Twin Lens Life ~ Fine Art Film Photography ~ Los Angeles Southern California ~ Bwright Photography

J&E - NYC

2012-01-19T16:32:00.000-08:00

Big thanks to Mike Ash for assisting me as second shooter after the rescheduling from Hurricane Irene!

French Canadian Immigrants

2012-01-04T21:12:00.000-08:00

Let It Snow!

2011-12-24T13:40:00.000-08:00

Merry Christmas everyone!

NYC - Dog-Eat-Dog World (canis caninam non est)

2011-12-22T22:20:00.000-08:00

D&Y - 100 Layer Cake Feature

2011-12-12T21:10:00.000-08:00

Simple rustic Los Angeles real wedding published on 100layercake.com

P&S - Jalama Canyon Ranch Wedding

2011-12-06T18:48:00.000-08:00

P&S - Tea Ceremony

2011-12-02T18:30:00.000-08:00

P&S - SF Engagements

2011-11-21T22:21:00.000-08:00

A&L - 3D Vampires

2011-11-03T16:01:00.000-07:00

Bust out your oldschool 3D glasses, or just look through a red filter with your left eye and a cyan/blue on your right! Prepare to be spooked!

A&L Halloween - The Eternal Wedding of Vamps' - 10/31/11

2011-10-31T23:59:00.000-07:00

Alex & Lisa are perpetually getting married for 2 years straight, having 30 ceremonies all around the world before they are finally pronounced "Husband and Wife" at their favorite destination before they return home to the U.K.! They so happened to be in L.A. on Halloween and a long Friend of Alex's family owns Vampire Vineyards. They decided to commit their undying love among the undead on Halloween night in Beverly hills. We were so fortunate to be around to document this leg of their journey to matrimony. They are an amazing couple and are in love beyond belief! Follow their romantic tale in the media and online if you can. 2people1life.com I wish they could just bring me with them. :-)

Save Money - NYC - The Jane Hotel

2011-10-21T01:34:00.000-07:00

NYC - Occupy Wall Street

2011-10-17T16:57:00.000-07:00

The Daylights - Hotel Cafe

2011-10-13T14:35:00.000-07:00

D&Y - Reel Love

2011-10-04T23:27:00.000-07:00

Super 8 highlight reel from our wedding a few months ago with our colleague Tim Neilsen. Nothing like real film!

NYC - In Irene's Eye

2011-09-07T07:10:00.000-07:00

Kippahs & Bokeh

2011-08-31T19:07:00.000-07:00

Scheimpflug Double Agent

2011-08-25T17:03:00.000-07:00

D&Y - Classic Love

2011-07-30T20:31:00.000-07:00

D&Y - Rancho del Diablo Dormido

2011-07-30T17:17:00.000-07:00

Burlesqued in the Moonlight

2011-07-29T15:13:00.002-07:00

LIBYAN WOMEN HAVE GUNS

2011-07-27T18:32:00.000-07:00

D&Y - Hollywood Engagement

2011-07-26T08:00:00.000-07:00

A G E S

2011-07-25T14:25:00.000-07:00

A&M - Sherwood Country Club Wedding

2011-07-24T00:58:00.000-07:00

More to come...

A&M - Matrimony

2011-07-23T15:17:00.000-07:00

A&M - Wedding Reception

2011-07-20T22:05:00.000-07:00

Half-Frame San Francisco

2011-07-12T21:43:00.000-07:00

A&M - Malibu Canyon Engagement

2011-06-23T20:09:00.000-07:00

The Mocabees

2011-06-16T17:22:00.000-07:00

F The Man - Franklin Avenue

2011-05-31T18:21:00.000-07:00

Check out Francisco The Man's jams and contact them for a free 12" vinyl!

J&K - A 1940's Swingagement

2011-05-15T02:27:00.000-07:00

A&T - Stormy Southern California

2011-05-06T17:58:00.000-07:00

Mr. Pianko - San Francisco

2011-05-02T14:16:00.000-07:00

Our friend Zack Pianko in his bedroom illuminated by a great big bay window overlooking The Mission in San Francisco. Taken on FP-100c45 with Frankie handheld at f/4.7 and 1/8 sec. One of my favorite instant negatives yet!

A&T - Venice Engagements

2011-04-15T19:43:00.001-07:00

Chucks

2011-04-13T17:36:00.000-07:00

4x5 Instant Fun - Janessa Leone

2011-04-10T17:32:00.000-07:00

For those who would like to know, here are all the details about this photo shoot:

White lace dress - H&M, White lace blouse - Vintage, Boy jeans - H&M, Fur vest - Jenni Kayne, Tribal blanket - Vintage, Black dress - H&M, Tan backless blouse - Joie, Lace shorts -Vintage, Blue blouse - Joie, Black pants - Forever 21, Oatmeal shirt - Vince Denim Skirt - H&M, Cow hide cape - Vintage, Full length dresses - H&M. Shoes - Jeffrey Campbell & Forever 21. All jewelry for the shoot was vintage.

Models: Malea Rose, Michelle Norris

Hair & Makeup - Michelle Norris

Hat Design & Styling - Janessa Leone

Running Fun - Twin Lens Reflexes

2011-04-07T21:00:00.000-07:00

Half Frame Fun - Grain is Good!

2011-04-06T18:02:00.000-07:00

Tipping Hats - New Kodak Portra160, Portra400, Ektar100, etc.

2011-04-04T22:24:00.000-07:00

In this technology dependent age where all the talk is about the latest and greatest, it would seem that all things analog are falling underfoot of the advances of digital hype. But surprisingly enough, in the photographic world, the technologies that are currently advancing are in film. As we saw last fall (our complaint, our prediction, our reflections), Kodak released the finest grain 400 speed negative film ever developed, and called it simply "Portra400". Many of us suspected that Kodak would release another ISO 160 film, with the same Vision technology to replace it's NC and VC stocks. It didn't take kodak long at all, due to the superiority of its new Portra 400 eating into the 160 market. This new film falls in line with the New Portra standards; even color renditioning, super fine resolution, and amazing flexibility! We have shot both the 400 and 160 in 35mm and med format, and are elated by the results. We even got it in 4x5, and apparently both are available in 8x10!

On a recent shoot we utilized pretty much every stock that we love, so we decided to use our results to showcase our review of these new films. (Thank you Kodak for generously supplying the film stocks!)

The New Kodak-Portra160

The skin tones on this new film are like butter. This film is a breeze to scan and comes out ready for print. We had no retouching on any of these shots!

The color gradation in the new Portra 160 is the closest any image capture technology has come to what the human eye sees, even in mixed sunlight/shade/incandescent.

Like the Portra 400, the new 160 has the perfect blend of vibrant color separation (but not garish by any means) and natural soft tonality.

It is both crisp and creamy, with the most amazing latitude and forgiveness of any film.
We can go right from shooting in the shade to direct sunlight (or vice versa) with no in camera compensation and be fine.

Kodak-Portra400

We couldn't be happier with the Portra400! It is our go to color film in any lighting situation. It is the most versatile film ever made, which gives us the confidence that EVERY frame we shoot will be beautiful, and of the highest quality. No need to waste film or bracket, missing that decisive moment. Every exposure is a good exposure (within at least 5 stops). When we click the shutter, we KNOW that we have the shot.

We also decided to slip a little of our old Fuji PRO400H 220 into this shoot. For anyone wondering the differences in look between the tried and true Fuji and the new Portra, you can see that it is subtle and completely subjective. The 400h was overexposed 2 stops and still couldn't hold the shadow detail of Portra400 at box speed.

Kodak-Portra400

Fuji-PRO400H

Fuji-PRO400H Kodak-Portra400

Kodak Ektar100 is our go to film for limitless latitude, color and resolution. And depending on how you shoot, scan, or print it, you can get any look you want. From soft to contrasty, from rich silloettes to high-key vivid images all in one exposure! I believe that Ektar was developed by Kodak to take photos of the surface of the sun. ;-)

C&C - Crystal Clear (with an 100% chance of rain)

2011-03-28T02:42:00.000-07:00

but what does the weatherman know...

The Daylights- Nightlife

2011-03-21T17:18:00.000-07:00

Farewell to Winter - phothos from the new year

2011-03-21T01:36:00.000-07:00

6X6 Pano - Laguna Niguel, CA

2011-03-12T19:44:00.000-08:00

From the balcony of the bridal suite at a recent wedding.

E&N - Los Angeles Black & White Wedding Engagement

2011-03-07T22:38:00.000-08:00

Instant Gratification - Pola-booth!

2011-03-04T08:33:00.000-08:00

Taylor Taylor - Los Angeles Arts District

2011-03-01T17:19:00.000-08:00

Las Vegas Leica

2011-02-24T15:08:00.000-08:00

Infrared Love

2011-02-20T23:25:00.000-08:00

Azure Antoinette - Los Angeles

2011-02-06T20:21:00.000-08:00

J&J - Junebug Weddings

2011-02-04T15:20:00.000-08:00

Check out John & Julie's real wedding published on Junebug!

The Satellite Space Land - ISO 3200

2011-02-01T17:29:00.000-08:00

C&C - Engagement

2011-01-27T12:00:00.000-08:00

Digital vs. Film - Canon 5D Mark II vs. Kodak Ektar 35mm "Pound for Pound, Pixel for Pixel"

2011-01-25T01:39:00.000-08:00

After doing our last digital vs. film test we received several questions from followers wondering why we didn't compare a full frame digital capture to 35mm film or 645 film to a $30K digital back. The simple answer was that we were simply comparing the capture mediums, not cameras. The easiest way to do that was to use smaller format pro-sumer cameras. At the time many enthusiasts and "Professional" photographers were still shooting the D300 and other cameras like it (I still think the smaller sensor size has an advantage when shooting telephoto zooms). For those pro photographers shooting 6cm film that went digital, most have opted for, or later upgraded to, a full frame sensor. But the medium format backs have been predominantly (due to numerous practicalities) reserved for 4x5 and studio shooters. In context, the 645 format is really a relatively small format for film. The largest you can go with a great digital back is about 6x4.5 but with film you can go all the way up to 8x10 or even larger. The smallest serious digital format is M4/3, but with film 35mm is lowest quality available. There was also the price gap between a Nikon F3 and a Canon 5D Mark II. Not even in the same ballpark. In the end we felt we chose two easily accessible formats to compare.

It would seem a fair assessment, that digital sensor sizes scaled to film sensor sizes, tend to line up in accessibility, application and functionality of each medium pretty accurately...

That being said, recently we talked a friend into letting us borrow her 5D Mark II and we decided to do the test all digital photographers really wanted to see... Full frame digital vs. full frame 35mm film! So here it is!

Above you can see Matt really enjoying having us point our cameras at him. :) Thanks Matt! On the left is the Cannon EOS 5D Mark II with a 50mm f/1.2 L shot RAW at ISO 100 and on the right our little Nikon FE2 with a 50mm f/1.2 AI-S loaded with Kodak Ektar 100. Both were exposed identically metering for Matt's face. The digital was edited in Aperture to maintain optimal latitude, color and contrast. The film is a straight scan made on our Fuji Frontier SP-2500. The output at 300 DPI is 10 inches in width (conservatively 14MP), so we scaled in a little on the negative when scanning to match the 21MP (about 12 in.) resolution of the 5D.

There are some definite differences in the overall look of the two images. I love the color of the Ektar! Skin looks great! The digital appears to fall just shy of the highlight detail of the film. Detail is definitely lost in the background but the transitions look much better than other digital cameras. The Ektar is a very contrasty negative stock but it still performs rather well under intense lighting.

Next, exposure forgiveness... The series below were shot underexposed 2 stops, then normal exposure, and finally over 2 stops. (Digital hates it when we do that!)

No too surprising. Pretty self explanatory. The Raw files really handled the over and underexposure well in the soft light, but had little to offer in way of highlight detail in the sky even when underexposed 2 stops. The tree and the building above Matt's right shoulder are totally destroyed by the sun on digital, whereas on film, all the detail is retained in every exposure. Now take a look at the detail pixel for pixel.

On the right, film does really well with the harsh back light. The 5D has digital's signature neon glow. I could have spent time reducing noise and fringing but this is a capture test, not a digital post test. In regards to grain vs. noise, these two seem to go toe to toe and I'm sure everyone who sees this will have a different opinion on which is better so I'm going to stay out of it. The film grain appears a little larger but the film has no interpolation so therefore finer resolution. I will say that the beauty of film is that you can get 5X the resolution just by upgrading to a Mamiya C330 and Ektar in 120 and little to no cost! Not available for the Canon. You have to invest in a $30K digital back and a brand new camera! Either way, grain and noise this size would not be visible on any print under 16x20. What would be visible in a print would be the spectral highlights and interpolation you see around Matt's head where the highlights blowout on the digital shot. In our experience, film always looks better printed whereas digital tends to fall apart when you print it due to the aforementioned and the fact that gradients and color ranges that look great on your screen don't always look great in the print.

In the end I was actually blown away how good the 5D Mark II actually did! I have nothing but good things to say about this camera. I still love our film but later that night when we pushed some Kodak Vision 3 500T 3 stops to 3200 to compare to the Cannon's 3200 setting I was amazed at the performance.

These shots are straight out of camera! The 5D has a little built in color noise reduction and sharpening in camera but I didn't do anything about the noise in post. The 5D Mark II is just that good at ISO 3200! The 500T is amazing for being pushed 3 full stops in developing but didn't turn out to be true 3200. Maybe a halfway between ISO 1600 and 3200 and seeing that I can underexpose 500T 2 stops in low light without pushing and still only loose a little shadow detail tells me that pushing color film only increases your mid-tone and highlight levels. You may get a little more separation by bringing some of your shadows into the mid-tone range, thus getting images that look better exposed, but in the end you are not adding information to your negative. Color film pushed is only as good as the shadow detail of your film stock. I do prefer the look of the film shot better than the digital but at the cost of some speed and resolution.

In the end, I still can't see film becoming obsolete anytime soon. There are so many great cameras and film stocks out there at truly affordable prices that there is no reason for anyone not to get into it. On the other side, digital is very expensive and time consuming. To have the current top of the line digital gear we would have to sell almost all of our film gear. And we have a lot! But if you have the cash and are good at working in RAW and love spending time editing images on your computer the Mark 2 is probably perfect for you. But I say film is beautiful! If you get good scans you really don't have to do anything to it and it will look gorgeous.

So what are you waiting for? Go out and shoot some film, take it to Richard Photo Lab and tell me you don't love it!

Added 1/26/2011...

Our friend Zach Hodges saw this post yesterday and offered to put a few of the images from the Canon 5D Mark II through his normal work flow to see if he could improve upon the initial capture quality. So we sent a few over and here is what he had to say:

"I ran three of those through my usual assembly line. I tried not to spend more than a normal amount of time on it but I suspect I may have, about 7 mins a photo. As I suspected, there was some improvement to be made, but film obviously still destroys in the DR department. The f/2 and 1/1000 one was the only one that had recoverable highlights. Fringing was pretty easy to get rid of with a few clicks and skin tone is very subjective, but I took it to where I liked it."

This was the same raw file from above that was exposed 2 stops under. It looks much much better! But the film shot that was exposed 4 stops more (16X brighter highlights) than this one retained just as much highlight detail with zero post. Fringing is gone and color looks a lot better! Goes to show that good postprocessing makes all the difference with digital photography. Thanks Zach! :)

Fete Rollei

2011-01-10T17:38:00.000-08:00

Brown On Brownie

2011-01-04T13:19:00.000-08:00

San Franciscan Gothic

2011-01-04T01:14:00.000-08:00

J&J - San Francisco Lions

2010-12-30T01:51:00.000-08:00

L&A - The Wedding Chicks

2010-12-20T00:00:00.000-08:00

Check out Lief & Audra's real wedding published on Wedding Chicks.

In The Bleak Midwinter - New Kodak Portra400 vs Vision3 500T 35mm

2010-12-14T12:05:00.000-08:00

As we find ourselves nearing the darkest night of the year, more and more we end up losing light right when the most memorable moments are flashing before us. We do stretch the light we have as far as it can go, with fast lenses and high speed B&W film, but this season we have been capturing life as a movie with Kodak's Vision3 motion picture film. We will usually push the 500T at least 1 stop, and rate it regularly at ISO 1600, to capture all the colorful subtlety of what we witness in the faint fading light. This stuff works wonders! All year long we have been enjoying the light that cinematographers have been spoiled with for years, but now the Vision Technology has been passed down to all still photographers through the new Portra 400.

When Kodak sent us some "sample" Portra 400 in 35mm to test, we immediately had to see how it compared to our beloved 500T. Of course Portra is not Tungsten balanced, but we decided to rate them both the same, unfiltered, without push processing at all, and see how closely they are related. Since we have had good experiences rating the 500T from ISO 400-1600 with great latitude, we chose to stretch it a stop in either direction at night with mixed, contrasty, lighting. All the scanning was done on the Frontier with, surprisingly, very little color correction to match the stocks.

We didn't know what to expect, but it appears that they are very similar emulsions, with almost identical grain structure (due to the Vision hand-me-down). It seems that the 500T has a little less contrast, and picks up a bit more detail in the mixture of lighting. But both seem ideal for push processing to bump up the soft detail in the underexposed areas.

Shooting in extreme bright and shadowed scenes was the other strong suit that we had discovered of the 500T & 250D, so we found a high contrast evening location of a white building with glaring sun and deep shadows. We metered for the diffused light hitting the base of the building, then shot every aperture from f/1.2 all the way down to f/16 at 1/2000 sec.! To spare you the redundancy of looking at the same shot 16 times we selected the shots where the exposure actually made a difference.

It seems that both stocks do very well rated to be between 3 stops over (50), and 2 under (1600) in the mid-tones, which allows for a 6 stop margin of error. But the 500T still holds some exposure as much as 7 stops under! I would not knowingly underexpose even these amazing films more than a stop without push processing, though I also would shoot with confidence that no matter where I meter a scene the image will expose well. I mean, thats why we shoot film essentially. We don't need to chimp a shot, or even re-meter much at all, especially knowing that if we err on the side of overexposure it will be beautiful. And apparently the occasional underexposed shot would turn out as well! Granted, one would have to try very hard to underexpose an image 4 stops, especially when you know you could go over 8 stops in the highlights and be golden. It's the difference of f/1.4 and 16 for goodness sakes! What I walk away with from this example is; that no matter what the lighting situation is, or how you are reading the light, all the precious times and moments in life can be (as it should be) lived like a movie. :-)

Happy holidays from The Wright Brothers!

It's Our Favorite Time of Light - New Kodak Portra400 vs Fuji Pro400H

2010-12-07T16:57:00.000-08:00

Welcome to the golden hour of film! The age old tradition of film photography has always possessed an inherent warmth and beauty, that transcends technical explanation. As photographers, we relish something called "The Golden Hour" (sometimes known as magic hour) which is the first and last hour of sunlight during the day, because the quality of light is such that everything becomes magically photogenic. Due to the diffusion of the sun's abundance of light, and the hues created by the atmosphere, everything is illuminated within photographic reach. Well, Kodak's new Portra400 has this magical quality packed right into the emulsion! No matter the lighting situation, Kodak's Vision Technology brings it within reach. Pretty much anything your eye can see now is visible within one frame. We have always loved film for this quality, but the limits have been stretched further than formerly possible.

Our curiosity was peaked when we heard word of this new film, just after Fuji began to faze out 400h (our preferred emulsion) in med format. We have been tapping into Kodak's Vision technology in 35mm motion picture film for over the past year, but couldn't figure out a good way to translate it into our medium format world. We immediately wondered if this new Portra4oo would be comparable to the 500T and 250D that we had fallen in love with. By the time Kodak sent us some "sample" rolls for us to test out, we had already gotten ahold of some 120 from a friend (Thanks Ryan!). Our first thought was to pit it against the tried and true 400h that we've stocked up on. Our main concerns were; latitude, color, and grain structure. So we began with a sunny day test.

The results don't blow me away with this first shot. It's a suitable replacement for 400h for sure, and that's the main concern really. But when I went in and scanned it way too large, I found amazing resolution, and the beautiful grain that was rumored. It's much smoother and sharper than the old emulsions, once you begin to print above 16x20 at least. ;-)

My next thought was on overexposure latitude. I decided to shoot the most backlit situation that I could find, and overexpose based on my shadow reading. Normal exposure, +2 over, and +4 over.

I knew that the Fuji could take it, but I was pleasantly surprised to find that the Portra actually held up much better. These are all straight scans (untouched) from our Frontier by the way. The Portra doesn't get as muddy in the highlights and has much cleaner color. But again, comforting but not mind blowing.

Negative film has always looked good overexposed, the main struggle in the film world has been in those shadows. Especially with Med format cameras, that rarely have faster lenses than 2.8. That's what we shoot 500T with f/1.2 lenses for. Normally, I would never underexpose Fujifilm. But I just had to see what it did in comparison to the Portra. I brought my TLRs to my friend's (Francisco The Man) show at a local dive bar, and got the light meter reading from the main stage lights and shot away. It was nearly black in there so I didn't expect much.

Normally, I wouldn't shoot color film in this ugly of light. Maybe 3200 Delta if I can get away with it. I did not push process this film, even though I underexposed the highlights up to 5 stops. Fuji begins to look horrible at 1 stop under, but the Portra looks exponentially better in comparison each stop under! At 12,000 ISO the fuji begins to even loose the detail in the light bulbs, but the new Portra 400 keeps some shadow detail up to 6400 ISO! To give you an idea, a guy with a 5D was having trouble getting their faces without loosing the sign at 6400. I will probably never underexpose film again, but I will most definitely push this Golden film to 3200.

And speaking of gold, take a look at the Portra backlit at twilight. No still film has known this kind of shadow detail. I mean,I'm not giving up my 500T motion picture film, But I also cant wait to shoot some new Portra400 in 4x5! :-D

"It's our favorite time of light, just before the day kisses the night. You see the red winged blackbirds fly. The sun's a big ol' lazy eye. When the day is bending low, and rolling fields begin to glow, feels like we traveled all this way, just so I could hear you say, It's our favorite time of light... It's our favorite time of light, just before the day kisses the night. You see the red winged blackbirds fly. The sun's a big ol' lazy eye. The moon is waiting in the wings, dreaming up some midnight song to sing, and I know we'll be okay evry time I hear you say, it's our favorite time of light." - Over The Rhine

B&M - Reel Film

2010-12-04T12:00:00.000-08:00

Some Super 8 that Tim from FlickerFilmsLA shot for us. Enjoy!

B&M - Green Wedding Shoes

2010-12-03T22:34:00.000-08:00

GreenWeddingShoes.com

B&M - Whimsically Wed

2010-11-26T07:00:00.000-08:00

Feeling Sheepish

2010-11-25T05:00:00.000-08:00

Happy Thanksgiving everybody!

L&A - Florida Fingerpainted

2010-11-23T08:00:00.000-08:00

R&S - Indian Infusion (part 2)

2010-11-21T19:33:00.000-08:00

R&S - Indian Infusion

2010-11-17T18:28:00.000-08:00

Scott + Jessica

2010-11-17T08:53:00.000-08:00

This shot was taken just outside Brian's apartment building. Scotty is a good friend of ours and also makes awesome music! I gave them the 4x5 positive and somehow the negative got left on Brian's kitchen counter for a couple weeks. The blue dot is from a drop of milk that was quite hostile to the emulsion. It was shot on Frankie framed and focused through the rangefinder viewfinder with the lens set to it's tilt position.

Kids at de Young

2010-11-15T05:56:00.000-08:00

Landslide Brought Down

2010-11-13T08:00:00.000-08:00

So Long Summer

2010-11-10T15:04:00.000-08:00

T&K - "In Lodi Again"

2010-11-07T01:18:00.000-07:00

Open Water

2010-11-03T20:19:00.000-07:00

Brownie 127 Kids

2010-10-31T21:01:00.000-07:00

So we had this old 65mm Mamiya C330 twin lens just lying around and I had this idea to find a vintage camera lens to replace the bottom lens with and see what we could come up with. The trouble was finding a 65mm lens on an old vintage camera that would project 6x6. As it turns out, the only lens I could find was from an old Brownie 127 camera. These cute old cameras came with a 65mm f/14 single element lens with fixed focus. I found one on eBay, hacked off the lens, removed the elements from our Mamiya lens and replaced them with the brownie. The lens actually had to be fitted well behind the shutter and aperture blades so the Mamiya aperture serves as a cool vignetting tool. I ground out the aperture of the Brownie to f/5.6, calibrated the focus and ran a roll through it. The result... Interchangeable toy camera lens with leaf shutter and bellows focussing! Check it!

So what do you think?

San Fran Street

2010-10-29T06:00:00.000-07:00

These were all shot on Frankie, our hand held 4x5 monster! Walking around doing large format tilt/shift street photography in San Francisco is amazing! People just loved seeing that old beast hanging from my shoulder. The film is Fuji FP-3000B45 and it is expired 3 years so we rate it at ISO 12000! The negs are gritty for 4x5 but I like it! The grain is really beautiful on this film. I really can't wait to print these 20x24.

San Francisco - Instant Color

2010-10-24T06:00:00.000-07:00

The Wind - harum-scarum

2010-10-17T23:35:00.000-07:00

Album packaging for the new double-record by The Wind. Check 'em out! They will blow your mind.

We had a lot of fun shooting these guys, all walking distance around my place in Hollywood. Here are some outtakes...

M&B - On The Lake

2010-09-15T18:04:00.000-07:00

Morning has broken! - 220 400H vs. 35mm Kodak Vision (new Portra 400 technology)

2010-09-14T17:50:00.000-07:00

Stop holding your breath and crossing your fingers, because the time has finally come. A brand new film stock, unlike any before, is being released from Kodak! The new Portra400 "Incorporates Entertainment Imaging's KODAK VISION Film Technology" and is "the world’s finest grain high-speed color negative film" according to Eastman Kodak today. You know what this means? Still photographers will finally be able to capture the light that cinematographers have been spoiled with for years. You can see more on Kodaks website, KODAK PROFESSIONAL PORTRA 400 Film

This is the dawn of a whole new line of light sensitive materials. Created for the hybrid workflow, the Vision technology harnesses light like no other emulsion. We have tested it's limits with our Nikon F3 250 exp. film backs, and processing at Technicolor for the past year. I cant tell you how excited I am! Vision in medium and large format! But not until October... So for now, in honor of the release of the new Kodak Portra400, we give you a taste of 35mm Vision technology.

35mm Kodak Vision3 250D up against Fuji PRO400H 6x7cm negative!

This is far from a fair comparison here. A 6x7 negative is 4 times the size of a 35mm frame, and the P67 SMC glass is the best around. I exposed 35mm 250D at ISO 400, and 220 400H at ISO 200. I performed straight scans of each on our Fuji Frontier at an 8x10 proportionate print resolution, then scaled directly to original magnification. You can see for yourself...

It is a brand new day and film is not dead, it's just entering a new generation. And it's heirs shall have more majesty as splendor than ever! c'mon... Say it with me... LONG LIVE FILM!