Friday, March 17, 2017

Prerelease of 120 800T for Retail!

CineStill in MEDIUM FORMAT is here!!!


CineStill 800T 120 NOW AVAILABLE for preorder in our online store!

Thanks to the support and feedback of our Film Makers, Retail packaged Medium Format CineStill is finally coming to market! The first ever retail production run will be hitting shelves in April.

Be among the first to get your 800T 120 by preordering here. Supplies are limited, so order now before they are all spoken for. This release is sure to sell out quick!

Just some of the beautiful images recently created by Film Makers, tagged #CineStill120 on Instagram.

Our Film Makers, who supported us on IndieGoGo, came through in a big way! Their Alpha tests were crucial in getting CineStill 800T in 120 ready for retail. Thank you Film Makers! Your feedback was exceptional and the results are amazing! We never could have done it without you.
 
Contact sheet of our first ever prototype roll, hand slit and spooled in 2012.

Five years ago, we first began creating a prototype process with IMAX film, in Hollywood, which would become our beta testing process for CineStill in Medium Format. Today, with your help, we have successfully: designed and built a new process at our facility in Eastman Business Park, produced an Alpha run at 14K times to scale of our prototype, and secured high quality film manufacturing for years to come.

Dream big and wake up early... But keep on daydreaming!

Your Film Family,
The CineStill Team
Order Now

Wednesday, March 8, 2017

Alpha 120 Overnight - Featuring "Film Maker" Chris Malloy

"Film Maker", Chris Malloy, recently got an Alpha 120 roll from Downtown camera and tested it that night. Chris Malloy is a father, husband, photographer and teacher in Calgary Alberta. Finding beauty where others do not, he specializes in urban and rural fine art photography.



"I have been taking photos at night for a few years now, and much of that shooting is done under the harsh yellow glow of a streetlight. I have also been incorporating more film shooting into my life, but the daylight-balanced films often propose a bit of a challenge when shooting urban environments after dark."

"Enter Cinestill 800T. I have shot quite a few rolls of 135 and was pretty impressed with the results. One thing that should be noted is that although it may appear quite yellow, there is a huge range of mixed light around a city at night, especially here in Calgary now that many of the streetlights have been converted to LED. So I was curious to see how a specifically tungsten-balanced film would handle these conditions, especially in 120, with so much information to play with."


"Downtown Camera in Toronto was generous enough to ship me a roll with the caveat that I needed to shoot it that night and ship is back across the country to them the following day."

"When I received my alpha-roll of 120 to test I was really excited to put it to the test. Considering it was not yet a full-production product, I was half-expecting it to come hand wrapped in tin foil with a sticky note on it. It wasn't. It was wrapped in a blank white wrapper which made me think of an unreleased concept car, semi-concealed to protect its identity."



"Fast forward to a few days later when I got the scans back and I was really impressed. The 120 version seemed to handle the harsh dynamic range of an urban environment at night really well. At their extreme, the highlights glow red due to the absence of the antihalation remjet layer, which Cinestill removes to allow for normal C41 development. In my experience, these glow red orbs are far less apparent in the 120 format than in 135. The detail in the photos was fantastic, especially considering the high speed of the film, it retained a ton of information in both highlights and shadows. There's also a gorgeous mood that the grain creates on this film, especially in the shadows at night. It was far less apparent in the photos that were more intensely lit, but it was still there. The 120 format also provides a huge amount of latitude from an editing and colour grading perspective, handing over creative control to the shooter."



"I will absolutely be adding this stock to my arsenal of tools for creating images from now on." -Chris Malloy




Check out the rest of Chris Malloy's amazing work at his website and follow him on instagram. (mistermalloy)

Monday, March 6, 2017

Alpha 120 in Napa - Featuring "Film Maker" Kenny McMillan


Film Maker, Kenny McMillan, at OWL BOT cinema and media in Los Angeles recently evaluated his CineStill 800T in 120, shot in Napa Valley with his "Ma'Mamiya". Below are his impressions and and feel free to check out the unedited high-res scans over at OWLBLOG.


 "As a Cinestill 120 backer I was delighted to receive my oft-delayed but totally worth it Alpha run of Medium Format 800T film. I wanted to show the quality of the new film (featuring their new wide roll remjet “premoval” process) by taking my RZ67proII to Napa Valley and shooting a few frames."



"All of the shots were taken on the 110mm lens, usually around f4 or f5.6.  As a review, the film was packaged professionally in strong paper-like wrappers, the film was devoid of any marks, dust or scratches, loaded and operated perfectly, and even had a nice little sticky bit on the part that folds over and holds the roll together when it’s exposed so you don’t have to lick it. Overall I’m super pleased with the film, which color corrects beautifully as well, and will be using the remaining rolls on a couple future projects here soon." –Kenny




Check out Kenny's unedited high-res scans over at OWLBLOG.

Monday, February 27, 2017

Alpha 120 First Fruits - Featuring "Film Maker" Alex Medick

All images on CineStill 800T 120 Alpha by Alex Medick

Film's best friends are the Film Makers, who not only made CineStill 120 possible, but are now making it beautiful.

Below is an excerpt from an interview with "Film Maker" Alex Medick by Chris Gampat at The Phoblographer "On Using CineStill 800T Film in the 120 Format" with some of the first images shared from our CineStill 800T 120 Alpha Film.

“I think most portraits capture more than just a nose and pair of eyeballs.” says photographer Alex Medick. “They show us an emotional/stylized reality, centering around specific people.”



Alex is a photographer based in Philly and is one of the few lucky enough to have gotten his hands on the film after the pre-sales that CineStill had. With his Pentax 67 in hand, he’s able to create some incredible compositions that not only balance technical skills but artistic skills. His portraits are subtle yet telling studies of his subjects and his ability to make use of spaces on the fly is something that many other photographers don’t have.


Phoblographer: What attracts you to the Pentax 67 and what made you want to use CineStill 800T for this shoot? Is it the high ISO abilities or the general look of the film?

Alex: The Pentax 67 is straight up one of the sexiest cameras I’ve ever seen. It’s a pleasure to hold, and the 6×7 negatives come out beautiful If I hold up my end of the work. I just got my box full of CineStill 120 last week and couldn’t wait to shoot it. Having only shot the 35mm version once, and never having touched the 120 I wasn’t quite sure how it was going to turn out in the daylight, but I’m pretty happy with it! I overexposed to around ISO 320 and was thrilled with the look I got. I can’t wait to shoot more of it, and see how it holds up under low light.


All images on CineStill 800T 120 Alpha by Alex Medick

Read the full interview at The Phoblographer: "On Using CineStill 800T Film in the 120 Format"

Friday, February 24, 2017

Film’s Worst Enemies (7 common film issues)

“Here today, gone tomorrow...” 

A predominant theme in the modern digital world around us. The greatest appeal of photography is the ability to capture that fleeting moment. To lock it, in true permanence, with the swift and sure click of a shutter. But as with all things ones and zeros, digital photography is by nature immaterial. Film photography, on the other hand, is a physical process with immutable results. 

Perhaps this is part of film's appeal to photographers. It’s permanence, it’s physicality, forces you to care about what you are doing. To have patience. To be deliberate. To trust yourself and your gear. While there is something to be said for the “happy accidents” and imperfections that sometimes come with photographing on film, there are things you can do to help ensure the quality of the moments you capture on this permanent, physical medium.

Michael Ash Smith


FILM’S WORST ENEMIES
We field a variety of inquiries for people experiencing issues with their film images. As results continue pouring in from our CineStill 120 Alpha production, we expect even more, since we asked our Film Makers for their feedback. Below are seven common adversaries to film, and some tips for how to avoid them!

Enemy #1. Old Age
Before film is processed into permanence, it is perishable! Just like a carton of milk or fresh vegetables, there comes a time when consumption would be unadvisable. The same goes for film. There will come a point when unprocessed film may leave a bad taste in your mouth.

Correne Durand

Identifying it:
The color will be strange and the contrast muddy. Most commonly there will be aberrations in the shadows, usually creeping in from the edges. This destructive effect (caused from the combination of time, heat and radiation) is known as “Age Fog.” *


* In particular, CineStill Film is one of the more perishable films on the market just behind instant films. On our website, we have always recommended shooting CineStill within 6 months of purchase and freezing whenever possible. Originally, we did not have expiration dates on our film because we had not been making it long enough to observe just how long it would last. Over a year ago we were able to run tests from archived film dating back to our original beta rolls, and we found that CineStill is good for one year from manufacturing. Immediately, we began implementing new expiration dates. If you have film without expiration dates, you should assume it's expired. If you choose to shoot it anyway, you should expect varying degrees of age fog to emerge. 

Avoiding it:
Variables such as heat and humidity can contribute to “Age Fog”, so it is best to store your film in a cool dry place and only purchase what you will shoot within 6 months. You can also freeze film, but that will not stop aging completely and you have to be carful not to damage the film further. 

When freezing film it must be placed in an air tight container and not opened until it has sufficiently adjusted to room temperature. After removing old film from cold storage, it should be tested, shot and developed immediately, or else it will age rapidly and your film will gain no benefit from cold storage. You also should not re-freeze film once it has been thawed.

Basically, nothing is better than fresh film!


Enemy #2. Dust and Dirt
We have all seen it — those little specks on our images that should not be there. Like pops and fuzz on vinyl records, dust, grime and sometimes lint can get on our film and become a part of your photograph.

Gable L'Heureux

Identifying it:
Black dots or dark shapes in our image are from dust and dirt in our cameras. Sometimes, even a hair can get in there and become a real bugger. Basically, something is blocking the light from exposing the film, causing a silhouette of whatever the object is. I remember in school a classmate even had an entire roll turn out with giant ant shadows over most of his images. 

White specs or markings come from dust getting on your film after processing. This is the most common markings you will find on scans and prints. The good thing about white spots is that they are easy to get rid of. Just clean your film and scan, or print, again in a dust free environment.  

Avoiding it:
Basically, keep your cameras, darkroom and anywhere film is present clean! 


Enemy #3. Static
Static is created by friction. It can build up on parts of film, equipment, or in winding. Sometimes even when loading the film for processing. If it builds up enough it will ark to the closest neutral or oppositely charged material. It is most likely to occur in a cool and dry environment where humidity is below 40%. Static sparks on film are highly improbable if the humidity is over 60%.


Identifying it:
Electrostatic can cause many problems with film. It attracts dust, and if it is bad enough, it can even cause sparks that will show up on your film as blue or red marks. Though uncommon, this problem can show up more easily on highly sensitive films such as CineStill 800T or other high-speed/pushed emulsions. 

Ryan Muirhead on pushed Tri-X 120

Avoiding it:
If it is cold and dry where you are shooting — slow down! Static will not form as quickly if you handle your film carefully and slowly. 




Enemy #4. Light Leaks
This is probably one of the most common and most contentious accidents that can be with film. Light leaks can be kind of fun in some circumstances, and even create cool effects on your image. But when they are unwanted, they can be very very hard to cure. 

Gable L'Heureux

Identifying it:
The most common occurrence of light leaks is at the very beginning of the roll. Sometimes light can slowly “pipe” in past the felt on the film canister and cause red stripes on the first image or two, or along the edges of 120 roll film when wound too loosely. Other times it will contact print the writing from the backing paper into your image, but most of the time it just washes your exposure with uneven splash of light. 


Avoiding it:
The best way to avoid light leaks (if you don’t love them that is) is to be sure that your camera has fresh light seals and that you avoid exposing your undeveloped film rolls to bright light for any period of time. Be sure to run fresh test rolls through your cameras before an important shoot, and always keep your rolls of film in a dark place like a bag or film case. 


Enemy #5.  Physical Damage
One of the more frustrating things that can happen is when your film becomes physically damaged. This is film’s closest equivalent to a corrupted memory card (it is sometimes unavoidable until after it is too late), with the exception that you can still get some interesting images out of it. 

Danny Clinch on CineStill 120 (Prototype from 65mm IMAX film)

Identifying it:
Film is delicate and can be scratched, creased, torn or even exposed if handled too roughly. The most common damage to film comes in the form of scratches – often long straight lines going the length of the film.  Less frequently, you might see things like little white crescents caused by creased film, or colorful splatter from chemical contamination. Almost all damage to the film is caused by the camera itself, or in the processing of the film.  

 These images were taken on a roll of film that was in a camera that had orange juice spilled on it. It soaked in the orange juice for days and then was rolled back into it’s canister. The film was stretched, scratched, contaminated, and even ripped in a few spots. Although strange, they are rather interesting.
Correne Durand

Avoiding it:
Make sure that your cameras all have a regular C.L.A. and that you use a reputable lab. The biggest thing that can prevent damaged film is experience. Once you've damaged film you know how not to do it ever again. 


Enemy #6. Thin negatives
Film records light to create an image. If your film is Underexposed (when not enough light reaches the film) or if your exposure begins to fade from Latent Image Failure (when too much time passes between exposure of the latent image and development), the recorded image will be faint on the processed film. This is what we call “thin” negatives. This is perhaps the most notorious enemy of film. 


Identifying it:
Thin negatives result in excessive grain, poor shadow detail, and flat images. Though the exposure should be dark, the image can be brought up by scanning or printing lighter. This causes more separation between the tones in the grain, therefore making the grain much more visible. To make up for the flat image, you will be tempted to add contrast in post, but this will make it even grainier.
  

Avoiding it:
The best way to prevent underexposed, or thin, images is by overexposing when you shoot. Film can be nearly impossible to blow out. If too much light hits film, an image will still be produced on a negative. An overexposed negative, even 3 to 4 stops over, can then be corrected in scanning or printing. 

Film captures images with a photochemical reaction in the emulsion when exposed to light. A "latent image" is formed on a molecular level from silver halide that is invisible to the eye but for all intensive reasons, permanent. That image is so subtle and delicate though that it must be developed (amplified) to make it visible. 

If you suspect you may have underexposed your film, and as a result will be left with “thin” negatives, the only thing you can do is push process the film promptly. This will amplify the latent image before it can start to fade. 

“Latent Image Failure” can occur over time, when an invisible "latent image" is formed in the emulsion during exposure, but begins to fade away before it is made more permanent through physical development. The first thing you will lose is the areas of the image which were least exposed to light, your shadows. If an image is exposed and then left for several weeks or months before processing, you can lose even a stop or two in valuable shadow detail. This will result in a softer, lower contrast and grainier image. 

The only way to avoid “latent image failure” is to develop your film as soon as possible after shooting. If you discover an old roll some where in your bag, and you have no idea where it came from or what’s on it (come on, am I the only one?) you can always push process it. This will help bring out more of the remaining latent image on the film.


Enemy #7. Poor Quality Scans
This last enemy is likely the most common but the least permanent one. When good negatives are not scanned well, the quality of the developed image is not accurately represented. 

Identifying it: 
This can appear in the form of dirty scans, poor color and density correction, or low resolution output. Your images will have a terrible color cast, no black point, or worst of all clipped highlights.

The Image above shows two "straight" scans from the same exposure on CineStill 800T, made with the same film scanner. The one on the left had no attention given to it, and the scanner made it far too light and with a yellow bias in color correction. The right image was scanned correctly and the difference is unmistakeable.

Avoiding it:
In any of these cases, the solution is simple. Re-scan the images better!
A good lab is a photographer’s best friend. Find one you can trust and you will never regret it.

Life is fleeting, Film is permanent...
In a time of immediacy and convenience, photographing on film is a refreshing change of pace.  For many, film satisfies the desire to slow down and enjoy the process of something they truly love. So knowing how to get the most out of it is of utmost importance. The above problems are film's worst enemies. By avoiding them, you will be well on you way to obtaining the best results film has to offer. So invest in fresh film, handle it with care, and shoot and develop it as quickly as possible. Do this and all your memories and beautiful images will be here to stay for generations to come. 

Monday, January 2, 2017

Welcome 2017!

2016 was a long year for us with the excitement for this project accompanied by some setbacks, brutal heartbreak and loss. Needless to say, we are welcoming 2017 with open arms! 
It's been a year of challenges and learning. The number one thing we've learned is, never know what to expect. We could not have expected the amount of support we would receive from you all nor just how difficult it would all be. Currently, we are still working on wrapping up final shipping arrangements for getting your Alpha production film shipped to you. We are excited to hear your response!
This year is going to be huge for analog film! We are working, even now, on making 120 available for retail purchase around the world by March or possibly even sooner. All of the perks for our Indiegogo and Backerkit supporters will be shipped in the next month and we are still going! Financially, this project has costed much more than projected, to the extent that we have now matched nearly dollar for dollar what you contributed to get production off the ground. That just goes to show, we really could not have done this without you!
I know some of you feel that this has all taken far too long and your patience is wearing to say the least. We apologize for every delay and any gaps of silence. Please know that we are doing everything we can and are in this for the long haul, for you and the analog film community! Our commitment is unwavering. Your support was an investment and a seed that was planted. You helped us by accepting small portion of the risk to make such a large venture possible! You are the bold and the brave, the backbone of the analog renaissance and the first fruits of your investment are on their way! Thank you!
We will be making another trip out to CineStill East in Rochester this month to continue our work to make more and better CineStill Film. Please follow us on Instagram for updates! @CineStillFilm
If you would like to check on your pledge status, go to BackerKit (cinestill-120.backerkit.com) and log in with the same email used for your Indiegogo account. From there you can check your pledge level, verify your address and add on items to your perk!
Once again, happy new year and we look forward to letting you know when we have shipped your perks! Blessings in 2017!

Thursday, September 22, 2016

Guten Tag aus Deutschland


Photokina is in full swing and CineStill has found it's way back to Cologne, Germany once again! If you happen to be in Cologne as well, the Brothers and the rest of the CineStill team would love to meet you. Come by stand A041 in Hall 3.1 to say hi!



Over the past two years since our last Photokina trip, CineStill has gone from announcing our first attempt at crowdfunding CineStill 120, to running a wildly successful crowdfunding campaign on IndieGoGo, and just last week we completed our first run of a brand new high speed tungsten balanced color film for medium and large format photography! In a recent update to their IndieGoGo backers, the Brothers Wright shared with their “CineStill Filmmakers” their progress setting up manufacturing, success in producing our first production run and the anticipated timeline for delivery. If you have yet to support the campaign and would like to be among the first to get your hands on some medium or large format CineStill 800T, you can still make a contribution by preordering through our BackerKit today! Otherwise, you can expect to find CineStill 120 and 4x5 on shelves by early 2017.


Also coming in 2017, CineStill is releasing a new simplified color negative film processing chemistry kit, “CineStill Cs41.” Cs41 is a simplified kit for processing your color negative film at home. This new liquid chemical, two bath processing kit can be used at a variety of temperatures with the same equipment you already use to process your black and white film at home. No darkroom or automated processor required! If you already process your own black and white film at home, with this kit, you can now process your color film too! 


CineStill Cs41 is currently available in limited quantities to “CineStill Film Maker” members and for preorder for delivery late 2016 through CineStill’s online shop at cinestillfilm.com

Friday, March 4, 2016

PetaPixel Interview with CineStill Film Founders

We wanted to share this PetaPixel interview with CineStill Film founders, Brandon & Brian Wright. Please go take a look, comment and share the article wherever you can! With just 7 days left in the IndieGoGo campaign, this press could help extend the reach and help us make our next stretch goal for CineStill 50D in 120 and 4x5!

The article features some great questions and answers, offering insights and photos from behind the scenes of CineStill Film, our crowdfunding experience, the state of film photography and other interesting tidbits.

We hope you all enjoy the read!