As a veteran film industry photographer, my journey through the evolution of photography in cinema has been both pioneering and transformative. With over 14 collaborations with director Robert Rodriguez, starting from Desperado, my work has not only been about capturing moments but also about pushing boundaries. My role in transitioning film photography from analog to digital format is a tale of innovation, resistance, and eventual triumph.
The Early Days with Robert Rodriguez
My association with Robert Rodriguez has been a cornerstone of my career. From shooting posters for iconic films like Sin City, Machete, and the Spy Kids series, our collaborative efforts have always been about embracing innovation. When Rodriguez decided to shoot Once Upon a Time in Mexico in digital format—a pioneering move at the time—I was inspired to mirror this approach in still photography.
The Resistance to Digital
Despite my eagerness to adopt digital photography for Once Upon a Time in Mexico, I faced resistance from the Photo Departments of Miramax and Columbia Pictures. They were skeptical about the quality of digital cameras compared to traditional slide film and believed the industry wasn’t ready for such a shift. Consequently, I photographed the movie using an analog Canon A1 camera, primarily with slide film and B&W negative film.
The Limitations of Analog
Shooting Once Upon a Time in Mexico on slide film, especially the interior and night scenes, was challenging. The low light conditions required me to push the film by over one stop, resulting in a loss of detail in the shadows—a stark contrast to the detail captured by the digital movie camera used by Robert Rodriguez. This discrepancy highlighted the limitations of analog in low-light conditions and reinforced my belief in the potential of digital photography.
The Turning Point: Spy Kids 2
As Robert Rodriguez began preparations for Spy Kids 2, I found myself at a pivotal juncture, advocating for a leap into digital photography. I expressed my desire to transition to digital for shooting stills to Rodriguez, who, recognizing the potential of this shift, promptly relayed his support to the head of Miramax. His endorsement was a crucial step in championing this innovative approach.
The response was swift and encouraging. I received a call from the head of the photo department at Dimension Films, confirming their interest in me shooting digitally for the film. The excitement was palpable – I was overjoyed at the prospect of embracing this new technology. However, the call took an unexpected turn when they also requested that I continue shooting in analog. It became clear that, while they were willing to explore digital to appease Robert, there remained a deep-seated skepticism about its efficacy. They were hedging their bets, doubting the digital format's capabilities, and assuming that the analog shots would be the primary ones used.
Undeterred, I approached the set armed with both my trusty analog Canon A1 and the Canon D30, a modest 3.1 megapixel digital camera. It didn't take long for the advantages of digital photography to shine through. The digital format, even with its then-limited megapixels, excelled in capturing finer details and more accurate skin tones, especially in low-light conditions. In stark contrast, when I shot with Kodak Ektachrome 320T (EPJ) film under similar circumstances, pushing the film by 2 stops, the results often showed unrealistic skin tones and noticeable grain. The digital camera, despite its perceived limitations, outperformed in rendering a natural, detailed image. This experience on the "Spy Kids 2" set marked a significant milestone in my career and, more broadly, in the industry's transition towards digital photography.
The Eye-Opening Showcase
Supercolorlab, my lab at the time, played a pivotal role in showcasing the advantages of digital photography. They enlarged my photos to poster size and organized an event where they displayed side-by-side comparisons of the same scenes shot in both analog and digital formats. The photo department heads from major film studios were astounded by the digital images’ superior quality. This demonstration was a watershed moment, leading to a widespread industry shift towards digital photography.
A Legacy in Film Photography
Looking back, I take pride in being a major influence in the film industry’s transition to digital photography. My efforts not only aligned with the innovative spirit of directors like Robert Rodriguez but also paved the way for a new era in film production. It’s a testament to how vision, persistence, and a willingness to embrace new technologies can redefine an industry.
As I continue to share my experiences and insights through my website and blog at ricotorres.com, I hope to inspire a new generation of photographers to push the boundaries of their craft and contribute to the ever-evolving narrative of film and photography.
