Let’s take a step back from that self-congratulatory, sycophantic ceremony, and look at the cinematic imagery of Heinrich Kühn, regarded as one of the forefathers of fine art photography.
The astonishing cinematic autochrome photography of Heinrich Kühn – Flashbak
As cameras slowly changed during the 1890s, becoming lighter, more manoeuvrable, there grew a desire among photographs to create more artistic images. pictures that rivalled painting for their impressionistic beauty. One pioneer of this trend was Heinrich Kühn, a German-born amateur photographer. […]
From 1890 onwards, Kühn started working on creating his “total art” photographs. His pictures were described as “painterly” and “impressionistic” but to our modern eye look more like movie stills from some great, unreleased film.
And talking of cinematic, here’s a fresh look at what would have been 1896’s nominee for best picture.
Neural networks upscale film from 1896 to 4K, make it look like it was shot on a modern smartphone – Gizmodo
L’Arrivée d’un train en gare de La Ciotat doesn’t have the same effect on modern audiences, but Denis Shiryaev wondered if it could be made more compelling by using neural network powered algorithms (including Topaz Labs’ Gigapixel AI and DAIN) to not only upscale the footage to 4K, but also increase the frame rate to 60 frames per second. You might yell at your parents for using the motion smoothing setting on their fancy new TV, but here the increased frame rate has a dramatic effect on drawing you into the action.
[4k, 60 fps] Arrival of a Train at La Ciotat (The Lumière Brothers, 1896) – YouTube
What would Louis Lumière have made of that, I wonder. As a reminder, here’s his original. The place looks a little different now. I wonder if they do requests to update other old film.
In a manner reminiscent of Loving Vincent, Em Cooper has created a wonderful short animation for a Berghaus ad campaign.
Em Cooper is a live-action filmmaker working with oil paint
“I was actually on a walk in Cornwall when the detail of how I would make it came into my mind. I wanted every transformation to feel natural and effortless — the transitions working like silent slippages of paint with the brushstrokes loosening just a touch and then reforming quietly into the next moment. It is painstaking and labour-intensive work: I hand paint every single frame individually, but the results are magical, and I think viewers can sense the time and effort that has gone into it.”
Time to get out
An incredible film — 2,000 cast members, 3 orchestras, 1 camera, 1 continuous shot.
Directed by Alexander Sokurov in 2002, Russian Ark was filmed entirely in the Winter Palace of the Russian State Hermitage Museum using a single 96-minute steadicam shot. It’s a dreamlike reflection of 300 years of Russian history. It could be said the main character in the film is the palace itself, home to the Russian monarchs and to so much history. This could be the ark of the Russian soul, keeping it safe from harm.
The Russian Ark Trailer (2002)
A 19th century French aristocrat, notorious for his scathing memoirs about life in Russia, travels through the Russian State Hermitage Museum and encounters historical figures from the last 200+ years. Entirely filmed in the Winter Palace of the Russian State Hermitage Museum using a single 96-minute Steadicam sequence shot. The film was entered into the 2002 Cannes Film Festival.
In One Breath – Alexander Sokurov’s Russian Ark (Making of)
Behind the scenes documentary on the filming of Russian Ark.
Russian Ark (2002) trivia
The film’s final, hypnotic dance sequence was a recreation of a 1913 gathering which marked the final ball ever held in Csarist Russia. It should be noted that the sequence was filmed in the exact same ballroom that was used in 1913, and that the room had not been used for dancing since that pre-revolutionary time.