Whatever it is inside that packet, though, it certainly produces some impressive results.
And with its overall muted palette, yet nicely saturated reds, the theory that Fuji Industrial might be Superia in disguise seems entirely plausible. But it definitely wouldn’t be a bad thing although Superia was theoretically a consumer-level film, it certainly wasn’t short of fans among professionals either. Whether this is actually the case isn’t something we’re in a position to comment on. Indeed it is widely rumoured to be a rebranded version of the excellent, but now officially discontinued, Fuji Superia 100. But in actual fact, for those who’ve been using Fuji’s films for some time, Fuji Industrial might not be such an exotic emulsion after all. With its mysterious minimal packaging, and unusual name, Fujifilm Industrial 100 is certainly an intriguing product. Thomas Pearson hints at a possible creative use for the film, recommending that “if you're lucky enough to own or work around some nice old tungsten lights, this is definitely a film that you should consider.” Peter J also rates Cinestill 800T for studio sessions, saying that: “This film produces wonderful motion picture like images in bright artificial light.” And Antony Mo joins the chorus of users recommending 800T for the studio, adding that in particular “Cinestill 800 is a great film for getting cinematic shots.” I always shoot this film against bright lights and I love it.” User Nico sums it up, saying that “the halos it creates around the lights is just captivating and the colours superb, regardless of the colour cast.” Horatiu Eduard agrees, noting that “the halos give a dreamy look to the final image and sometimes, a more realistic look. In practice this means that 800T creates an interesting halo effect when photographing bright light sources thus adding to the film’s creative potential.Īlthough the red haloing means that this film won’t be suitable for all shoots, the effect can really add a special something to the right project.
Unlike traditional motion picture films, Cinestill’s offerings lack a remjet layer. As user E Wilson notes, “Red tones in particular look incredible.” Meanwhile, when photographing reds, 800T almost gives off the deep, saturated look of mid-‘70s William Eggleston. However, the film will produce a strong blue cast when used in daylight without a filter. If used with tungsten studio lights, colours are on the whole fairly neutral, yet always with a slight retro twist.
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But with its quirky reaction to light, and distinctly cinematic look (it’s effectively movie stock cut into shorter lengths), this is also a great film for more experimental and atmospheric studio shoots.ĭesigned to produce natural-looking skin tones under tungsten lighting, 800T is a great film to get creative with when you’re looking for a truly cinematic vibe.
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Especially if you plan to shoot at a relatively small aperture in order to achieve a deep depth of field.įor those planning a shoot with a lot of movement, or looking to achieve a very deep depth of field while shooting handheld, Cinestill’s 800 ISO film is definitely one of the more logical choices. For those in less temperate climes, however, or who will be shooting in a studio with small north-facing windows, an ISO of 400 or faster may be necessary.
For example, 100 ISO might be absolutely fine if you’re in a part of the world that gets plenty of bright sunshine and you will be working in a well-lit daylight studio. But for those working exclusively with natural light, a 400 ISO film may be the safer option helping to avoid unwanted blur or camera shake.Įven here though, it all depends on the kind of light you can expect to find in the studio. If you’re aiming for a sharp, detailed, and fine-grained look, and will be shooting using high-powered studio flash, then there’s nothing to be gained by using a film that’s much faster than 100 ISO. Again, this comes down to choosing an appropriate ISO. Sabrina Carpenter - On My Way (feat.Another factor that may influence your choice of film for studio photography is the type of lighting you’ll be working with.
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