Technique & Approach #20 - Film Review Cinestill

Having shot a number of rolls, Cinestill offers 800T, 50D and BwXX (of either 200 or 250 speed depending upon light conditions. Essentially cine film with the remjet layer removed.

Tech Alert - (Remjet, a removable jet black layer, is the coating of carbon black particles in a water-soluble binder on the bottom of the film. It has four purposes: anti-halation, antistatic, lubrication,and scratch protection. Light entering the film can reflect off the front or back surface of the film base and return into the imaging layers to expose them. When light spreads laterally beyond its intended boundary, an image appears to have a halo around it (halation). The anti-halation layer prevents this by absorbing light that reaches it. The remjet carbon layer is conductive and prevents the build-up and discharge of static charges that can fog film. This is especially important in conditions of low relative humidity. Rem-jet also has lubricating properties. Like the supercoat on top of the emulsion, remjet resists scratching on the base side and helps transport the film through cameras, scanners, and printers. --Kodak)

800T, view of Brisbane City by night from atop Mt Coo-tha.
- Long exposure time, allowing for more light to hit the film and so because of this 'hotspots' occur with much brighter light sources. A sort of halation effect or cinematic effect. A little bit longer exposure time and stars would be much clearer.

Cinestill 800T shot at 1600 (+2) daytime in Monaco, French Riviera.
- Due to it's tungsten white balance, without filtration it gives daylight a blue/ purple tint. This can be corrected with filtration (85B - warm)

Both day and night have their different colours, I probably prefer night / dusk. Although I haven't really shot much of the 800T during the day and probably won't. Being that it is definitely obviously suited to tungsten lighting / artificial.

50D, early morning. Sigma 70-210mm lens, Canon A1
- Shallow depth of field (horizontal compression - limits depth of field at longer focal lengths). - This can also be obtained with a wider aperture (iris).

BwXX at 200 speed, Canon A1, Canon 50mm f/1.4
- With the shallow depth of field and wide aperture, you get some rather nice scratchy bokeh from the lights in the tunnel.
- BwXX has little grey, selecting different films for different looks. This particular stock is similar to the Kodak stock that Schindler's List was shot on.

Curations, Kaleidoscopisch / Technique & Approach #19

Based on the ideas of the wonder that is a kaleidoscope, the past few months I have been experimenting with different double exposure techniques. Here are some of the results.

Tilt camera 45degrees

Slightly off camber. Double exposure overlay with a sort of 'diamond effect'

Buildings, sky, glass and window / frames

Structure, shading

Rotate camera 180degrees. Inner city office space

Rotate camera 180degrees. Inner city office space

Rotate camera 180degrees. Inner city office space

Different focus levels - one frame in, the other out of focus

Rotate 180degrees, Riparian Plaza Eagle Street

Light overlay

Blender effect

Grey Street

"Black & white is the new black & white. Film."

Keeping it simple, a vintage camera, lenses to suit, 2 rolls of film. Cinestill bwXX 200 and Kodak Tri-x 400. Styled and inspired by Ruby Reginato and Amber Rose Stewart, set amongst slightly disused warehouses in Virginia Brisbane.  With a sort of cinematic approach, an emphasis on light and lines. So mood. Much mono tone.

Going for a relaxed / casual approach, working with both of the girls in different parts of the yard in the mid afternoon until sunset. A number of fashion items, mixed and matched in a thoughtful way. The sun being the only source of light, working with different shadows and tones, High and low key photographs.

Ruby, on Cinestill bwXX. At 200.

Amber on Kodak Tri-x 400. With the afternoon setting sun, making some beautiful silhouettes and some softer grey tones. 

It's all about the light, considering it's position and how I can sculpt each portrait in a different way. Using a 70-210mm lens for most of the shooting, allowing for nice background dropout. When the light started to dim, the 50mm f/1.4 was perfect.

High key ~ very little grey tones.

Low key ~ with lots of grey variation.