Kodak issued wonderful news at CES 2017. To the joy of all film lovers, they are bringing back the legendary Ektachrome Still Film. The company plans to reformulate and produce the Ektachrome 135 still frame. In late 2017, the film will be back on the market. Also, Kodak is re-launching Ektachrome Super 8 film to go along their recently introduced Super 8 movie camera. So, both photographers and filmmakers have something to look forward to!
With holiday spirit all around, Kaiman Wong (better known as ex digital rev Kai) and his friend Rita Law bought each other film cameras for Christmas. The idea was to create a challenge of shooting film in the street. But they couldn’t afford proper film cameras, so they got each other something more affordable: Lomo Instax and Fujifilm Instax Hello Kitty camera. Guess who ended up with the Hello Kitty one. How did the cameras perform in Hong Kong’s busy streets? Is it possible to take decent shots with cameras like this?
These days, making a landscape appear as if it were inside a jar would typically be relegated to Photoshop. In the past, it was done by the use of double exposures. In a double exposure with analogue, you’re shooting twice without advancing the film. So, you’re basically adding one photograph on top of another (like Photoshop’s “Add” blending mode).
But there’s really no substitute for doing it in-camera. You can do this with modern DSLRs, but it’s a little more tricky than it was with film. In this video by Anders Lönnfeldt, photographer Christoffer Relander shows us how it’s done. Done well, it’s an amazing and fascinating technique. But, it is not one that’s easy to master.
I remember the first time I picked up a digital camera. It was 2003 and I got this little Canon G5, a good point-and-shoot, and it was 5MP.
Before that, I used film. It had to be scanned into a computer, then manipulated digitally. That was alright—but when I picked up this Canon, I thought it was amazing. It’s instant feedback. You see exactly what you’re going to get. You adjust your lighting as you go, you’re thinking on your feet.
What you can learn on digital in one year is probably five to ten times what you can learn on film in the same time. Film is a very slow feedback loop.
If you thought that film is dead and that there’s no money to be made in nature photography, you’d better think again.
74 years after the National Park Service commissioned the great Ansel Adams to document the National Parks, the NPS is looking for a full-time photographer to perform a similar job, and is offering a salary of up to $100,000 per year.
One of the fortunate photographer’s duties will be to capture large-format photos for the Library of Congress collection.
Past and present film shooters will love this short video while newcomers to photography will scratch their heads wondering what’s going on.
Robert Marshall of Round One Films captured the entire film process, step-by-step, from beginning to end.
You’ll have to imagine the smell, but the sounds and sights of this critically endangered process were beautifully captured.
Close your eyes and see if you can recognize each step by sound alone.
Back in the days of film you would think twice, at least, before snapping a photo. You’d then wait patiently (or impatiently) until you used the entire spool to have it developed.
The digital photography revolutionized our entire photo-taking process, from the thought invested prior to clicking, to how many of the photos we actually bother to develop (or edit) to what we do with the photos later on.
This infographic by Truth Facts is a humorous, though kinda true, presentation how photography today compares to film photography.
Out of the top ten highest-grossing films of 2014, nine were either sequels or reboots for franchises already long-established – the remaining film was Christopher Nolan’s Interstellar. With the current film industry an unarguable golden age for comic book adaptations, it’s become customary for most studios to play it safe and rely on audience familiarity to sell their productions. And it’s unfortunate – original stories like Edge of Tomorrow end up suffering in sales as a result while at the same time gaining critical acclaim (Edge of Tomorrow was even retitled Live Die Repeat around the time of its home video release in an attempt to re-market the film).
Given the criticisms warranted towards Interstellar (Oh man, that dialogue…), it was still refreshing to see a new, original, and all-around good science fiction film become a box-office blockbuster in the middle of Oscar season. For directors not as well-known as Nolan, making a film like that is a particular risk when taking sales into account; back in 2013, Director Joseph Kosinski took that exact risk with the release of his second film. After his debut with Tron: Legacy, Kosinski brought the cinematographer Claudio Miranda on board once more for a story he’d been working on since 2005. The result was a film released eight years later, titled Oblivion.
The Nikon Photo Contest has been running annually since 1969. Even with roots that go back, however, the company isn’t afraid to move on and not look back. With the announcement for this year’s contest also came news that Nikon is banning film photography again.
That’s right. Again. I’d tell you that there’s old vintage Nikon cameras out there right now going “Et tu, Brute?” to the news, but apparently the company’s had this rule for a while now in the contest’s past few yearly runs; there’s absolutely no scans of film pictures allowed in entry.
“I think people just see cinematography as being about photography and innovative shots and beautiful lighting. We all want our movies to look great visually, to be beguiling and enticing, but I think that what really defines a great cinematographer is one who loves story.” – Seamus McGarvey, IFTN
Seamus McGarvey was contacted by an executive producer he had recently worked with on The Avengers; she told him about a project she had been involved with, being directed by a guy named Gareth Edwards. Seamus took the time to watch the only other film Gareth had done at that point: an small-budget indie film called Monsters. He was not just impressed by how well the director executed the making of the film while also being in charge of the visual effects and cinematography; he was impressed by the storytelling of the film, as well. For Seamus, it was refreshing to see a monster movie that approached monsters in such a suspenseful manner, like the classics it was so heavily inspired by. The cinematographer signed up and got on board to work with Gareth Edwards on his second project: Godzilla.