#studio c41

[thephoblographer]

Atlanta Film Company 500T Review - The Hope Photographers Need?

This stuff is beautiful!

[sixteensaltines]

C41 proudly presents a wonderful integrated communication project. On the occasion of the prestigious launch of the new Arco Limited Edition, Achille and Pier Giacomo Castiglioni’s historic lamp, which has been reinterpreted in only 2022 pieces. A sort of project event that brings together the entire history of international design.

FLOS DECIDED TO ENTRUST OUR STUDIO WITH THE DEVELOPMENT AND LAUNCH OF THE PROJECT AT A DIGITAL AND PRINT LEVEL, AS WELL AS GIVING IT SHAPE IN THE SPACE OF “FLOS OROBIA 15” ON THE OCCASION OF MILAN DESIGN WEEK 2022.

FLOS reconfirms itself as a brand of the highest creative value, and once again renews its trust in the C41 team.

Special thanks to Barbara Corti Produced by C41 Client: Flos Creative Directors: LEONE + Luca A. Caizzi Producer: Riccardo Calvi Creative: Francesco D’Errico, Simona Gentile Set designer: Patrizia Gatto Director: Filippo Raineri DOP: Marco Biotto Photographer: Mattia Balsamini Assistants: Teo Zanin and Andrea Re Props man: Daniele Antonietti

[alexmmx]

San Francisco - My Next Art School - 1979

As this was my next school right after CCSF, and I wanted something for myself for my photography - First Latino in the family with a BFA Degree in Photography in which made my dad Cried when Paul handed my Diploma. So from 1978 to 1981 I learn more and manage to meet new friends of the love of photography - There I learn how to do Gum Bichromate Printing, Dye Transfer, C41 & E-6 Processing, Portrait, and Figure Nude photography, Heavy learning into Studio Still Life, and Fashion photography, did it all, and as seen the news of Digital camera news as it was mentioned in the photo magazines was still in the young feature as we were told about it. Here is a Self Portrait of myself.

Camera: Bronica S2A with a 75mm Nikkor P 2.8

Film: IlfordFP4 ISO 125

[russmorris]

Jungle Jane.

Fred Hunnicutt.

A long-time fan of his work. This aluminum sculpture is located in in Palo Alto, on California Avenue at Birch Street.

Keeble & Schuchat occupied a bunch of space in two buildings, located across from each other, split by California Avenue. K&S was a really cool camera store. I loved going there and it helped fuel my film photography, they processed a few C41 rolls for me over the years.

It was always fun just walking around in both stores. A photographer's geeky dream.

Parking was free, usually in good-sized lots behind buildings on the south side of California. To get to the main store from those lots, you'd cross California over Birch and walk right in front of Jungle Jane.

That's how I know of Hunnicutt and his work.

Hunnicutt's sculpture sits on an island separating the two sides of street at the start of that intersection, surrounded by short, colorful shrubbery. Kinda hard to miss, and really breathtaking in person.

I can't remember which camera I used. Maybe the Minolta XG7. Film? Hell, I don't know. This was probably taken 20 years ago. 8^/ I don't even know if a negative exists.

This is a scan of a 4"x6" print. The print hangs on the wall above my work bench in the studio. Fun to look at, this particular Hunnicutt sculpture is from around 1998.

He has another public piece on Winchester Boulevard in San Jose. There used to be a Chevy's restaurant on the ground floor of what I recall being an office building. The sculpture sits in front of the building near lawn and it's the first thing you see as you pull into the parking lot.

It's interesting how we make connections. Pretty cool.

[visionnaire-music]

Caterina Barbieri - Broken Melody (Official Video)

Caterina Barbieri - Broken Melody (Official Video) Single taken from Caterina Barbieri's forthcoming album "Spirit Exit" out on light-years on July 8th. The album is available for pre-orders as 2xLP, CDs and limited edition coloured vinyl versions (including Bandcamp exclusive): https://light-years.lnk.to/SpiritExit “Broken Melody is the first single from Caterina Barbieri’s monumental forthcoming new album Spirit Exit. It’s a direct portal into her sound-world constructed of elements that move simultaneously fast and slow, that at the same moment feel both massive like a force of nature, and intimate like a private conversation. The piece is endlessly transformational, an existential journey that twists and builds, layering snaking circular synthesised patterns with vocal interventions that flash like lightning in an approaching storm. This newest musical gift further establishes Barbieri’s position as one of those once-in-a-generation artists who can distill the mood of the times into a piece of art: dreadful, optimistic, calamitous and beautiful.” © 2022 light-years https://www.l-years.com/ Credits Concept & Art Direction: Caterina Barbieri & Ruben Spini Director: Iacopo Carapelli DoP: Giuseppe Favale Editor: Iacopo Carapelli & Elena Petitti di Roreto Colorist: Orash Rahnema Post production: DEEPICE / Mauro Moretti / Roberto D'Ippolito Produced by c41.eu Executive Producer: Barbara Guieu Prod. Manager: Maria Borgognoni Ass Prod: Lorenzo Poloni Co-Produced by Blackball Co-commissioned by 180 Studios and Fact magazine Scenography: Fabrizio D’arpino Ass. Scenography: Elena Strafella Prop Master: Gianfranco Parmigiani Movement director: Elisa Zuppini MUA: Greta Giannone ⁣ Characters: Inga Lavarini / Federica Nicastro / Omar Jaimes / Costanza Candeloro / Filippo Beccati / Joselin Solange Morales / Giulia Fossati / Gabriele Gangi / Elisa Zuppini ⁣Phantom Operator: Claudio Fusini 1st AC: Paolo Gobbi 2nd AC: Davide Bongiorni stage AC: Riccardo Lorenzi Gaffer: Francesco Galli Electrician: Fabio Proserpio / Marco Marangoni   Key Grip: Riccardo Villella Grip: Alessio Zecchinello / Fabio Macchi Rigger: Luca Fachini / Enrico Comeo Drone: Turbostudio Drone operator: Rocco Diddio

[matmarrash]

My First Roll of Kodak Gold 200 in Medium Format

Late last month Kodak announced the return of Kodak Gold, a budget favorite in the world of medium speed color film, in medium format aka 120 film. A few days following that announcement, a special package arrived from Kodak with my name on it. Inside there was a pair of test rolls, and I was excited to take some out into the field for an early morning shoot. And to share the love, I gave one roll to my buddy Tariq Tarey so Gold 200 could have the proper studio treatment.

Now I’ve been shooting medium format film for 12 years at this point, the hardest part about this whole test was trying to figure out what camera to shoot! The first option would be to go with the camera that started my whole film photography journey, the Hasselblad 500C. That camera helped me re-ignite this very blog with The 52 Project, and had me running through enough film that I eventually met-up with Mike and “the gang” over at The Film Photography Podcast. Another potential option would have been a roll-film back hooked up to a 4x5” large format camera. That would keep the pace closer to my typical large format experience, and give me the versatility of choosing a different medium format aspect ratio. In the middle of trying to decide what I was going to shoot, I headed over to Midwest Photo to see if they’d be willing to develop and scan the new Gold 200 on their Fujifilm Frontier medium format film scanner. And that’s when I saw her sitting there at the used equipment counter:

The lovely thing about 120 film is the versatility of medium format cameras. There are modern, AF enabled, interchangeable lens bodies that expose 15 shots per roll all the way to giant boxes that expose nearly all the film in one go. Somewhere on the “box camera” end of that spectrum lies the Fujifilm G617. At first glance it looks like a rangefinder camera, but the Fujifilm G617 doesn’t feature a rangefinder patch. It uses a helicoid focus ring in front of its large format style 105mm f/8 lens, and has a fixed wide angle view finder to help with composition. Even more impressive than the wide field of view, the G617 captures 2.83:1 panoramic aspect ratio photograph, using 6cm x 17cm worth of real estate. The cost? Each roll of 120 film only gives you FOUR exposures! In the gamble of shooting with film, 6x17 medium format is like betting at the $10 blackjack table. High risk aside, I just had to take the G617 for a spin.

With an almost-large-format camera in hand, what better place to take it than one of my old haunts, Old Man’s Cave down in the Hocking Hills. Many of the waterfalls you’ll find in the Hocking Hills region require a downward hike through rocks carved by glaciers thousands of years ago. The valleys surrounding the sights give photographers a few extra minutes at sunrise and sunset to get the shot just right. Sunrise was scheduled for 6:30AM, and for a mid-April morning it was surprisingly chilly (I’m pretty sure it was snowing in Northern Ohio that morning!). By the time I parked the car, loaded up the camera, filmed a little b-roll, and made the trek down to the Middle Falls it was a few minutes before 7AM. The first exposure on the roll was a composition similar to one I’d made back in 2014, but this time a bit wider and IN COLOR! To get all those lovely shadow details on the rocks, my Reveni Labs Spotmeter indicated 6 seconds at f/16.

One of the first things I noticed about the “look” of Gold 200 is how well it handles the mixed, reflected light throughout the Middle Falls of Old Man’s Cave. There’s a hint of warmth is the backlit sunrise peaking in through the upper middle part of the frame, with the rest of the cold, blue-green light bouncing off of the mossy rocks and trees. There’s some added vibrance to the green and aqua of the rocks, but nowhere near as much as I’d expect to see with Ektar 100 or Portra 400. As for grain, forget about it; these negatives would need to be enlarged 20x or more to start to see grain.

With the first frame down and the sun coming up, I needed to make the call whether I would venture towards the Lower Falls or go against the grain and check out the Devil’s Bathtub and Upper Falls. Both trails have their merits, but early in the morning I find it best to head further down into the cave. Following the water down through Old Man’s Cave, I arrived at another very familiar scene, one that I’ve photographed at least a dozen times (even a few in color!). Surely a new film would offer it’s own unique rendition. Out the corner of my eye I saw the sun start to graze the tops of the staircase to the upper left of the frame, so I needed to hurry. The added light reduced my exposure by nearly two stops, but also increased contrast. With Kodak Gold 200 being a negative film (C-41 process), it didn’t bat an eye at the overexposure, leaving me with readable highlights and delicate, low grain shadows.

This shot of Middle Falls was my favorite from the morning. It wasn’t too warm or too punchy, but it did a great job rendering the subtle tonal shifts as direct sun started to overtake the cold, reflected morning light. A piece of advice I’d received over a decade ago from a photographer working in panoramic formats came in handy here,

”If you place interesting subject matter along the edges of your frame, the rest of the picture will take care of itself.” - John Powers, Photographer

At the half-way point on the roll of Kodak Gold and one major location left, it was time to take the stairs down to the Lower Falls. The sun had been up for an hour at this point and I was starting to hear the sounds of other folks on the trail. Being the last waterfall stop at Old Man’s Cave, Lower Falls tends to have a higher rate of flow as well as a bit to wade through when setting up the camera. I don’t recall ever having made it this far on the trail with color film, but I was excited to see how Gold 200 would render the contrasting cool and warm tones on the rocks underneath the falls.

This is first photograph of Lower Falls is a great example of where I’d love to have access to some “rise”. In large format (sometimes other formats), rise and fall are movements that allow the photographer to shift the lens plane and/or film plane. This has the ability to change the perspective and shift the vanishing point in the photograph; an incredibly useful tool in landscape photography, especially with wide fields of view. In my opinion, a few millimeters of rise on the 105mm lens would have really elevated this composition.

Three photographs down, one to go. With this last frame I wanted to take another stab at the Lower Falls, hoping to find more leading lines for the panoramic frame. Fortunately a hundred meters or so away there was a downed tree that was calling my name. It took some stepping over flat rocks and fording ice cold water, but I found my frame and started to lower the tripod to accentuate the lines of the tree. Somewhere between all of that tripod shifting and the two second exposure I must have bumped the film door of the Fujifilm G617. Were it not for that little light streak, this would have been my favorite shot of the day.

Overall I’m really happy with how my first roll of Kodak Gold in 120 developed. These results are making want to grab a few more rolls and keep experimenting with color. The next time I’m out with some Gold 200, I’d like to try it with more creative filters and some different light. But will the next time take place with a 6x17? Probably not; I loved the panoramic look, but I need to give the Hasselblad 500C a workout with some portraits.

Big thanks to Tim and the team at Kodak Alaris for sending over the rolls of Kodak Gold 200 for me to test, and Midwest Photo for facilitating the rental camera and processing. Gold 200 is available now, and later this year we’ve got Cinestill 400D (35mm, 120, AND 4x5!) and Fugufilm 400 (35mm slide film!) coming. So far 2022 is shaping up to be a great one for film photography!

[onecameraoneworld]

|| EAMES || #KiwiTraveller #NikonS3 #KodakGold100 #KodakGold #Kodak #MyNikonLife #FilmScan #Film #ShootFilm #Rangefinder #FilmPhotography #FineGrain #C41 #EamesChair #Eames #Design #Lust #Shadows #Studio

[grantyoungfilm-blog]

A visit to Diagon Alley. Jennifer and I visited Harry Potter World during Thanksgiving last year and I just got around to scanning the negatives (imagine that, right?). I have no idea what stock this is, but I’m guessing Kodak Gold or something cheap like that.  Enjoy!

[perceptivelight-dot-com]

Its been quite some time since I posted anything but it has taken nearly 18 months to build a new home, studio and an almost completed a darkroom in the last year time for blogging has been a sparse commodity. However I did take a few days off here and there that gave me some time to look around tassie and shoot about twenty roles of film most of which are awaiting the arrival of a LAB BOX from a Kickstarter to dev the black and white. The colour film went off to a local lab THE ONLY C41 lab in Tasmania and they have done a reasonable job even though there is much more spotting to do than I would like. This was shot on Ektar on my 1949 Voigtlander Bessa Its a 6×9 version which is ideal for landscapes… This bay near St Helens is called the bay of fires because of the red and orange lichen on the rocks which under the right light gives the impression of fire on the rocky landscape. - perceptivelight.com.au

[placerdiario]

Vogue x Maserati from Alice Fassi on Vimeo.

DIRECTED BY Alice Fassi CREATIVE DIRECTION Vogue Italia

DANCERS Alice Mantovani Edoardo Brovardi Lavinia Scott Nagga Baldina Nicolò Besozzi Rebecca Moriondo Silvia Indellicati Tonia Laterza @ Collettivo Trasversale CHOREOGRAPHER Macia Del Prete

DOP: Andrea Dutto EDITING: Stefano Balossi MUSIC: Guido Smider

STYLIST Silvia Pescia FASHION DESIGNER Alessandro Vigilante HAIR Stefano Rolandi @Twa Agency HAIR ASSISTANT Maria Elena Ercoli @Twa Agency MAKEUP Mattia Andreoli @Studio Repossi MAKEUP ASSISTANT Sara Bergaglio @Studio Repossi

PRODUCTION COORDINATOR: Maria Borgognoni PRODUCER: Filippo Raineri STEADICAM OPERATOR: Armando Avallone 1AC: Juri Molinaroli 2AC: Sacha Beverini GAFFER: Roberto Muratori ELECTRICIAN: Valerio Vigo EQ VAN: Mircea Ciolan GRAPHICS: Luca Caizzi COLORIST: Daniel Pallucca

EXECUTIVE PRODUCERS: Barbara Guieu, Bettina Diss PRODUCED BY: C41 Production

[remixinc]

Vogue x Maserati.mp4 from smider on Vimeo.

DIRECTED BY Alice Fassi CREATIVE DIRECTION Vogue Italia

DANCERS Alice Mantovani Edoardo Brovardi Lavinia Scott Nagga Baldina Nicolò Besozzi Rebecca Moriondo Silvia Indellicati Tonia Laterza @ Collettivo Trasversale CHOREOGRAPHER Macia Del Prete

DOP: Andrea Dutto EDITING: Stefano Balossi MUSIC: Smider

STYLIST Silvia Pescia FASHION DESIGNER Alessandro Vigilante HAIR Stefano Rolandi @Twa Agency HAIR ASSISTANT Maria Elena Ercoli @Twa Agency MAKEUP Mattia Andreoli @Studio Repossi MAKEUP ASSISTANT Sara Bergaglio @Studio Repossi

PRODUCTION COORDINATOR: Maria Borgognoni PRODUCER: Filippo Raineri STEADICAM OPERATOR: Armando Avallone 1AC: Juri Molinaroli 2AC: Sacha Beverini GAFFER: Roberto Muratori ELECTRICIAN: Valerio Vigo EQ VAN: Mircea Ciolan GRAPHICS: Luca Caizzi COLORIST: Daniel Pallucca

EXECUTIVE PRODUCERS: Barbara Guieu, Bettina Diss PRODUCED BY: C41 Production

[sixteensaltines]

Dalla cava all’architettura by C41. Design by Studio OCH.

https://studio-och.com/

via https://www.c41magazine.com/product/extraction-architecture-ugo-la-pietra/

[emzeciorrr]

C41 x Adidas - Waiting for the weekend from alessandroubaldi on Vimeo.

Created by: C41 STUDIO Produced by: K48 Creative Director: Luca A. Caizzi Directed by: Leone Words by: Alessandro De Agostini Second unit director and editing: Van Khokhlov Cinematography: Alessandro Ubaldi Ex. Manager: Valentina Mentasti Line Producer: Meg Belvedere Camera assistant: Gabriele Gregorin Stylist: Thais Montessori Brandao Stylist assistant: Yasmin Maiara Leite De Melo Color Grading: Orash Rahnema Production assistant: Carlo Banfi Production assistant: Giovanni D'annibale Production assistant: Alessandro Maffi Production assistant: Fabio Tacchini Best Boy: Vito Music by: Pietro Da Canal Music by: Zaccaria Nadifi Sound Mix: Giga Sound

Special thanks to Micki’s Barber Shop Rocket Club Adulis Restaurant Francesca Pavoni for her house Patrizia Gatto for the red curtains

adidas Originals/PROPHERE

[jacksonphotografix-men]

My 10 years in NYC was a very creative time. I was fortunate to meet many beautiful men who graciously agreed to pose for me. Carlos was one of them the eye of rah model: carlos harlem studio nyc circa 2000s shot on 35mmm film © jackson photografix #jacksonphotografix #studiolighting #NYCmodel #gayNYC #gaymodel #tattoo #latino #C41 #film #35mm #eyeofrah #egyptiantattoo (at Harlem, New York City) https://www.instagram.com/p/CDwqC-NJ7Ls/?igshid=14qrjle30bwz

[fubz]

DJ WHOOKID | 2005 | Sunnyside, NY | Hasselblad 6 x 6 | Fuji NPH 400 | for Shadyville at Nelsons Studios - Shot for the Shadyville site, after we meet and shot some other stuff. Solid human, the first time we shot - which i have to find - almost got jacked for my gear out in Jamaica hahah - #Hasselblad #colornegativefilm #c41 #fubzarchive #newyorkcity @djwhookid #shadyville @shadyvilledjs (at Sunnyside, Queens, New York) https://www.instagram.com/p/CA5r4ApDCLW/?igshid=1cdalewsp2k2d

[curiositiesbyzach]

Developing Film - C41 Processing 

Photographic processing is the chemical means by which photographic film or paper is treated after exposure to like to produce a negative or positive image. This process  transforms the latent image into a visible image, making it permanent and rendering it insensitive to light.

I decided to use film for my studio shoot because I like the colours they produce, especially Kodak’s Porta range. As I was shooting in a studio setting and I knew that the amount of light would not be an issue, I decided to go with the lowest ASA film, Porta 160, which has the finest grain and therefore the best resolution. I thought that this would be a good choice as I intended the dish to only be a small percentage of the whole frame so wanted to ensure it would still be detailed when printed on A2 paper.