The Future of Film: An Interview with CineStill

I’ve seen the future of film... and it is bright. In the next few weeks I will be interviewing companies that are pushing the film photography industry forward. As the large film companies cut film stocks from production, these people are pushing forward. Developing new films, cameras, products, and services. This week, I start with CineStill

These young start-up companies are developing new films, cameras, products, and services as large film manufacturers cut film stocks from production. The indie spirit to push forward is much needed in an industry that has been somewhat stagnant for the past decade. 

For the past few years, CineStill has been reverse engineering motion picture film to be usable with 35mm still cameras and C-41 processing. Cinema is the bleeding edge of film stock technology and they are bringing these products over to the still photography world. The CineStill 800T can be exposed across a huge range of exposure. It can be shot between ISO 200 and ISO 1250 without sacrificing highlight or shadow detail while maintaining refined film grain and consistent color rendition. All without the need to push while processing. It is also balanced for tungsten white balance, giving it a unique advantage for the typical low light indoor light setting.  

Question and answer time with Brian M. Wright of CineStill:

Q. What type of photographer is buying your motion picture film? 

Pretty much all types of photographers are using CineStill 800T, from analog enthusiasts and artists processing their own film in Tetenal kits, to professionals shooting paid work and using pro labs. This film us huge for weddings but also is really unique in that it may be used in the studio with hot lights or on location for varied cinematic looks. All in all it is very flexible film stock that people are using in a variety creative ways.


Cinestill Film Pretty Palette

by Chris Weeks

Prior to and kinda concurrant to getting my hands on the Fuji X-T1 The Brothers Wright gave me a few rolls of Cinestill Film during dinner with Ryan Muirhead this past December-ish.  It could have been January, though.  I don’t remember 

I have to digress a bit.  I know I’ve been caught in a “Cartier-Bresson Vortex.”  When I shoot for clients I’m shooting color.  Digital color.  Shooting black and white images is how I started when I was 10.  I’ve loved seeing black and white for a long time.  It always felt to me that it was a perfect foil to making color photos for clients.

It really wasn’t until I shot the M9 that I learned to really enjoy seeing some color street shots.  Prior to that 99.9% of my street work was shot on black and white film.  I didn’t see what was in my viewfinder in color; I saw it in monochrome.  Seeing the .dng files come out of the M9 I saw the files that I originally shot in my mind as black and white.  There were other frames that even though I may have seen them as monochromes they appeared to work in color.  It got me thinking about color street shots and actually making more and more of them. 


Source ( via  (Chris Weeks facebook)