{"id":151044,"date":"2021-07-26T17:25:53","date_gmt":"2021-07-26T16:25:53","guid":{"rendered":"https:\/\/other.kelsey.host\/amateurphotographer\/?p=151044"},"modified":"2021-07-26T17:27:40","modified_gmt":"2021-07-26T16:27:40","slug":"stills-with-stories","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/film\/stills-with-stories\/","title":{"rendered":"Get the cinematic look in your photography"},"content":{"rendered":"

Cinematographer Lazar Bogdanovic creates still images with powerful movie atmosphere through harnessing the visual manipulation of cinema. Damien Demolder finds out more about the process.<\/h2>\n
\n

Most of the photographers I\u2019ve spoken to for this series have said that one of their principal aims is to convey some sense of emotion in their pictures. Their use of film is a key ingredient, but so too are colour, and the expression and body language of the person being photographed. In still photography we have to work quite hard to push our meaning, or the brave choose to leave the meaning open to the imagination of the viewer.<\/p>\n

However hard we promote our ideas in our pictures we are, to some extent, reliant on the viewer picking up the signals, markers and hints that we lay out for them. If they miss those hints they may come to a conclusion wholly different to that which we hoped. Sometimes that matters, and other times it doesn\u2019t.<\/p>\n

In the cinema the same principles are applied to make the audience feel the way the director wants them to or to help them understand how the subject is feeling. The moving image however has the additional benefits of sound, music, subject movement and the movement of the camera to influence how the message is delivered.<\/p>\n

In fact, with all these tools to hand, when they are used well, the captive audience can hardly fail to get the message, whether it\u2019s a building sense of terror accompanied by pulsing baseline strings or a woodwind moment of airy romance bathed in a golden light.<\/p>\n

Somewhere between stills and the movies sits the photography of Lazar Bogdanovic\u0301, a cinematographer from Belgrade who has a passion for 35mm film and his Leica M6. Shooting his own stills on the sets of his movies, he employs all the manipulative techniques of the film director to encourage us to suspend belief and fall into the frame with his fictional characters.<\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

Lazar takes care to find interesting locations with a strong narrative feel<\/p>\n\t\t<\/div>\n\t\t\n

\u2018There\u2019s a big difference in the processes of shooting still images and of shooting for the cinema, but the basic ideas are the same. For both, you must plan how you will frame the shot, how you will create atmosphere and question whether the atmosphere you have created is appropriate to the story.<\/p>\n

With movies though you can express emotions through the camera movements \u2013 but with stills you have only one frame. That\u2019s a big difference. In cinema there\u2019s a lot more to think about what with the movement of the camera and lighting that needs to work all over the set, but with stills you have to think harder to express the same emotion in a single frame.<\/p>\n

In cinema there are three types of movement \u2013 the camera, the subject or actor as well as the way the shots flow together in the edit. In stills photography there is usually no movement at all.\u2019<\/p>\n

As a stills photographer I find shooting video difficult. I can imagine a picture in my head, think about how I\u2019ll make that picture look the way I want it to, I can frame it up and I can shoot it. But that\u2019s just one frame. What do I do next? I need 23 more frames like that to make just a single second of movie.<\/p>\n

You have to think ahead for video \u2013 beyond that first moment, to the second, third and fourth moments, to how the clip will develop once you hit record. There is so much to think about.<\/p>\n

\u2018One of the main differences in the process is that stills photographers are basically a one-man show and cinematographers work as a part of a team,\u2019 Lazar says. \u2018Gregory Crewdson is an exception, as he works like a director \u2013 with a director of photography and lighting technicians \u2013 so there is no absolute convention. Crewdson\u2019s pictures look like movie stills as he shoots them that way and wants us to think that they are.<\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

Mis-matching film types and lighting types can emphasise colours for effect<\/p>\n\t\t<\/div>\n\t\t\n

You can see this in the atmosphere he creates and the subject matter, but also in the approach to making the pictures. Some 99% of my pictures are taken on the set of my movies, so the art design, lighting and the actors are all prepared for a movie. I get my camera out and take my pictures on the set.<\/p>\n

I find it very inspiring, and it\u2019s interesting to compare my pictures with the way the film turned out. That\u2019s when you can see the difference between the still pictures and the moving pictures. Because my approach is different, my pictures usually look very different to the movie. They are two different arts.\u2019<\/p>\n

A lot of photographers \u2013 and videographers for that matter \u2013 talk about \u2018cinematic\u2019 imagery, but it isn\u2019t always very clear exactly what that means. \u2018I try to emulate some cinematic ideas before I press the shutter,\u2019 Lazar explains.<\/p>\n

\u2018The picture must resemble a movie image, so you feel you are in a movie. I\u2019m inspired by cinematic moments in real life \u2013 a rainy day, the magic hour, low sun \u2013 moments that are filled with atmosphere. My style is \u201cdocumentary cinematic\u201d, which is different from a straight picture \u2013 it can be the costume of the subject, the location, the lighting, but everything is stylised so it looks like a scene from the cinema.<\/p>\n

The colours and atmosphere are really important, but it is also about recording a directed image that has intent. You must be saying something \u2013 the picture needs to have a message. You have to ask yourself \u2018what do I want to say with these colours, with the way the actor\u2019s eyes are looking, with this light in the background, with those people in the shot \u2013 what is the emotion I want to convey? And when I feel the answer in my heart I take the shot.\u2019<\/p>\n\t\t

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Costume plays an important role here to give us a clue to the story<\/p>\n\t\t<\/div>\n\t\t\n

Film = cinema
\n<\/strong>\u2018Using film is a big part of my photography. Film is the only medium that tells the audience immediately \u201cthis looks a bit like cinema\u201d \u2013 it conveys a sense of theatre and movie magic. It\u2019s in our nature to associate film with cinema. I tried to experiment with film and digital side-by-side, but with digital photography I felt I lost the emotion that film brings. It\u2019s hard to describe what is missing \u2013 it\u2019s really hard to describe it. There\u2019s a magic that happens when I use film that doesn\u2019t happen otherwise.<\/p>\n

\u2018I mentioned to the colourist who colour-grades my work that I couldn\u2019t describe the magic that happens when I use film. He suggested we look at the technical aspects of film, and showed me a histogram from a film scan that we compared to a digital histogram. The film scan had much more sophisticated rendering of highlight and shadow areas \u2013 the trace was smooth, rounded and balanced.<\/p>\n

With a digital image you get to see everything, every detail, but it looks like chaos \u2013 our mind just can\u2019t render that much information. Digital images are made from 1s and 0s, but it is the process of how film images are recorded on the stock that makes it look different.<\/p>\n

Of course, the photographer\u2019s approach is far more important than the medium he is using, and I know other photographers who create cinematic images using digital cameras. The medium is just a tool, and it has to suit the purpose.<\/p>\n\n\t\t

\n\t\t\t\"\"\t\t\t

The double exposure effect suggests we can see what the girl is thinking<\/p>\n\t\t<\/div>\n\t\t\n\n

\u2018Average people can\u2019t see what film stock you\u2019ve used, or whether you have used film or digital cameras, but they can feel it. And that\u2019s the catch. Normal people will know that they feel something. Digital cameras can show people what they would have seen, but film shows them what they would have felt.<\/p>\n

There\u2019s no doubt that you can shoot beautiful pictures with a digital sensor, but I think film gets you closer to the audience\u2019s feelings and their heart. Human beings are analogue and we need to connect to analogue things for the sake of our body and soul.<\/p>\n

\u2018We are familiar with old movies shot on film and we relate to that look \u2013 when we see it we know we are watching a movie. It\u2019s the same in a way with vinyl records \u2013 the sound might not be as perfect as a digital music player, but we still like it and we make a connection with it. People find it easier to make a connection with these things.<\/p>\n

That\u2019s why there are labs opening up all over the world processing film. There are more movies being shot on 16mm and 35mm film now, and lots of music videos are recorded on film. When you see people shooting commercials with film stock you know the comeback is really serious! I\u2019ve seen Lamborghini and Apple commercials shot on film.<\/p>\n

\u2018Serbia isn\u2019t part of the EU which makes film very expensive, so when I have meetings with producers they say \u201cCome on man, no way\u201d when I say I want to shoot on film. I ask them how much it costs to hire an Arri Alexa digital movie camera with some good lenses. Then we talk about how much film stock we can buy with that money. With that film stock we can make the same movie. There will be much less editing to do as we will shoot less, which is a good thing.<\/p>\n

With film you have to think not twice but three or four times about each shot. Your mind is then forced to think more carefully about that shot and the chemistry begins to form the whole look of the movie. This is a great thing, because when you have expensive film stock you start to respect the value of production. You have to know what to shoot and what not to shoot, what shots you need and what shots you don\u2019t need.\u2019<\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

Strong contrasting colours here make the subjects stand out<\/p>\n\t\t<\/div>\n\t\t\n\n

His pictures<\/strong>
\nLazar\u2019s latest project really caught my eye. The shots are in a blue factory of a girl dressed in red. They\u2019re astonishingly good and filled with atmosphere. \u2018These were shot on the set of a short movie I am making that will come out at the end of the year. It is a passion project. The movie will be a music video with an element of retro\/futuristic science-fiction.<\/p>\n

It will be about ten minutes long, but has taken six months to shoot as we have to wait for good light and good weather. The set is an old factory in Belgrade that was abandoned after the war. It\u2019s huge inside and very clean \u2013 and it makes a crazy location. It has conference rooms and its own theatre \u2013 all in the brutalist Soviet style, which dictated the look of my photography. It\u2019s one of the best projects I\u2019ve done.<\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

Lazar\u2019s team waited two days for the morning sun to fall in the right place<\/p>\n\t\t<\/div>\n\t\t\n

\u2018We wanted to create a kind of spooky scene that represents the underworld and we lit it with cool colours \u2013 to create a sense of darkness but without it being dark. We dressed the actress in a red dress to make her stand out from the cold blue background. The red also marks her out as the hero. The colours tell us a story \u2013 she is in an unpleasant place but she\u2019s on the side of good.<\/p>\n

\u2018The lighting for the background is all natural, which is the way I like to work. These pictures were taken early in the morning in the autumn when the light is cold and diffused. We shot only in the morning and the evening, and we waited for two days for the position of the sun to create the rays through the ceiling windows. We used a mist machine inside the building to catch the rays, and the effect was completely mind-blowing. The sun was in the right position for about 20 minutes, so we had to be ready and work really quickly.\u2019<\/p>\n\"\"\n

Lazar has similar themes in a lot of his work \u2013 depicting strong characters shot in a way to emphasise their strength. \u2018The questions I ask myself are \u201cHow can I describe the feeling of that person with light and atmosphere? How can I show the audience what that person is feeling?\u201d I do this with costumes, expressions, locations, atmosphere and body language.<\/p>\n

As a photographer you must have some philosophy about what you want to say, but it is more important to think about what you are searching for and what you want to find. Whenever I shoot I always find something new.\u2019<\/p>\n

I\u2019d never have thought to light someone outside in the daytime with a red light, but for one of Lazar\u2019s pictures that\u2019s exactly what he did. \u2018I was always inspired by film noir when I was younger. Cinematographers in those days lit people outside with multiple lights as though they were in the studio, and in the studio they lit them naturally with bounced light.<\/p>\n

Technically it\u2019s hard to balance the exposure for the face with the background on a bright day, especially with a red light. So I made a tunnel of black cloth to shade the actress so the lights would show. I shot this on the Hasselblad with a slide film that has about 4EV of DR \u2013 just to make my life more difficult! But getting the exposure right means that the colour saturation is really strong. \u2018Why is her face red? Because it makes the viewer think and instantly creates the thread of a story,\u2019 Lazar explains.<\/p>\n\t\t

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A dynamic contrast of warm and cool colours build the beginning of a story<\/p>\n\t\t<\/div>\n\t\t\n\n

Delving into kit<\/strong>
\n\u2018For stills I use a Leica M6 with a 35mm lens and a Hasselblad 500CM with the black 80mm lens. The 500CM is small for medium format, has good mechanics and a lovely viewfinder. I mostly use the M6 though. I\u2019m a big fan of CineStill film. They\u2019ve done a great job. Some people complain CineStill film has an anomaly with glowing reds, but I like that. It makes the film charming.<\/p>\n

There are some guys in Germany who run a film company called Silbersalz35 too. They are spooling real Kodak Vision3 into 35mm film cassettes, and they develop it for you as well \u2013 the ECN-2 process is very different to regular C-41.<\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

Lazar\u2019s kit, including his Leica M6 and the Hasselblad 500C\/M<\/p>\n\t\t<\/div>\n\t\t\n

\u2018I like to use LED panels to light my subjects, but I like to use tungsten light as well because a lot of film stock is designed to be used with tungsten lamps. The combination gives fantastic skin tones.<\/p>\n

Sometimes I shoot with daylight film and light it with tungsten lights \u2013 it gives a great result. It feels completely different from the look you get with a digital sensor when you shoot with the \u201cwrong\u201d WB. On film it feels much more balanced.<\/p>\n

\u2018Six or seven years ago I had four digital cameras, 5TB of files and zero good pictures. I couldn\u2019t work out what was going wrong. I was shooting too much and shooting everything, so I decided I needed to change something. I sold my cameras and bought a Leica rangefinder.<\/p>\n

When I was at university I shot a lot of film and considered myself a film photographer, but then digital came along and it was cheaper and I didn\u2019t have the money for film.<\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

Lighting his subject with a red light outside has created a really powerful image<\/p>\n\t\t<\/div>\n\t\t\n

\u2018When I switched back to film I had to think more about what I wanted to shoot, and it gave me more direction. I like film because you can\u2019t see the result immediately. The wait is magic, as I spend time thinking about the shots I\u2019ve taken and wondering if I should have done something different. It\u2019s important to have that time, and to imagine the pictures. With digital photography everything happens very quickly and we don\u2019t always have time to consider. We need to take time for our art.\u2019<\/p>\n

Tips for new film photographers: \u2018Take your camera and go and shoot, experiment, try everything and break the rules. There are no rules in film photography, there are no bad cameras or bad lenses \u2013 only art. Think about your art and go and shoot. Be brave.\u2019<\/p>\n

\n

Further reading<\/strong><\/p>\n

An introduction to medium format film photography <\/a><\/p>\n

What are LUTs and how do you use them?<\/a><\/p>\n

What are the benefits of film photography? <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

How to create movie atmosphere in film photography through cinematic visual manipulation<\/p>\n","protected":false},"author":17,"featured_media":151051,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1617,374,337],"tags":[1692],"product-category":[],"class_list":["post-151044","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","category-interviews","category-latest","tag-get-the-cinematic-look"],"yoast_head":"\nGet the cinematic look in your photography - Amateur Photographer<\/title>\n<meta name=\"description\" content=\"Damien Demolder finds out how one photographer gets the cinematic look in his highly creative images - mainly film but also digital\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link 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