carmencita ( film )
‎carmencita (1894) directed by william k. l. dickson, william heise • reviews, film + cast • letterboxd
carmencita (1894) - 1st female star in a movie - william k. l. dickson | thomas edison
carmencita (1894) - 1st female star in a movie - william k. l. dickson | thomas edison - youtube
she is also referred as carmencita in the dvd extra from the japanese version of starship troopers: invasion blu - ray dvd .
since our doors have been open here at carmencita film lab we’ve seen nearly every mishap that can occur with film and the results of those film mishaps. now sometimes these mishaps are intentional and sometimes they’re not. either way, today we’re going to tackle some of the most common unlucky (or lucky, depending on…
we’ve written on how exposure affects film. that post visually demonstrates the latitude of color film and should aid in understanding the important role exposure plays in shooting film .
music in any sound film. as the spellbinding, bittersweet coda fades, the film' s impression convincingly continues .
a short film (about 21 seconds long) titled carmencita (1894) was directed and produced by edison' s employee william k. l. dickson. she was filmed march 10 - 16, 1894 in edison' s black maria studio in west orange, nj. spanish dancer carmencita was the first woman to appear in front of an edison motion picture camera, and quite possibly the first female to appear in a us motion picture. in some cases, the projection of the scandalous film on a kinetoscope was forbidden, because it revealed carmencita' s legs and undergarments as she twirled and danced. this was one of the earliest cases of censorship in the moving picture industry .
valencia, spain · we' re a film lab based in spain dedicated to delivering outstanding quality processed and scanned film to our awesome clients .
, but three of which are now a staple to film photographers like those of us at carmencita and yourself. we’re gonna cover some ground on those three that take the cake when it comes to kodak’s portra line: portra 160, portra 400, and portra 800 iso .
but actually it doesn’t need to be as complicated or in depth as that. some other companies like carmencita offer simpler approach. as part of the ordering process with them, you make some basic specifications about colour, contrast and brightness which they work to when they process your film .
performing on what looks like a small wooden stage, wearing a dress with a hoop skirt and white high - heeled pumps, carmencita does a dance with kicks and twirls, a smile always on her face .
one of our reasons of being is to help you shoot film, and we are happy to find other people that share this leit motiv. the film foundation is a little collective of young film shooters that against all odds are willing to make film photography go places in belgium. that’s why we decided to partner up to bring you this little workhshop! carmencita will fly up north, all the way to antwerp, to teach you all we know about developing b & w so you can do it on your own !
the first woman to appear in front of an edison motion picture camera and possibly the first woman to appear in a motion picture within the united states. in the film, carmencita is recorded going through a routine she had been performing at koster & bial' s in new york since february 1890 .
from almeria, spain came carmencita, born in 1868 and becoming the firts woman to appear in front of an edison motion picture camera and, speculation has it, the first woman to appear in a motion picture in america .
carmencita is the first woman to appear in front of an edison motion picture camera and possibly the first woman to appear in a motion picture within the united states. wow. i find her dancing routine to be very mesmerizing to be honest ...
though i would like to purchase a lumu power, my sekonic l - 358 fits my needs. my shooting is 99% film thus when needed i do have a 80a filter balancing daylight film to tungsten, and a fl - d filter for daylight film used with fluorescent lights .
thomas edison is credited for building the first film production studio nearby his home and lab in west orange, new jersey in 1893. it was called black maria, or the
doghouse
by edison himself. that is where he shot the short film the edison kinetoscopic record of a sneeze (otherwise known as fred ott' s sneeze) in january 1894, which became the first film to be registered for a copyright. two months later, edison' s employee william k. l. dickson filmed carmencita, a spanish dancer and maybe the first woman to appear on film. in some places, her projection was not allowed to be shown due to it revealing her legs and undergarments as she twirled. perhaps the earliest case of film censorship .
as most photographers don´t really have the possibility to drop off the film themselves we will explain to you the 3 simple steps of how to send you film with the minimum hassle. let’s go !
ahhhhhhhh portra 400. what is there not to love? this film stock is one of the most used and most comprehensive films on the market when it comes to changing light situations. it is shot by nearly everyone from established well - known film photographers to film photographers who are new to the scene. this film stock is a staple to your film stash and frankly, there is not a single thing to not love about this film stock. portra 400 offers excellent colors; is fast enough for the vast majority of purposes; and is fine grained enough that the speed will rarely betray itself .
did you know the first woman to star in a film was a latina? neither did i .
such a useful post this hamish. i’m sure it saved me from getting my first roll of film back as an undexposed ‘fail’. should be mandatory reading for anyone shooting their first roll of film !
gathering all the inspiration from every meet we’ve had so far we couldn’t help to perfect the concept with our experiences and your valuable feedback. we are super happy to bring you a new concept for carmencita meets, and we couldn’t be in better company than with our old friends from brancoprata .
it’s here again! a “ carmencita meets” in valencia, our home and our headquarters. after moving from l’alcúdia to the city and handling the overwhelming work we were so lucky to have this summer, we feel it’s time to hold a “ meets ” in this little corner in the mediterranean .
a growing source of silent era film information. this listing is from the progressive silent film list by carl bennett. copyright © 1999 - 2018 by carl bennett and the silent era company. all rights reserved .
i’ve known about colour film being forgiving towards over exposure for a while, but nine stops…. wow !
the work of muybridge, marey and le prince laid the groundwork for the development of motion picture cameras, projectors and transparent celluloid film - hence the development of cinema. american inventor george eastman, who had first manufactured photographic dry plates in 1878, provided a more stable type of celluloid film with his concurrent developments in 1888 of sensitized paper roll photographic film (instead of glass plates) and a convenient
kodak
small box camera (a still camera) that used the roll film. he improved upon the paper roll film with another invention in 1889 - perforated celluloid (synthetic plastic material coated with gelatin) roll - film with photographic emulsion .
the motor - driven camera was designed to capture movement with a synchronized shutter and sprocket system (dickson' s unique invention) that could move the film through the camera by an electric motor. the kinetograph used film which was 35mm wide and had sprocket holes to advance the film. the sprocket system would momentarily pause the film roll before the camera' s shutter to create a photographic frame (a still or photographic image) .
carmencita film lab is a lab made by photographers for photographers. we created the place we would love to send our negatives to, not only for the quality but also for the human relationship and involvement during the process. we have all the ingredients in place and now all we need is for you to create amazing pictures. we want to be your local lab even if we are some kilometers away from your home .
welcome to our monthly selection of film work. warning, you may be exposed to fatal levels of inspiration .
blacksmith scene (1893) - 1st staged narrative in film - william k. l. dickson | william heise
we’ve found with this stock the preference is split; those who have tried it either passionately love it or passionately hate it. however the general consensus tends to be that this is an excellent film stock for portraits. skin tones (whether light skinned or dark skinned) are soft and natural looking and the grain of the film is extremely fine. however those of us here at carmencita have found that the window is narrow on how much you can overexpose or underexpose it. if you expose it too much it lends to look much like
kodak made some noise a few years ago when it introduced a new version of the portra 400 film which replaced the nc (“natural color”) and vc (“vivid color”) versions in late 2010. the new film incorporated a
carmencita rockefeller - princess of japan is being staged as a collaborative production with malmö opera and helsingborg city theatre, where it had its first performance in winter 2013. in skåne too, the title role was played by anna - maria hallgarn, who made a special appearance here in the musicals grymt! and guys and dolls .
the launch of h. m. s. albion (1898) - early disaster film - robert w. paul
in case you missed it, traveling light film is happening this year again! we' ve been very very close to the project and for us, we can say without a doubt this is the film event of the year .
today, few use reversal colour film, but if you buy one to try, don’t under any circumstances follow the comments in this blog. you will be surprised at how much just 1 stop of overexposure will ruin it. reversal film has a very limited exposure latitude, but a far wider dynamic range than negative film. unintentional overexposure was the bane of the reversal film user, and most would set their meters to 1 / 3 or 1 / 2 stop faster iso setting to give a corresponding degree of underexposure. this is one area where digital sensors and film behave almost the same .
merely watches but soon demonstrates her natural inherited talents as a matador. through this nostalgic transitioning, the film achieves something faintly
the kiss (1896) (aka the may irwin kiss) was the first film ever made of a couple kissing in cinematic history. may irwin and john rice re - enacted a lingering kiss for thomas edison' s film camera in this 20 - second long short, from their 1895 broadway stage play - musical the widow jones. it became the most popular film produced that year by edison' s film company (it was filmed at edison' s black maria studio, in west orange, nj), but was also notorious as the first film to be criticized as scandalous and bringing demands for censorship .
in the 1970s, a hairdresser from malmö thoroughly took in south swedish society by putting herself forward as carmencita rockefeller – diplomat, cancer research scientist, member of the famous american oil and banking dynasty, and grandchild of the japanese emperor. the deceit was staged with the help of her spouse who posed as her brother and said he was a cia agent .
what’s important here is that once again there are options. whichever path suits you best will come down to your own experimentation. try having a conversation with a company like uk film lab, try using the carmencita ordering system, and try using someone like ag to get your scans back as tiff files so you can process them a bit if you feel the need. it’s your photography, you have to make it work for you in a way that feels most comfortable to you !
monkeyshines, no. 1 (1890) - 1st usa film - william k. l. dickson | heise | thomas edison
as a film photographer, we feel it’s good to know the ins and outs of your craft and the tools and techniques available to you. that being said, don’t get cray - cray, good light is worth it’s weight in gold (or in this case film) and it will render incredibly in almost all film stocks. this doesn’t mean that because you choose one film stock over another all your images will be great. it is highly dependent on the quality of light you have to work with .
presumably, the first woman ever to appear in a kinetoscope film and possibly the first woman to take part in a motion picture in the united states, the spaniard dancer, carmencita, performs her appealing high - kick dance in front of the camera of william k. l. dickson and william heise, for thomas edison. in this segment of her new york music - hall act, she spins and twirls, exhibiting an admirable talent, a fashionable dress, and a really charming smile .
in 1889 or 1890, dickson filmed his first experimental kinetoscope trial or test film, monkeyshines no. 1 (1889 / 1890), the only surviving film from the cylinder kinetoscope, and apparently the first motion picture ever produced on photographic film in the united states. it featured the movement of laboratory assistant sacco albanese, filmed with a system using tiny images that rotated around the cylinder .
back in the “olden days” each box of film came with a little sunny 16 guide in pictures inside when you ripped it open .
the 1st woman to appear in front of an edison motion picture camera and possibly the 1st woman to appear in a motion picture within the united states. in the film, carmencita is recorded going through a routine she had been performing at koster & bial' s in new york since february 1890. urltoken change before going productions: urltoken urltoken urltoken urltoken urltoken more classic silent films added to the channel daily. we hope you enjoy these movies and cartoons from early cinema, some of which contain new musical scores !
presumably, the first woman ever to appear in a kinetoscope film and possibly the first woman to take part in a motion picture in the united states, the spaniard dancer, carmencita, performs her appealing high - kick dance in front of the camera of william k. l. dickson and william heise, for thomas edison. in this segment of her new york music - hall act, she spins and twirls, exhibiting an admirable talent, a fashionable dress, and a really charming smile. written by nick riganas
this is perhaps the second most important step. there are many ways to pack you film, some of them are terribly right and some are terribly wrong. we’ve build a small guide on how to pack your film in a manner approved by our logistic experts with 50 years of experience .
well done, hamish, writing up what many of us have started to suspect: film latitude gives yer, erm, shed loads of latitude .
if i want to overexpose, should i alter the iso say from 400 to 200 in the camera and then tell the lab that i’ve pulled the film. if not should i keep the film at 400 and adjust the exposure manually with the shutter speed to get the equivalent 1 stop? thanks nick
hi there everyone! in our continuing effort to bring film photography education to everyone in the world we came up with a bunch of new strategies. one of the many ideas that came to mind was creating a repository of images associated with a couple of the more used currently available film stocks. needless to…
survival status: print exists in the library of congress film archive (gordon hendricks collection) [ 35mm preservation positive, 35mm viewing positive (fec 8116) ] .
i had a minolta and we would put this in the back of the film door as a guide to refer to easily. here is a good one … .
carmencita morena, with semi - fresh management, who had been working steady at the 23rd street concert hall and had been traveling around the country all decade, stopped by the edison lab’s in new jersey to immortalize herself. she’s an old maid here at 26. by the end of the year, she will have sold her possessions and moved to london, to showcase her spanish - style dancing to the english patrons over there. she died in 1910 at age 42 .
the manner in which the film dynamically sways between life and death may initially intimidate or disorient some viewers, primarily because many of the catastrophic incidents feel like they' re falling through a psychological sieve; likely to reduce running time, much of the film' s first half briskly transitions from one estate and one mood to the next .
in march 1897, james corbett and bob fitzsimmons boxed one another in carson city, nevada. it was watched live by thousands of fans, but it was soon going to be seen by many more. encoh rector had filmed it on 11, 000 feet of film and, two months later, the film premiered in new york. with a run time of over hundred minutes, the corbett - fitzsimmons fight was the the first documentary and feature film ever. it would eventually be shown in ten different cities over an eleven month period. now, prizefighting was illegal in every state in the country besides nevada at the time, but it wasn' t necessarily illegal to show prizefighting, hence, the popularity of the film. in response to this new technology circumventing the rules, seven states (including new york) all passed a law fining those who showed the film. while most of the fines were ignored, this was one of the first instances of governing bodies monitoring what people watched on film .
thanks for taking the time out to write that terry. i did quite a lot of film development but haven’t for around three years just because of really not being inspired .
they say an image is worth a thousand words and we couldn’t agree more. that’s why we love to showcase the most interesting images we see at the lab every month in our best of. so everyone can see what’s being done with film photography today and we can perhaps turn our little spotlight on many amazing film photographers that are not always featured online .
what’s important in this process is having a good idea of the scale of the room for error. the size of the room for error is – at least for the sake of this post – determined by the exposure latitude of the film and the capability and quality of the scanner used to scan the negatives. as mentioned i use portra 400 film. alongside the use of this film i use a commercial noritsu scanner. up until recently i was outsourcing my scanning, though since i’ve just bought a noritsu of my own, i shall soon be scanning my own negatives. that said, regardless of by whom and where my negatives are scanned, through experimentation i have found the limitations of the scanner and film .
i tried a roll of tri - x once stand developed in rodinal and it came out awful! i’d love to use it as people rave about both the film and the developer but that experience put me off sadly. i had some great results with neopan but it’s expensive and i found the ilford film easier to load onto the reels for some reason .
father, antonio, towards the climax that is simply a summary of scenes that are presented in the film some fifty minutes prior. this device is used to craft a stronger sentimental tie rather than devoting screen time to character development for the film' s sizable cast. in the abundance of visual embellishments, the music instead carries the journey from revelry to catharsis .
colour negative film is so forgiving of exposure, but unlike b / w film, is not amenable to some correction at the development stage, so it is indeed fortunate that it can be abused, so long as one errs on the side of overexposure. but if one wants colour accuracy and the greatest tonal range, it is best not to overdo it .
ultimately, some negative film has lot of overexposure latitude, you’ll either be well aware of this and be in on the trick, or you won’t. if you’re not, you really must give this sort of experimentation a go. it will help you understand the properties of negative film better, open up some creative possibilities and methods of shooting that give a sense of freedom like little other. but more than anything else – as it has in me – it should help you find a path to consistently better results in your negative film photography .
the beauty of all this is that unlike most of my posts where i’m extolling the virtues of x - camera or y - lens – or something else that can involve considerable investment on your part – in this case the only investment i’m recommending is in film and time. you don’t even need to change the film you shoot, or even the scanner you use .
hmm, yes, i can see why you’d get scratched negatives, but i bet the beach shots of the family on holiday at the seaside looked great. under - exposure and push processing to compensate does lead to an increase in grain and contrast, and the visual impact has a lot to do with a particular film’s latitude to such treatment. i suspect it was the double whammy of added grain and contrast that you found objectionable. in my own experience i found that the problem was greater with slow to medium speed films than it was with my choice of fast film, tri - x, and i put this down to a number of reasons. generally speaking, the slower the film speed, the more contrast a film has and a film like panatomic x, for example, needs processing very carefully to avoid excessive contrast, and so it responds badly to push processing. by comparison tri - x, with its large grain structure, can handle push processing better .
as of yet, there isn’t a film we’ve met that we haven’t loved and portra’s line is no different. between portra 160, portra 400, and portra 800 you have a variety of options for different looks and lighting conditions. each film stock from portra’s line is versatile, unique in its own way, and compliments each other. if you’ve not tried one (or any !) from the portra line
according to the internet movie database the film was made in a 35 mm format with an aspect ratio of 1. 33: 1. the movie was intended to be displayed through means of a kinetoscope .
in 1909, new york city, by order of mayor george b. mcclellan, closed 550 theaters because the police chief claimed that
most movie material was reprehensible .
in response to this, the national board of censorship was formed as
the first formal attempt by the film industry to ward off legal film censorship through quasi self - regulation .
for a small fee, the board would recommend cuts .
the film was produced by the edison manufacturing company, which had begun making films in 1890 under the direction of one of the earliest pioneers to film william k. l. dickson. it was filmed entirely within the black maria studio at west orange, new jersey, in the usa, which is widely referred to as
america' s first movie studio
. it was filmed on september 7, 1894 .
a few notable cases threatened this status quo. the mppda would not approve howard hughes' film the outlaw because it was deemed that there were too many shots that emphasized jane russell' s bosom. hughes was insistent that the film and russell' s chest needed to be seen, so in 1946 (five years after the film was shot), he signed a distribution deal with a non - mpaa signatory (name changed to motion picture association of america in 1945), united artist (a studio originally founded by actors charlie chaplin, mary pickford, and douglas fairbanks). this began to erode the mpaa' s power .
like the sioux appearance in
buffalo dance
, it probably gave americans a brief glimpse of foreign customs (here it' s spanish dancing); it was also one of the earliest appearances of a woman on film .
first i want to share two interesting facts about my negative film photography. the first is that in the last year i have used a light meter less than i have before. the second is that in the last year i have taken fewer accidentally underexposed film photos than i have ever before – in fact 9 rolls out of 10 i don’t get a single murky underexposed frame on a roll at all, and when i do, it’s not unexpected .
very good and interesting article. here is some of my thoughts on exposures: in other blogs i have read that film manufactures list the iso for mimum light, thus over exposing may be a consideration. one of the issues folks may not realize is our older film cameras are spring and gear operated, over time the shutter speed can be off by a large margin. also leaving the shutter cocked will lessen the tension ability of those springs. all that to say, have a cla on the film camera, make sure the shutter speeds are as they indicate on the dial. if we do not know if the shutter is accurate, we will not be working with true values .
so you can see just how flexible this film is in low light situations. the portra line has not only made some incredible improvements in technology, but additionally the color palette has made this series popular for portraiture and editorial work .
portra 800 has a higher saturation and it’s slightly grainier than its counterparts, but it kicks butt when it comes to tough lighting conditions and bright colors. the colors in portra 800 have a wonderful intensity and the blacks are very rich. it is ideal in capturing vivid colors and renders skin tones so creamy that this film stock will just melt like butter on your screen. many photographers love this film stock, with its only downside being the cost of it .
uk film labs have a couple of useful blogs about overexposure with numerous examples at different + / - ev values from portra 160, 400 and 800, fuji 400h and tri - x 400. this link shows the various posts urltoken
but why follow my path? i’ve chosen the path i have as i just happen to like what overexposed porta 400 looks like when it’s noritsu scanned specifically by ag. you might not. that being the case, you just need to experiment with the film / films that you do like. try overexposing. shoot a film a different levels of under and overexposure and see what results come back when you either send your scans off or try and scan them yourselves .
in the early 1890s, edison and dickson also devised a prototype sound - film system called the kinetophonograph or kinetophone - a precursor of the 1891 kinetoscope with a cylinder - playing phonograph (and connected earphone tubes) to provide the unsynchronized sound. the projector was connected to the phonograph with a pulley system, but it didn' t work very well and was difficult to synchronize. it was formally introduced in 1895, but soon proved to be unsuccessful since competitive, better synchronized devices were also beginning to appear at the time. the first known (and only surviving) film with live - recorded sound made to test the kinetophone was the 17 - second dickson experimental sound film (1894 - 1895) .
the sound has been found in the form of an old edisonian recording cylinder. the cylinder was repaired, then walter murch ace mpse synced the film to the correct music in (i believe) 2002. total running time is approximately 17 seconds .
backdrop of bullfighting, the film does have a tendency to feel like it' s coasting as a series of expositions, as several characters are simply relegated to their black - and - white karmic alignments of the source material. the legendary bullfighter antonio
the interesting thing about negative film photography is that poor exposure doesn’t always result in a poor outcome. in fact, with some films, a touch of over exposure not only doesn’t do any harm, but it can actually help ensure good results .
imo, over - exposing unnecessarily is simply wasting the films ability to record fine detail and colour properly. used with caution and understanding, though, it avoids the pitfall of potential under - exposure in colour negative film, and which is worse .
let me know how you get on. it’s more grainy than portra, and more “fuji”, but its a nice film in my experience. kodak 400 ultra max is another one i keep meaning to try … i’m just suckered into portra now 🙂
hi hamish, thank you for the excellent advice. i shot two rolls of portra 400 metered at 200 and will see what happens. by the way, how would you overexpose pushed film, say hp5 400 to 1600 during daylight? thanks !
just wanted to say thanks for this article. i’ve been overexposing my film now for a few months and i’m so pleased with the results i’m getting back from the lab. like other people who had commented i wish i’d have known this before .
great post. today i began to shoot my 2nd roll of film in the past 17 or so years in the aperture priority or almost auto exposure om - 10. a couple of years ago i shot a roll in my yashica t - 4, but still havent developed. todays roll really felt like my first roll during all this time. i was nervous even though it was aperture priority. maybe i had good reason to be as after 6 or 7 shots i heard a horrible sound when trying to advance the film. even my unschooled film ears knew what that meant. you have to be kidding, i thought to myself. ended up having to yank it, and when i later labelled the canister i named it ‘nightmare productions’ .
a 1915 united states supreme court landmark decision firmly established that censorship could be applied to film. mutual film corporation was a newsreel company that was getting annoyed by the fees and slow turn around time on what they could show and couldn' t show. they insisted that film should be protected under the first amendment, freedom of speech, and should not be subjected to censorship. the supreme court disagreed. in mutual v. ohio industrial commission, chief justice edward white wrote ,
the exhibition of moving pictures is a business, pure and simple, originated and conducted for profit like other spectacles, and not to be regarded as part of the press of the country or as organs of public opinion within the meaning of freedom of speech and publication .
the formal introduction of the kinetograph in october of 1892 set the standard for theatrical motion picture cameras still used today. it used a film strip that was 1 1 / 2 inches wide. this established the basis for today' s standard 35 mm commercial film gauge, occurring in 1897. the 35 mm width with 4 perforations per frame became accepted as the international standard gauge in 1909. however, moveable hand - cranked cameras soon became more popular, because the motor - driven cameras were heavy and bulky .
on top of all this, it’s fun, it’s easy, and not the least because the latitude for over and underexposure is remarkable. you can do everything with it. overexposing this film stock by two stops looks amazing (bright and colorful) and under exposing it a stop also looks good (moody and contrasty). keep in mind, if you expose portra 400 more than two stops the film may be a little more yellow - ish than usual, so overexpose with care. this film stock also loves to be pushed. in fact, if you have to choose between using portra 800 and portra 400 in a setting we recommend using portra 400, and pushing it if need be. it will just love it and in return we love it for it .
there is good reason for this too, it is in fact under exposure that is the main cause of slightly shitty looking murky results. aiming for some degree of overexposure is a great way to avoid that problem – especially when you’re new to film photography .
herself experiences as a young girl who then becomes a teenager in the film' s latter sections (eloquently transitioned through some clever editing). after escaping a near - deathly encounter with one of her stepmother' s servant - henchmen in the darkly deep woods ,
the reason for this is quite simple. firstly the huge overexposure latitude of the film i chose to shoot gave me massive room for error. secondly, i know that any “mistakes” i make in exposure will be compensated for when the film is scanned. and thirdly, through experimentation, i now have the experience and understanding of the length, breadth and width of the room for error the combination of latitude and mistake - compensation the scanner gives me to know what i can get away with in what light. let me explain…
in the late 1880s, famed american inventor thomas alva edison (1847 - 1931) (and his young british assistant william kennedy laurie dickson (1860 - 1935) ) in his laboratories in west orange, new jersey, borrowed from the earlier work of muybridge, marey, le prince and eastman. their goal was to construct a device for recording movement on film, and another device for viewing the film. dickson must be credited with most of the creative and innovative developments - edison only provided the research program and his laboratories for the revolutionary work .
regarding color film (or colour if you prefer) portra does seem to love “overexposure”, although i would say exposing for shadow detail is just proper technique (since it is a negative film). pro labs always advised us against “gross overexposure” for two reasons: color - crossover and extended print times. the latter was mostly a production - speed issue as a “bullet - proof” negatives take much longer to print. since they were both density correcting as well as color correcting, gross overexposure could lead to some funky color crossover, especially in shadows .
, very bright, punchy, and with not so flattering skin tones. it also requires a well lit scene to shoot in. so if you’ve not tried this film stock and you see some sunny days in your forecast, we recommend picking some up to give it a try
marey' s chronophotographs (multiple exposures on single glass plates and on strips of sensitized paper - celluloid film - that passed automatically through a camera of his own design) were revolutionary. he was soon able to achieve a frame rate of 30 images. further experimentation was conducted by french - born louis aime augustin le prince in 1888. le prince used long rolls of paper covered with photographic emulsion for a camera that he devised and patented. two short fragments survive of his early motion picture film (one of which was titled traffic crossing leeds bridge) .
before i get into this, let me just point out that this article assumes you are shooting film and either digitally scanning your negatives or having them scanned by a lab. this is what i do, and it is within the scope of that practice that i am writing .
i' m just imagining women saying ,
come on women can be on film, but still can' t vote? ! it' s the year 1894 dammit !
kind of like how people say it' s 2016, therefore (insert cause here) ...
i’ve been increasingly following your rule though. i’ve shot a lot of vista, since it’s so cheap for practicing with. but for the last few months i’ve treated it as iso 50 or iso 100 film rather than the 200 it’s advertised as. i’ve had much better results since .
last year, more than + 80 film photographers gathered on a 1930' s cinema to share, learn and unwind as big family within the unique surroundings that the north coast of the mediterranean provides. from japan to the us passing through europe, all under the same roof sharing our passion
there are a few possible solutions to the problem of having someone else scan your film. the first is as simple as having a good relationship with the company you use. talk to them, tell them your expectations and desires from your scans – some companies will be more accommodating to this than other. some companies actually offer it as a service. uk film lab and richard photo lab come to mind as two companies that offer a custom service that maps your desires to their process on an ongoing basis. there are many photographers that are quite vocal in their praise of such services .
the meets is something different, think of it as a gathering of photographers who love to share experiences and grow together, rather than learning master tricks # thisisnotaworkshop. only through sharing it’s possible to take european film photography further, plus we can’t wait to show you the little wonders of our city !
i might have to experiment with superia 400 to see how much overexposure that will take, as it’s cheaper than portra and in my experience, a bit less sensetive in terms of storage. i’ve had good results with it in my holga even on days that are really too sunny for 400 film .
the point i’m trying to make is that experimentation and finding what film and level of overexposure right for you is key. most would recommend as a general rule keeping it within about 3 - 4 stops of overexposure. i say they are probably right, but really, what harm is there in experimenting ?
portra 400 at box speed has a very natural and neutral look, but it can also look warm, bright, and saturated when it’s overexposed. this film also handles skin tones, as well as natural landscapes, beautifully and at a 400 iso it’s super handy in changing lighting conditions. portra 400 has a warmer palette, whereas fuji 400h has a much cooler palette. portra 400 tends to be more yellow and fuji 400h leans towards a more green color and turns its blues more turquoise. again, there is a lot of urban tales about how each film looks at the end, and the truth is that nowadays if you add retouching to any film stock you can make it look very different than what it naturally does. so, does that mean you’ll never see a warm picture shot on fuji? nope, we just mean that the “warmth” might go a bit more towards the magenta tones than the yellow tones .
getting back to your delta100 / ilfosol combination, look at it this way, you have already carried out one piece of advice from victor blackman and you’ve discovered this doesn’t work for you when rating the film at 200 iso. so yes, try it at its nominal speed of 100 and see how that looks, and if you don’t like the result, then clearly this is not a film / developer combination that will ever work for you. (but see below about choice of enlarger .) every photographer has his / her own preferred combination of film / developer and their choice won’t necessarily be yours. in my case, especially for 120 and 5×4 it was ilford fp4 / aculux. when i wanted the faster speed of tri - x, from 35mm to 5×4 it was always d - 76. aculux worked quite well with it, but i just loved the extra punch that came with d - 76 processing .
more than this though it allows – should you choose to embrace it – a very simple approach to shooting some types of negative film. my anecdotal tale of going up against a mates all - singling - all - dancing canon was not a one off. in fact more often than not over the last year i have abused the latitude of my film in this way. really – i’m almost ashamed to say – just because it makes life profoundly easier. in fact as i alluded to at the beginning of the post i’d go as far to say that i’ve become a little lazy (more on that later) .
we felt like killing two birds with one stone with this blog post, since besides the obvious interest in having a worker’s photography featured this particular set of photographs involved two not - so - common treats in the work we scan; artificial lighting and the fact of a high - end fashion production being shot on film .
a pillar of our work philosophy has always been quality. when it comes to developing, scanning film and translating images into paper prints. printing means for us something that completes every image and we are truly passionate about it, not only offering top quality with the best ink jet printers but also a fast and responsive delivery .
disposable cameras don’t get enough love, so we thought we would take a moment to shine our spotlight on one of our favourite disposable cameras: ilford’s black and white single use cameras. ilford currently has two versions of these in either of their c - 41 black & white film; the xp2 super, or the true black…
but to what degree is over exposure of negative film ok? well, the answer to that question is as deep as it is long, and as such is way beyond my desire (or knowledge) to cover in its entirety. what i do want to talk about is my personal experiences of overexposure of film, how i’ve used that experience to completely remove the problem of accidental underexposure and murky unattractive photos. finally, i also want to make the point that i made it so easy for myself that it felt like cheating. so much so that i am now purposefully making it harder for myself – which ain’t a bad problem to have !
the practical implications of this are obvious. for a start, it puts an end to all that nonsense about the 1 / 1000 max shutter speed of a leica film camera being an issue. it also helps with compact and more basic cameras that have even slower maximum speeds. my voigtlander vito b has a top speed of 1 / 200. but this isn’t limited to older film cameras. cameras like the konica hexar af for example only have top speeds of 1 / 250th. this is often stated as a disadvantage or limitation, but really – at least in terms of exposure – this can be solved with what i’m talking about in this post .
today, we’re going to talk about something that’s been on our radar for a while now; the impossible project! (now rebranded as polaroid originals after the merge of both companies) if you’ve not heard of it, the impossible project was founded in 2008 with one sole purpose; to keep polaroid film alive. this came about…
our process is essentially manual and we spend on average 1h 42min in every film that comes into the lab, from reception to delivery. that’s why our processing time varies with the amount of rolls we are dealing with. the shortest standard delivery time is 5 business days. you can check all the delivery times at / prices .
incidentally, there is a great portrait photographer and latterly film director called anton corbijn… he has been saying for years that he never goes faster than 1 / 30 and he prefers 1 / 15, in order to get movement, so he must have been doing what you are suggesting, just not explaining it in the same way .
( 2011) as an homage to early twentieth century silent cinema in the 1. 33: 1 aspect ratio, but it should instead be distinguished by its milieu, movements, and music more than any offhand associations to the success and trend of recent revival. the film also recalls the literary and theatrical realms of the grimm fairy tale ,
understanding when to push film is an incredible tool to have in your bag when you’re in low light situations or when you want a punchier look to your images. in our experience, kodak’s portra line handles pushing magnificently when shot in well - lit environments. so we’re going to break down the results of each when they’re pushed by your lab.
carmencita is an 1894 american short black-and-white silent documentary film directed and produced by william k.l. dickson , the scottish inventor credited with the invention of the motion picture camera under the employ of thomas edison . the film is titled after the dancer who features in it . this video is one of a series of edison short films featuring circus and vaudeville acts . it features a dancer going through a routine she had been performing at koster and bial 's music hall in new york city since february 1890 . according to film historian charles musser , carmencita was the first woman to appear in front of an edison motion picture camera and may have been the first woman to appear in a motion picture within the united states . in the film she is recorded going through a routine she had been performing at koster and bial 's music hall in new york city since february 1890 . 
carmencita is an 1894 american short black-and-white silent documentary film directed and produced by william k.l. dickson, the scottish inventor credited with the invention of the motion picture camera under the employ of thomas edison. the film is titled after the dancer who features in it. this video is one of a series of edison short films featuring circus and vaudeville acts. it features a dancer going through a routine she had been performing at koster and bial's music hall in new york city since february 1890. according to film historian charles musser, carmencita was the first woman to appear in front of an edison motion picture camera and may have been the first woman to appear in a motion picture within the united states. in the film she is recorded going through a routine she had been performing at koster and bial's music hall in new york city since february 1890.
carmencita is an 1894 american short black-and-white silent documentary film directed and produced by william k.l. dickson, the scottish inventor credited with the invention of the motion picture camera under the employ of thomas edison. the film is titled after the dancer who features in it. this video is one of a series of edison short films featuring circus and vaudeville acts. it features a dancer going through a routine she had been performing at koster and bial's music hall in new york city since february 1890. according to film historian charles musser, carmencita was the first woman to appear in front of an edison motion picture camera and may have been the first woman to appear in a motion picture within the united states. in the film she is recorded going through a routine she had been performing at koster and bial's music hall in new york city since february 1890.