Sometimes, in order to save money on a film set it’s best to improvise in the creation of lighting modifiers to get a particular look. Many photographers have been doing it for years, and we even did it. But director David F Sandberg put an interesting twist on lighting when shooting his recent short film entitled, “Not So Fast.”
Essentially, David needed to create some very faint lighting on the subject in the film–which turned out to look like very faint moonlight in the end. And to do this he took a light bulb and put it in an IKEA trashcan that was modified at home to give off the right amount of spread and diffuse the light’s output. After that, he used in-camera exposure settings to nerf out all the ambient light otherwise and combined the scene with a black curtain.
It’s incredibly simple, yet really cool. Check out the video after the jump.
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A couple of months ago, much of the movie industry decided to make a move towards digital formats and away from film. Some like JJ Abrams (in the case of the next Star Wars movie) though decided to stick it out with film. Indeed, Kodak even came out with a new Super 8 film emulsion two years ago. This is despite the company’s film sales taking a 96% dive since 2006.
The latest in this story though comes from the Wall St. Journal, who is reporting that directors have banded together to help save the format–and have come to an agreement where studios will continue to purchase a set amount of film for the next couple of years despite mostly converting over to the digital world and workflow. Amongst these directors are Quentin Tarantino, Christopher Nolan, Judd Apatow, and J.J. Abrams.
According to the Wall St Journal, “Among the studios in talks with Kodak are Time Warner Inc.TWX -0.64% ‘s Warner Bros., ComcastCorp.’s CMCSA -1.95% Universal Pictures, Viacom Inc. VIAB -1.15% ‘s Paramount Pictures and Walt Disney Co.DIS -1.11% ‘s Walt Disney Studios, as well as Weinstein.”
In the world of professional cinematography, this is going to be a very interesting move since most companies shoot all digital and their workflow has switched to this format too. While it could also be considered a step backwards, it is also seen as a slow in the progression towards a fully digital world.
Big rumors in the Micro Four Thirds world say Panasonic is working on a new sensor that will be integrated with a new interchangeable lens body and a new fixed lens compact. 43Rumors has confirmed that much with an anonymous tipster and that says the cameras could be come by late August or early September putting it in the sweet spot for a reveal at Photokina. Other than confirming the existence of such cameras we do not yet have any specs on either of Panasonic’s future camera units.
The Panasonic LX8 has been long rumored to feature a new bigger sensor. While early reports suggested the high-end, fixed lens compact would feature a 1-inch sensor it made more sense if Panasonic leveraged the actual sensor technology it already uses. These latest rumors seem to corroborate this theory.
As for a new Micro Four Thirds interchangeable lens camera, Panasonic has been long over due for a new model since the GX7 launched last August. What’s more Panasonic has been playing second fiddle to Olympus for too long even with its highly regarded line of SLR-styled Lumix cameras like the GH4. So we’re hoping for something that will be truly eye catching to photographers as the Japanese camera company tends to cater to gear nuts.
In a world dominated by digital electronics, where most photographers, professional or not, are initially measured by the power and price of their equipment, where taking a photo of anything is literally just a simple push of a button, many wonder why a considerably small number of photographers all across the world still shoot film.
While film photographers have several and varied reasons for sticking with this admittedly meticulous and slightly more expensive medium and not going digital, to them (ehem, us) it’s almost a no-brainer to shoot with film.
But to most of the world, it’s harder to understand. For this reason many photographers who love and are loyal to the medium seek out ways to not just explain but also educate the world on the benefits and joys of shooting film. Last year saw the arrival of Indie Lab and Kodak’s beautiful documentary, Long Live Film, in which the Alabama film lab travelled across the United States to talk to photographers about why they still shoot film.
This year, we have Goa-based wedding photographer and filmmaker Amrit Vatsa’s short but definitely sweet rendition of why film photographers just can’t shooting with film. This 3MS (3-Minute Stories) documentary, aptly called “Can’t Stop Shooting on Film,” follows the film shooters at Goa-CAP (Centre for Alternate Photography) in an attempt to understand why these photographers remain loyal to the art of film photography.
Comparing photography to painting, this short raises very valid and important points and offers rational insights that many of us have never thought of before. If you’re still scratching your head about why we still shoot film, this is definitely a good starter video to watch.
See it after the jump.
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Nikon D810 camera users are in for a bit of a treat today. Adobe updated their Lightroom software to version 5.6 today, and it includes support for the brand new camera’s RAW files. This version seems like a very minor update overall with very few bug fixes and only a couple of new lenses added in. With this being the news, we’re pretty positive that the company may be coming out with a new version of Adobe Lightroom sooner or later; but one can only speculate.
All the details on the new update are after the jump.
You can download it for Mac or Windows at the according links.
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All images by Brooke DiDonato. Used with permission
“I fell into this type of photography unexpectedly.” says Brooklyn based photographer Brooke DiDonato about her surreal art photos. “I actually studied photojournalism in school so I was formally trained to work for a news outlet. And although I clearly veered off the traditional journalism path, these guidelines are still invaluable to the type of work I do now.” Ms. DiDonato’s background in photojournalism taught her the power of visual storytelling–which then translates into her surreal work. “It showed me how photographs like ‘Napalm Girl’ by Pulitzer Prize winner Nick Ut could change the way we see the world.”
“So I started using my camera as a tool to shed light on these stories by creating a body of work that walks the boundary between fact and fiction. These images depict real narratives about vulnerability, instability and self-destruction fused with dream-like visual qualities.”
Brooke totes around a Sony RX1 point and shoot for lots of her work because she’s warmed up to its compact size and light weight coupled with the image quality it can produce. But when she’s in the studio, she works with her Nikon D7000 and strobes. When you combine this with her background, you can figure out that the intent of her work is greatly influenced by the background in photojournalism and sociology that Brooke has cultivated. “I love the idea of human connection through a photograph: creating a sense of empathy or suspense between the audience and the characters in each image.” explains Brooke. “With that in mind, I’m constantly trying to put the viewer in the middle of a moment with an implied beginning and end. Of course each photo means something personal to me, but I hope the audience can discover their own story.” Brooke continues to explain that she thinks that there is something really powerful about connecting with people through a photograph, even if it’s only for a fleeting moment.
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