#widelux

[the69thdimension]

Surfin' birds, Pismo Beach, CA 📷 Widelux F7 // Kodak Ektar 100

[annaleekeefer]

[pizza-run]

La Mistral (tomate, jambon, rondelles de tomate fraiche, oeuf, mozzarella, basilic, olives)

[szurens]

[ultralowoxygen]

Grazalema, Spain by Dave Harvey Via Flickr: 35mm Widelux // Kodak Ektar 100

[itriptwiceaweek]

La Huasteca, Santa Catarina. Nuevo León. México

[brokenpiecesshine]

Joe Trohman on Instagram, 06/05/2024.

Old man Widelux over here with the stage selfies.

[lewispullmanitws]

Jeff Bridges, Cynthia Erivo, and Lewis Pullman Interview: Bad Times at El Royale

Jeff Bridges is a legendary actor who has won the Academy Award for Best Actor and been nominated six other times.  His resume includes The Last Picture Show, True Grit, and Marvel’s Iron Man.

Cynthia Erivo is an actress and singer who has appeared on both Broadway and the West End.  She has won a Tony Award and a Grammy and has recently begun a career in feature films.

Lewis Pullman is an actor who has appeared in Aftermath, Battle of the Sexes, and The Strangers: Prey at Night.

All three appear in Drew Goddard’s Bad Times at the El Royale, a mystery-thriller about seven strangers in a hotel that each have a dark secret. Bad Times at the El Royale hits theaters October 12, 2018.

Screen Rant: Hello guys. What was it like doing such an intense scene with an Academy Award winning actor next to you?

Lewis Pullman: Well, I've used this analogy just a while ago and I'm going to use it again. But it's very much like-- it feels like a dream.  Because I grew up watching Jeff, and I love Jeff. So, it's very much like-- But Jeff’s so good about reminding you that he's none of those-- Whatever idea you have about him, kind of vanishes when you're with him.  Because you're good about having—You connected-- Jeff Bridges: Don’t touch me. Lewis Pullman: Sorry, sorry. [LAUGHS] We're very close. Jeff Bridges: When you say dream. It is like a dream, yeah. Lewis Pullman: Yeah, yeah. Jeff Bridges: Right now, this is kind of a dream. Cynthia Erivo: Yeah. Lewis Pullman: Yeah, for sure.

Screen Rant: Did you play multiple roles on set? Were you the set photographer as well, Mr. Bridges?

Jeff Bridges: I was, I like to do that. I have a funny kind of camera called a Widelux. It takes these peculiar pictures. I make books for the crew and the cast. And yeah I’m doing this.

Screen Rant: That's great. Your role required a lot of singing.

Cynthia Erivo: Yes.

Screen Rant: Now this is very different for Hollywood movies. The music was in the foreground and you're doing a capella scenes in front of the cast. What was that like?

Cynthia Erivo: It's something that I'm quite used to coming from stage and coming from Broadway and all of that stuff.  I'm used to singing live in front of people. But I think that when you get to take 14 on something, the pressure is on to make sure that the quality stays the same. And that was the thing that I wanted to make sure that everyone still had the quality of sound that they needed in order to do the scene. I didn't want to falter. Because I knew that that was part of everyone's experience of the scene. So, yeah.

Screen Rant: Was there a difference in your performance whether you're performing on the California side or the Nevada side?

Cynthia Erivo: [LAUGHS] I don't think there was.  I don’t know. Was there?

Screen Rant: For any of you?

Cynthia Erivo: Did anyone notice? Lewis Pullman: Warmth and sunshine to the west. Jeff Bridges: There you go. Lewis Pullman: Hope and opportunity to the east.  Those things kind of soak into you.  A little bit.

Screen Rant: Excellent. Did you have a favorite moment on this film? I know you committed to this project very early on, Mr. Bridges. What were you most looking forward to? What scene were you most looking forward to it?

Jeff Bridges: Gee, Cynthia and I have some cool scenes. We got some cool scenes. Cynthia Erivo: We did. Jeff Bridges: You know, it's filled with great scenes. You know, each one. I don’t have one, not one that pops out to me.

Screen Rant: Excellent. What was it that sold you on this project? Why did you come on to it?

Jeff Bridges: For me, it's the kind of movies that I like to see. Where you don't know what's going to happen next. The filmmakers are ahead of you.  And I love that. That's what brought me to the project.

[cheryldunn]

#caitlin widelux ..

[the69thdimension]

Southern Oregon

📷 Widelux F7 // Cinestill 50D

[kmp78]

“Maybe they realized their plot has holes and suddenly they needed a big name... 🫣”. — Maybe Mr. Bridges was busy with his own filming schedule, working to promote his newest Widelux camera or wasn’t feeling well from his cancer and Rönning was respecting HIS schedule…. Since this is a continuation story, it would make sense that he has a part and it likely didn’t matter when his part was filmed. Film editing is a wonderful thing… “

In any case Jeffy will have a miniscule role and only film for a day or two since there's less than a week left... 🤷🏼‍♀️

[alexmmx]

Ocean Beach - Along Half Moon Bay 1991

Yes its me back in 1991 as I was working at a camera store since 1984 til 2017, as my Nikon FM on the tripod as I was taking the views, and photographing the Sunset with the Weeds blowing along the breeze as it was alittle windy. Jun took this photo of me as I am wearing a Vintage Banana Republic Bush Vest. His Camera is on the tripod on the right, he was using a Nikon too. In what I did to my Nikon F model as I use Black Paper tape, and Mask out the Top & Bottom of the film plane to make it like a Panoramic wide Frame, and it works. Camera - Nikon FtnWide with a 24mm F/2.8 Nikkor Lens Film - Ilford HP5+400 B/W 35mm

(This is in what I wrote to Instagram since I could not show the Full Frame shot) The shot that you see is a cropped version of the camera that my friend Jun was using, it is a Nikon Ftn that I masked the film plane that stretches shot that is a simulate wide stretch panoramic shot, their is more in the frame, However that Instagram Has not fixed the problem of allowing us to use stretch shots since some people are getting X-Pan's, Widelux, Horizent's, or any stretch pano cameras, That is why the shot looks CROPPED. Sorry, and Ok Instagram FIX THE PROGRAM ALLOWED US TO EXPRESS in Shooting with our Stretch Models Please...) Now this Image that you All See is the FULL FRAME Image of this shot.

[pizza-run]

La Croquante (tomate, buffala, piment, épices, poivrons)

[szurens]

Widelux f6 ilford hp5 cieszyn

[claudiotrezzani]

Con cosa l'han fatta, questa fotografia qua?

Hasselblad X Pan?

Widelux 1500?

Horizon 202?

Vanno chieste agli eccellenti Marco Cavina Massimiliano Terzi, queste cose qui.

O magari no, hanno solo ritagliato.

Sapete, negli anni sessanta non avevano le attuali ubbie sulla risoluzione, che amavano appellare definizione.

Salvo ora tornare indietro, il riferimento è alle riviste su carta riciclata.

Eccomunque respira, questa doppia pagina qua.

Respira il vento della Versilia, dolcemente modulato dalle cespugliate chiome.

Molti di noi hanno esperienza del luogo, sin da quegli anni lì.

Di come la pineta ci sembrava grande perché eravamo piccoli noi.

Di come si è ristretta davvero, poi.

Di come non s'è ristretta del tutto, per nostra fortuna.

Queste robe qui - le orizzontali panoramiche -  si fanno col telefonino, oggi.

Orrificamente, sovente.

Tecniche cangiano - ma le vecchie perdurano, per chi fa sul serio con passione - l'emozione perdura.

Sapete, l'eccellente filosofo Antonio Giovanni Maria Zetti mi ha detto, citando Heidegger:

"la tecnica è una sorta d'incarnazione della metafisica".

Senza tecnica non si può portare a casa il ricordo, valeva già pei pittori.

Premuto il pulsante od intinto il pennello, il viaggio continua.

Il viaggio dalla fisica alla metafisica.

Quello che colora di sublime il sensibile.

All rights reserved

Claudio Trezzani

[kiaratobarr]

I attended Echoes and Omens by Sylvia Plachy that was held in the Bronx documentary center. Sylvia documented four decades of cultural happenings. She used five different cameras, including a battered Leica (for news or street work), a Hasselblad (usually for portraits) and a panoramic Widelux (often for parades and (Landscapes), Sylvia broke many rules when taking her photos. She would do anything to capture her photos like pushing past police lines to get into places like boxing gyms and galas. Her photographs capture a time when New York City was both a center of world culture and art and a deeply fractured city because of politics, race, class, corruption and money. As a staff photographer, she collaborated closely with writers including Guy Trebay, Anna Mayo, and James Ridgeway. She is the mother of award-winning actor Adrien Brody who is captured in many of her images because he frequently accompanied Sylvia on her assignments. Something that stood out for me in this exhibition was that all of Sylvia’s photographs were displayed in black and white except for one and it was all the way in the back of the exhibition. I think this was to emphasize the beauty and destruction of the explosion in the photograph. The explosion had super vibrant colors it’s unbelievable that something so negative can be so beautiful. Just like the theme of Sylvia’s other photos. Another thing that stood out to me was how some photos were so happy even tho they were in black and white and others were very sad. Two photos that differed in that way were “backstage at studio 54, New York City, 1983” and “homeless in Chelsea, 1985”.

In the first image it looks like a drag Queen or performer excited to be seeing his audience. The image to the right on the other hand is illustrating a homeless person in New York City. There is no one around them in such a big city which made this exhibition so interesting. How a city could be so beautiful but also full of crime and devastating stories.