A mixture of shots that I like, but didn’t seem to have any other home. Camera and film type are in the caption.
“Getting By” premiered today. This was an exciting change of pace to shoot super 16mm in a semi-documentary style, utilizing a very small team and only available light. Director Tara Bayat brought the work of Eadweard Muybridge as a key influence, and we worked together to figure out how to incorporate series of still photographs that convey a sense of motion into the piece. The tools in play ended up being an Aaton XTR paired with Kodak Vision 3 250D (metered at 160iso) and an array of 35mm analog cameras from Olympus and Minolta paired with Kodak Portra 400 (metered at 320iso). I’m quite proud of the combined result.
The video and accompanying Stereogum write up can be found here. Below are some bts shots (also Portra 400) by Tara and Producer/1st AC Mike Caridi.
Another installment of b&w bts, this one ranging over quite a few months and an array of shoots. The last two rows were digitized using my new Lightpad/Negative Lab Pro scanning process (which I may make a separate post about). Very excited about the results i’m getting. The final three images are also from the first roll of 120 that i’ve developed myself.
The cameras used here are - Olympus OM-2n, Minolta XD11, Olympus Stylus Epic Zoom 80, Bronica Etrsi. All shot on Illford HP5+, with the exception of the final 3 medium format frames shot on Ultrafine Extreme 400. All pushed 2 stops.
Some select photos from this winter. I believe that these were all shot on my Olympus Stylus Epic. As usual, I used Illford Hp5+ pushed 2 stops, developed and scanned by hand.
A quick word about working on the first video for Conor Oberst and Phoebe Bridgers’ Better Oblivion Community Center. Director Michelle Zauner came to me with an expansive treatment that we developed into a color saturated visual, pulling references from Kubrick’s Eyes Wide Shut and Cary Joji Fukunaga’s Maniac. Translating that on set in LA with a crew of (mostly) new faces was a fun challenge. On a personal note, i’d been a fan of Conor’s since first hearing his album Fevers and Mirrors in 2002, so obviously I was excited to be on set with him.
Check out some bts below, taken from a series of photos by the talented Dustin Liu, who’s work you can see here: www.dustinzliu.com
I keep at least one 35mm camera loaded with Illford HP5+ in my bag most of the time. So inevitably rolls end up with a few shots from the variety of sets I work on (when there happens to be a free minute to do so). It’s a nice reminder that one of the biggest benefits of my job is getting to work with so many great people. Here’s a collection of some of my favorites from roughly the last 9 months.
A wide range of cameras represented here - Olympus OM-2n, Minolta XD11 (rip/must replace), Fujifilm DL-290, and Olympus Stylus Epic Zoom 80.
In March 2018, Ryan Schnackenberg and I set out to make our second film together as Director & DP respectively. Our collaboration has been immensely important to me. Ryan’s vision of the story he wants to tell is always so clear, yet his set is very open to experimentation and we are never locked into one mindset visually. I love the results.
Here are a few behind the scenes images, all shot on my Fujifilm DL-290 Zoom loaded with Fuji Superia 400:
A few shots I managed to pop off on a trip to Mexico in December. We spent a few days traveling around the Yucatan Peninsula, and most of these shots (the four daytime ones) are from Tulum.
All on Illford Hp5+ pushed 2 stops, developed and scanned by myself. Shot with my Olympus OM-2n and 28mm f/2.8.
More from this fall. All on Illford Hp5+ pushed 2 stops, developed and scanned by myself.
The first eight images are from my Olympus Stylus Epic Zoom 80, which has some really interesting distortion and flaring. I was happily surprised by at the optical quality it delivers, considering that it’s a cheapo point-and-shoot. This was also my first roll of dx hacked film (the only way to get my preferred push-process on a point-and-shoot) and i can happily say it worked seamlessly.
The bottom row of images is from Thanksgiving at my parent’s house in NJ, shot on my Olympus OM-2n and 28mm f/2.8.
A series of images shot over the course of this fall. All on Illford Hp5+ pushed 2 stops, developed and scanned by myself. Final image (of me) shot by Phil Solokoff.
Boyish was named #10 on Pitchfork’s Best Music Videos of 2018 list. To have something that Michelle and I made be listed alongside Director/Dp teams like Rian Johnson & Steve Yedlin or Hiro Murai & Larkin Seiple is frankly overwhelming.
Below are some bts images from Boyish. The team that made this video is comprised of some of the most kind and talented people that i’ve ever had the pleasure to share a set with, and their hard work is entirely why this project has found the success that it has.
Some behind-the-scenes images from a few different productions that I found on my computer.
A handful of shots from the first few rolls of 120 film that I put through my new Bronica ETRSi. I love the quality of the images that i’m getting from this camera. There is light bleed and inconsistencies in some of the images (mostly noticeable at the top of the frames), which I think either points to an issue with the film back or the leaf shutter in my 50mm lens. Issues aside, I’m excited to keep shooting and processing film with this camera.
This blog wasn't around a year ago, but if it had been, this would've been the first post. In August 2017, The Roxy Cinema invited Michelle Zauner (Japanese Breakfast) and I to host a screening of our music video collaborations, and to curate the feature film of our choice to follow it. It's an exceedingly rare opportunity to see an anthology of your own work screened in that way, especially with projects that were never truly intended to be projected or consumed all at once. I loved it. At that point we had shot 5 projects together (that number is up to 8 at the time of writing this), and seeing them played on the big screen was a humbling reminder of where we began, where we were, and what lied ahead. We followed up our work with a screening of Paul Thomas Anderson's The Master, which I hadn't seen in theaters since it's original 70mm run. It remains one of my favorite films.
The Roxy published a write-up of the event, complete with a video of our Q&A, which you can check out here.
A series of images shot over the course of this summer. Mostly hand-developed and scanned by myself, with the exception of the images shot on P3200.
Cameras Used: Olympus OM-2n MD and Fujifilm DL-290 Zoom
Photos taken behind the scenes over twenty-something days with an incredible crew. Presented chronologically across 4 rolls of film.
All shot on the Olympus OM-2n with Fuji Superia 800