The Re-Try and the Re-Discovery

Last week, I tried mixing old film with Kodak Instamatic film and it turned into a complete and utter failure.  I got one solitary, ordinary picture for my efforts.  Cue the sad trombone.

This week, I went back to my subject location – the marquee of the Jericho Drive-In Theater in Glenmont – and tried again.  This time, I used fresh Kodak Verichrome Pan 616 film (yeah, “Fresh” as in not only did it have an expiry date of 1968, the package had a sticker that said I could take the film back to my local S.S. Kresge’s to have it developed).

And as for the 35mm film I added to the mix?  I put in a batch of Lomography Cine 400 film, which is a limited-edition batch of tungsten film produced by Lomography for all those hipsters out there.  No, Chuck has not adopted the neckbeard // skinny jeans // flannel shirt // PBR wearing // fake hornrimmed glasses wearing // Williamsburg Brooklyn lifestyle.

In other words, this isn’t a batch of high-maintenance Instamatic / 40-year-old surveillance film.  Let’s at least work with the stuff that WORKS… before messing with the stuff that might work.

Sunday morning.  Photographed the subject.

Monday morning.  Dropped off the film at McGreevy Pro Lab.

Tuesday afternoon… film is ready.

Which is certainly better than I achieved last week.

This was probably the best shot of the splitfilm images.

Jericho Drive-In Marquee in splitfilm
Jericho Drive-In Marquee in Splitfilm. AGFA Chief camera, Kodak Verichrome Pan 616 film AND Lomography Cine 400 film. Photo by Chuck Miller.

You know… that’s not bad, except that both frames are a bit overexposed; it’s almost as if the 35mm layer and the 70mm layer underneath it have a similar exposure and there isn’t as much of a differential between them.

Aw, lemons. Well, maybe if I’m lucky, I can find a way to make some lemonade out of this.

I went through the 35mm frames, and found this nice one with sprocket holes in it. This is one of the layers with the marquee sign clearly visible and not split between two frames.

Jericho Drive-In Marquee with sprocket holes
Jericho Drive-In Marquee with sprocket holes. AGFA Chief camera, Lomography Cine 400 film. Photo by Chuck Miller.

Not bad… a little scuffed and scraped, but you get the gist of what’s here.

Okay. Neither of these are truly “competition” worthy, but I’m only saying this because I’m becoming more critical of my work after the less-than-stellar results from Competition Season 2014.

Hmm… there’s a puddle on the ground, right in front of the Jericho marquee. I could take a nice “reflective” shot, but I didn’t have any exposures left in my AGFA Chief camera. The only other camera I had in the car was my Kodak Medalist II, and it had some re-rolled Lomography redscale film in it for another project.

Redscale film is created when the film is put into the camera backwards, so that the back layer is exposed first. Doing this will get plenty of reds and oranges and yellows, while muting any greens and browns and blues. I’ve played with redscale film before, I’ve gotten some images, but never anything that I’ve felt deserved some competition exposure.

So I squeezed off a couple of shots… and dropped the redscale film off with the splitfilm compound at McGreevy Pro Lab.

Okay, let’s see how this shot turned out –

Jericho Drive-In Marquee with Redscale film
Jericho Drive-in Marquee in Redscale. Kodak Medalist II camera, Lomography Redscale 120 film. Photo by Chuck Miller.

Whoa. Let me take another look at this photo.

Yeah. Whoa is right.

I was hoping for another really good shot with the splitfilm discipline…

But man oh man oh freaky freaky man… This shot turned out HELLA Awesome!!  Shortpile for Competition Season 2015!

Well, I can shoot with my splitfilm discipline any time I want to…

But hokey smokes, this Jericho reflective redscale picture turned out better than I imagined!  Good on my Medalist for coming through!

And I’ll take that dose of rejuvenation any day of the week.