From my perspective, the Omen is not an old movie (it was released in 1976) and a Nikon F2 is not an old camera. Oh, wait, am I old?
I like watching out for different cameras in old movies. Is it geeky?I saw The Omen recently, I think it was a Nikon F2 that the photographer had. Well, it was one of his cameras.
This movie is what really pushed me over the edge into film photography.Looks like an Exacta VX in "Rear Window" (1954) by Alfred Hitchcock.
IIRC the Nikon F also was prominently used, with a film which would yield massive enlargements from hand-held rather casual shots... Please, bring that film back!!Hasselblad; "Blow Up" (1966) Michelangelo Antonioni
Looks like an Exacta VX in "Rear Window" (1954) by Alfred Hitchcock.
Ya know, I've watched that film seemingly endless times and I never really paid that much attention to the details of that scene until now. I notice in your still that he's supporting the lens with his (I assume his good)knee and it sure looks like the "reflection" is actually behind the front element of the lens.
I'll pay more attention next time.
Yes, I wonder how they made it...
His face is in focus, knee and front of the lens are already out, but that reflection of a far away object is quite sharp.
Interesting behind the scene information. With a photographer as main character, reality-like (or convincing, what might not be the same...) photographic handling is to be expected from the actor.
I often see very bad represantations of photographers by figurants. Having been a figurant at one movie myself I know that when being treated as shit one easily neglects being convincing, but only does as ordered which likely results in weirdness.
The auto racing masterpiece, Lemans, starring Steve McQueen was filmed in 1970 and released in 1971. Much of the film's footage was actually taken during the 1970 race. I believe it is fair to say that "the camera" in all its forms is one of the biggest extras, if not the biggest, in the entire film. In just about every scene in which the public is evident, multiple cameras are on display and in use. Even not-so-public scenes, such as when drivers are walking to their rest locations and being followed by press photographers, are filled with camera wielding "pros." As the film progressed, it became increasingly obvious to me that the film's director and editorial staff were selecting key shots just because of the cameras in use or on display. One might argue that they were merely adding to the "realism" of one of the greatest spectacles in motor racing, but I think there was more to it than just that. Those folks were having fun "taking pictures of people taking pictures." Really.
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