CineStill Film

Yeah, like even the only reason I even started shooting Sinistil when I was shooting film was because to me, when you're faced with that time, which I don't know if it's same in Denmark, but at least I think it is, the time where during most parts of the year, the sun is getting low, it's getting dark, there might be candles or string lights, there's not necessarily quite enough light to be able to take great photos without flash, and I don't want to set up a spotlight in their face.

And that was, like, the moment I started pushing CineStill.

Normally only one stop, just to, like, kind of get, like, a little bit more of toast slightly of dinner without flash, even if it's just a roll, so that they can kind of see the photos of how it felt, even if they're not perfect.

I just feel like it... nails the emotional side of it a little more and then the party's out who cares flash you know but like

And then I'll shoot some, some film at the shows.

Um, you know, if I have the right film stock, like CineStill or, uh, some 3,200.

Um, so I'll, I'll typically shoot some, but I don't have as many live photos on film as I do just hanging out on film.

But yeah, I have access to everywhere.

Oh, interesting.

Like, what is it? Cinestill, whenever you develop it, the film, the negatives are purple.

Right.

And so it's a different color negative because of like how they've done all the like rem jets and film blah, blah, blah, emulsions.

Right.

And I get that way when, you know, it's medium format or, you know, luckily I've been able to try to break myself out of it with this shooting, some expired four by five and just trying to, bang them out I got a whole bunch of them hanging up over there and but yeah it's a struggle and I'd say take more control over the process it's a great way to save money I mean nobody gets into film photography to save money but you know you don't have to be you don't have to take that irresponsibility up to the maximum and you know only buy pro packs of Portrait 800 and Cinestill and 800 T and send them to your lab.

I mean, I don't get how people regularly send portrait to a lab and get high risk scans and everything like, gee, what are you, a trust fund kid? What are you, Peter Thiel's nephew? What the heck's going on over here?

Well, exactly.

No, I haven't.

There's a few softwares now that allow you to, I know Cinestill has one.

Okay.

There's a few other companies that have negative converting software that will give you more control and you probably get better results, I think, that you'd like.

So if you want to start on something like Kodak Gold, Kodak Ultramax, I'm a Kodak person.

I really haven't experimented with a lot of other brands, but I know people have great luck with Cinestill, Fujifilm, any of those cheaper films that are like 10 to 15 bucks a box.

Like that's a great way to learn and get used to it because you're not wasting 20 to $25 a roll for Portra.

And then I think literally what makes or breaks a film photo is the lab that you use.

There are two exceptions to that.

If it was a particularly dark environment or a night shot, then I would shoot either Cinestill or one of the other 800 rated films.

But with Bulby going underground, I knew that the only light I would have is the light of a miner's helmet lamp, which is a minute amount of light.

Very, very focused, very, very direct, but very narrow.