Early in principal photography on “The Lighthouse,” writer-director Robert Eggers asked cinematographer Jarin Blaschke, who was shooting on black-and-white film stock, if he thought they could capt…
,” writer-director Robert Eggers asked cinematographer Jarin Blaschke, who was shooting on black-and-white film stock, if he thought they could capture the look they were going for digitally. Blaschke answered no: Digital wouldn’t let them achieve the texture they had in mind — “what we photography nerds would call ‘micro-contrast.’ [The look] was never going to be a romantic black and white. It was more of a dusty, crusty, rusty, musty black and white.
Blaschke says he prefers to model his lighting in a real-life way, which was tricky on “The Lighthouse.” He and gaffer Ken Leblanc worked with Kodak Double-X stock — Blaschke calls it the only practical black-and-white film left after Plus-X was discontinued in 2011 — which is much less sensitive to light than even color film stock.
During filming — shooting for 17 days on the cape and another 17 days among three stages for interiors — Blaschke joked with Eggers that their next film should be about an Edwardian picnic in a park on a sunny day.
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