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As a cinematographer, I turn to still photography primarily as a way to connect and cherish the places and people life takes me. When I was young, I heard a quote by Allen Ginsberg regarding his own photography: "I wanted to take pictures of my friends while we were young and beautiful." All of my work stems from this idea of photography as a participatory, experiential act of intimate noticing. When I notice a moment, I capture it. In that way, I'm partly a photographic artist and partly a documentarian. I find myself unable to take pictures of strangers and turn instead inward on my life and document places, people, light and emotions that seem most personal to me. The work I submitted to Film Ferrania shot on P30 is two examples of this. My wife is also a visual artist, painter, designer and tailor and I captured a moment of her in her own studio with a canvas in-progress. The other photograph is an image from a television show I lensed called Trixie Motel. We spent six months at a single location and I became intimately acquainted with the view of the desert mountain and the palm trees. I took hundreds of photographs and this one happened to be a particularly pleasing part of the photo-study.
DANIEL ON FERRANIA P30
I relied on Film Ferrania P30 because of it's high silver content, deep shadows and beautiful rendering of light and gradients. We live in a world where smart-phone digital photography is ubiquitous and somehow feels less-real or hyper-real whereas the emotion I get from P30 is somehow more "real" or more grounded. Thanks to the beautiful rendering, when I see an image created with P30, I somehow feel the color and vibrance of the space in spite of it being monochrome. It puts me more "there."