As part of Universal’s 100th anniversary, a team of restoration experts took on the task of digitally remastering the classic film “Jaws.” The fully restored feature required intense labor from colorists, digital artists, audio engineers, preservation experts, and everyone in between. In this fascinating documentary, we get a look at all the various complex efforts taken in order to bring the ‘70s blockbuster in to the digital age.
I’ve just read a comment from a photographer who said it’s time to stop shooting in black and white. He claimed we don’t see the world in black and white and it was something only done in the past due to the limitations at the time and it’s time to move on. Here’s a number of reasons why I think it’s critical to shoot black and white from time to time, and how it can help nurture your photographic eye.
For a while, things looked pretty bleak for the instant-film-loving community. Films that were once mainstays of the film shooter's arsenal (like Fuji FP-3000B) were discontinued and instant camera equipment production slowed to a crawl. Fortunately for us though, like other formats and kinds of film, instant film photography is seeing an unprecedented resurgence (both in niche, hard core film communities and popular culture). This guide is for you, the digital film guy, who's been sitting on the fence and wants to see what all the buzz is about. In this article I teamed up with two of the coolest instant-film-shooting photographers today, Robert Timko and Sandy Phimester.
If you’re interested in getting big budget looks in your low budget indie film, then you should be very familiar with the Shanks FX channel on YouTube. If you’re not, you should get acquainted with it… like now! Joe Schenkenberg aka Joey Shanks is the man with the know-how when it comes to creating Hollywood effects out of simple household items. He teamed up with PBS Digital Studios to bring you quality behind-the-scenes content online and has recently partnered with Red Giant to explain how he created a black hole effect very similar looking to the one in the recent movie Interstellar – all captured in-camera.
A teacher once told me that filmmakers need to fully utilize the frame within their scenes and move the camera in ways that help drive the story forward; otherwise they're just filming a play. That always stuck with me and it's a point I still take note of in movies. Tony Zhou from Every Frame a Painting does a great job of explaining why the camera frame is so important in comedic cinema along with a slew of other techniques that few people other than Edgar Wright are making use of in today's comedies. This is eight minutes of insight you're not going to want to miss!
Anyone who shoots film (either stills or motion) knows the frustration of an ever-shrinking pool of available equipment. Finding a quality, tested and working 8mm system can be particularly difficult. Danish father/son company Logmar Camera Solutions, founded in 2009 in Aalborge, DE has the dream of reviving and reinventing the 8mm movie camera. Enter the Logmar Super-8, an 8mm system for the modern world.
Accomplished photographer Richard Mosse has taken an incredibly unique approach to capture both the beauty and tragedy associated with conflict. In his most recent series, Infra, Mosse uses an antiquated film to bring new light to the humanitarian struggle faced by the Congolese people. Currently on display at the Portland Museum of Art as The Enclave, Mosse's newest exhibit features a six screen video instillation in addition to his dramatic Kodak Aerochrome imagery. Capturing the suffering of war between The Congolese National Army and rebel factions in poignant beauty, this exhibit of infrared film leaves an eerie perspective of the overwhelming harshness of war.
I spend a lot of time shooting or walking on the streets of New York. You see every type of camera imaginable here, from the latest and greatest DSLRs to old Rollei’s and film cameras. If you hang around B&H long enough, you’ll probably see Louis Mendes with his old Speed Graphic. But I have never, ever seen anyone shooting with what Justin Borucki is using. This guy might have the most unique camera setup in New York.
It seems as if the film edit is getting more popular every day. A lot of beginner photographers out there will do anything to achieve this look. The easiest way to do that is to buy presets but I want to show you how to create the look yourself. I believe once you understand how to create the look yourself you can begin to find your own style. I know too many photographers that take an image, slap a preset on it, and call it good. All the editing on these images was done in Lightroom 5.
Remember those days when you totally forgot what ISO/ASA film was inside your camera, or when you just had no idea if the photos came out until you went somewhere to get them developed? You know what I'm talking about. The film days. Simple to set up - just pop in the right roll of film, attach it to the gear, close it down and it's ready to shoot. But what happens when you let iPhone-generation kids take photos with 20th century cameras?
If you're looking for a great movie this weekend - and you don't want to fight the crowds to see Interstellar - check out Time Zero, a film about the last days of Polaroid, the people who loved it and the few who set out to save it. It's truly a beautiful documentary that will make you fall in love with instant film all over again.
Los Angeles-based Italian photographer Guido Argentini produced a series of work called, "ARGENTUM " (Latin for silver), that will be released as both a fine art book and as a film that looks into the making and thinking behind the photographs. Each model -- all of which are professional performers -- was completely painted in a metallic body paint. The effect results in an interesting study of the human form (and, specifically, of the female form) in a way that is not sexual, but perhaps quite objective.
At the most basic level, photographers seem to be in two camps when it comes to image file types. There are those who care about the look of their images and shoot with big RAW files and those who don’t and use the smaller JPEG files.
RAW files offer a tremendous level of control over noise, tonality and color; a hearty file that can cope with the demands of our creativity.