EDINBURGH FILM PROJECT

This is my first film abroad, and one my first films in general. I recently started shooting film and I fell in love with the process of counting my clicks and losing good shots because of light-leaks and focus errors. Feel free to comment and please, if anyone shoots film send me a message.

I visited Edinburgh for the Future News Worldwide conference in early July, along with 99 other delegates from 50 countries. I’m using a Canon AE-1 I bought from a flea-market in Berlin and the film is Kodak Portra 160.

Out of the 36 shots of my film, only 24 survived the light-leak.

Building near Brae House, a student accommodation facility where I spent my nights in Edinburgh. It is really close to the Scottish Parliament. This was my first ever film shot abroad and it actually turned out pretty nice.

 

Building on the Royal Mile, Edinburgh's most famous street. It was my first day in Edinburgh and I was roaming the city with Andrea from Malta, Preethi from India and Magdalene from Greece.

 

The colorful arches on top of the anti-terror barriers on the Royal Mile in central Edinburgh. I love how colours try to sugarcoat the barriers' spine-chilling function. It looks like a playground for psychopaths.

 

A bunch of people wearing non-matching pieces of clothing with a Cashmere shop in the back. What I hate the most about today's pictures is the abundance of filters one can use. The latest trends bring us back to analog, where people deliberately put dust or light-leaks on top of their pictures, giving them an antique look. I love light-leaks, especially when they happen because you foolishly open the camera before the film is fully rewound.

 

The roof is on fire. The Hub, Edinburgh's Festival Centre.

 

The gentle curve of Victoria Street, one of Edinburgh's most photographed locations. At least half of it. This would probably be a nice picture if I hadn't opened the camera. Damn.

 

The Violin Girl. I was really bummed to see this was one of the shots that got ruined. At least I have an opportunity to see the glass half-full, rather than half-burnt.

 

The White Hart Inn, supposedly Edinburgh's oldest Pub. It gets his name from a miraculous event that took place in 1128, during the reign of King David I. The King set out hunting and came across a huge, white stag that threw him off his horse. The King started praying hectically, until a cross appeared between the stag's antlers. The stag immediately vanished from sight, and they all lived happily ever after, except for the poor stag who was just chilling on Hollyrood Abbey until some guy came along and started poking it with a stick.

 

People walking on Waverley bridge. On both sides of the bridge one can find signs that say: "Talk to us if things are getting to you". A discreet reminder that people climb bridges for reasons far more dark than just to enjoy the picturesque scenery.

 

The view from Waverley bridge. I love the urban element that comes with cranes.

 

Shot during the second day of sessions during #FNW18. From left to right, Andrew from Canada, Kwasi from Ghana, Urooj from Pakistan, Shang from China, Ms. Kapur, CEO of The Quint and Nimat from Ghana, asking a question using the Catch Box, a microphone that doesn't hurt when it lands on your head.

 

People watching a World Cup Game (Brazil VS Belgium) at Pear Tree pub in Edinburgh.

 

Old Fishmarket Close, just by the Royal Mile. Shot after a party at Three Sisters pub.

 

Stained Glass shot inside St Giles' Cathedral.

 

Dean Village, an area near Edinburgh's center which we visited with a group of delegates. It used to be the centre of a grain milling area for more than 800 years. Now, it's a place where people knit, sleep and repeat. No one under the age of 85 should ever visit this place, or else he will develop old-people behavior in the next 48 hours.

 

Andrea, Chouaib, Mehryne, Chiara, Sabrin, Salsabeel and Helen posing in front of a red telephone box.

 

The Dean Cemetary, a historic and fashionable burial ground full of death-related masterpieces, a living symbol of human vanity.

 

A piece of Nathan Coley in a meadow outside the National Galleries of Scotland. It is, by premise, God-defying. It is also a message of hope; stating that there will be no miracles here, one could hope there will be miracles somewhere else.

 

Our long way back from Dean Village.

 

I should stop clicking when the film is over. How many exposures can you count? I stopped at 3.

 

 

Thank you for hanging out until the end! Let me know what you think in the comments section.

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