually two deserts merging—the Mojave and the Colorado. Perhaps that’s why the terrain shifts so dramatically as you drive through, and it gave us plenty of desert vistas to capture frame by frame.

Route 66 and Roy’s in Amboy: A Slice of Americana

I had to take this shot, even though everyone stops to take it. It’s so iconic, and I think the Silbersalz 50D really brings the blue sky and desert together.

Next up, we hit Route 66, determined to make a stop at the legendary Roy’s Motel and Café in Amboy. This is pure Americana, a neon beacon of mid-century dreams still shining in the desert. We arrived just as the sky was starting to soften into late-afternoon blues and oranges, so I kept to Silbersalz 50D —perfect for oncoming dusk, blue skies and haze. The film’s daylight balance picked up the time faded Roy’s sign beautifully, almost as if we’d stepped back in time. We had a quick chat with the folks running the place, hearing stories of travelers who still make the pilgrimage here for a slice of Route 66 history.

Amboy, by the way, sits at one of the lowest points in the Mojave Desert, which might explain the minor flooding that nearly derailed our plans. A couple of roads were closed off. We had to take a detour, turning our already scenic route into an even more meandering path. If you’re a fan of open desert roads, take note: always check for flash flood warnings; the desert can surprise you.

Battling Floods in the Mojave and Passing Through Las Vegas

Flooded roads meant we had to navigate carefully through the Mojave. We nearly considered turning back and choosing another path, but something about the challenge made the trip feel all the more epic. Shooting with the Leica M5 while Craig manned the second M5 was exciting—I’d pop out of the car window when we hit a safe pull-off, capturing waterlogged desert basins reflecting the sky.

We stopped for a portrait session in the desert. This was shot on a Leica M5, a Voigtlander 40mm f/1.2 lens, with Silbersalz 50D film.

We took a short break in Las Vegas, if only to refuel and snap a few neon-lit shots with Cinestill 800T. The bright lights and perpetual hustle might have been a stark contrast to the desert’s emptiness, but that’s the magic of a road trip: you can encounter the quiet of the open road one minute and the dazzling glow of the Strip the next.

You’d think Las Vegas would be **the** place to break out Cinestill 800T.

The truth is, I don’t like the film halation effect, and after this trip I switched to Vision3 500T. Here is one image that didn’t suffer the halation.

Salt Lake City and the Grand Canyon North Rim

From Vegas, we set our sights on Salt Lake City, taking a brief pause to stretch our legs and snap some cityscapes. Silbersalz film brought out the crisp blues of the Utah sky, and the Leica’s rangefinder made manual focusing a breeze for quick street snaps. We didn’t linger too long, though, as the Grand Canyon North Rim awaited.

The North Rim offers a less crowded, more tranquil experience compared to the South Rim. We spent the night in a log cabin that felt like something out of a childhood storybook—wood creaking in the wind, stars glinting overhead. Once it got dark enough, the Milky Way spread out across the sky. If you’ve never seen it, it’s like a cosmic highway of light over the canyon. Cinestill 800T at night can yield stunning results, but I found that shooting on Silbersalz film brought an ethereal softness to the starry sky.

A fun tidbit: The Grand Canyon sits at over 8,000 feet in elevation on the North Rim, making nights significantly cooler. The temperature shift gave us some welcomed relief after the Mojave’s scorching heat.

Monument Valley: The Icons of the American West

Driving east, we arrived at Monument Valley, famous for its towering red-sandstone buttes. These monoliths have starred in countless Westerns, yet seeing them in person is something else entirely. Even Craig, who’s been on numerous film sets, was taken aback by the valley’s grandeur. I tested both Washi D for black-and-white drama and Silbersalz 50D for those vivid desert hues. The Leica M5’s meter did a solid job of balancing bright desert light and darker shadows cast by the towering buttes. Meanwhile, we swapped John Wayne lines and planned a second trip to see the entire Monument Valley route, which spans over 20 miles on its own.

Jackson Hole, Large Format Temptations, and a Sausage Biscuit Craving

Next on the list was Jackson Hole, Wyoming, a haven for outdoor enthusiasts. We only planned a quick stop, but ended up lingering longer than expected after discovering a camera shop that had a gorgeous large format camera. I can’t deny it—it was tempting to add a new piece of gear to the arsenal. There’s something about large format that’s akin to stepping into photography’s earliest days. Still, with two Leica M5s and a pile of film in tow, I somehow mustered the self-control to walk away. Craig almost didn’t, and nearly bought the camera, lens and plates!

Before leaving, hunger struck. I had an overwhelming craving for a sausage biscuit of all things, which seems oddly specific, but I lived for several years in Tennessee and hadn’t eaten one since the mid-1990’s! Craig found a nearby café, and we devoured breakfast sandwiches while we discussed the possibilities of large format.

**This camera has sparked more debates than the meaning of the word 'vintage.’**
Unlike Craig, at least this one actually is old." 📸😆

We didn’t buy the camera.

Yellowstone and Old Faithful

We couldn’t pass through this region without visiting Yellowstone National Park. Craig insisted we see Old Faithful, which didn’t disappoint, erupting right on cue. The smell of sulfur and the faint roar of geothermal vents made for an otherworldly experience. Using the Silbersalz film, the colors of the hot springs and surrounding landscapes popped: deep blues, rusty reds, and vibrant yellows. The Leica’s rangefinder focused effortlessly on the plumes of steam, and again, I found the manual experience far more engaging than snapping away on an auto-everything digital camera.

Yellowstone is one of the largest active volcanic systems on the planet. The ground beneath you is very much alive, heating water to a boil and creating those spectacular geysers.

Finally Reaching Livingston, Montana

Our last leg took us into Livingston, Montana, the place where A River Runs Through It was brought to life three decades ago. Craig was visibly nostalgic. We walked the streets, recalling scenes from filming and how Robert Redford and Brad Pitt helped shape a story that resonates with so many. Naturally, I burned through a couple rolls of Washi D, capturing Craig in front of landmarks he remembered from the shoot. The black-and-white look felt fitting for a town that time hasn’t completely overtaken, where glimpses of the old days still peek through.

Livingston is known for its historic downtown and proximity to the Yellowstone River—fitting for a film that revolves around fly fishing and family ties. We spent our evenings reminiscing about the people Craig worked with and how the region’s natural beauty made it an ideal backdrop for a classic story.

Wrapping Up: Back to LA for Sushi

Our return route took us through Wyoming once more, winding our way through stunning vistas that never seemed to get old. By the time we rolled back into LA, we decided to celebrate with a sushi night among friends—quite the contrast from the sausage biscuit pit stop and the barbecue-heavy roadside diners we’d encountered earlier. It felt like the perfect way to ease back into city life after our epic journey across six states (California, Arizona, Nevada, Utah, Idaho, and Montana).

Reflecting on Film, Friendship, and the Road

Throughout this trip, film photography became more than just a medium; it was our companion. The Leica M5 cameras forced us to slow down and focus on the subtle details: the shadows dancing on Joshua Tree’s boulders, the neon glow of Roy’s in Amboy, the majesty of the Grand Canyon’s star-laden sky, and the evocative forms of Monument Valley. Each roll of Washi D, Cinestill 800T, and Silbersalz told a different chapter of our adventure, capturing both the natural wonders and the light hearted camaraderie that epitomizes our friendship.

**"The road trip crew: One king, one bandit, and their royal fluffy navigator."** 🚐👑🐶😆

Looking back on this Los Angeles to Montana road trip, it was more than just a drive to commemorate the film’s anniversary. It was a celebration of film photography, brotherhood, and the power of open roads to bring people closer. Maybe we didn’t buy that large format camera (yet), but we took home a priceless collection of memories and negatives that will forever remind us why we love the slow, tactile process of analog shooting. If you’re considering a similar route, be ready for extremes in weather, unexpected detours, and awe-inspiring landscapes—and bring enough film to do it all justice. After all, the best part of a road trip is that it’s never just about the destination, but the stories you gather on the way.

A Film Photography Adventure with Craig Sheffer