Bad Bonn Kilbi – Concert Photography Part Two (CineStill Tungsten Film)

For the third day of the Bad Bonn Kilbi, I used the new CineStill Tungsten XPro 800 film. Originally used in motion picture/cinema filming, the Tungsten editiion of this film claims to be the ideal solution especially for indoor and concert photography – situations with a lot of artificial light. Using the C41 developing technique at ISO 800 baseline, it is highly versatile and can be pushed/pulled from 200 to even 3200.

I had mine developed using a push of +2 steps (ISO 1600), and never having used it before, I had no clue what to expect.

The results were great.

So here is the second part of the photography concert review from the Bad Bonn Kilbi 2015, featuring more unique and impressive performances.

Bad Bonn Kilbi Day Three

A little bit of light leak on the first image.

Fumaça Preta
I only caught one or two songs from this Brazilian/Dutch fuzzy rock band that fuses European psychedelic rock with Latin American exotic rhythms (debut LP on Soundway Records). The short impression they made though was enough to tell they are a vigorous rock act who can turn any night into a head trip across the globe.

Fumaça Preta

Shabazz Palaces
Originally a replacement for a cancelled act, the Seattle rap duo had to perform at early evening. Nevertheless, their performance reinforced why they are repeatedly described as the most unique hip-hop/rap act around at the moment. The rapping vocals delivered by Ishmael Butler were accompanied by multi-instrumentalist Tendai Maraire, using various forms of percussion, African instruments as well as drum machines and synths. Their set consisted of songs featured on their critically acclaimed albums, and was decorated with tiny little random choreographic moves by the duo throughout. An hours worth of progressive, intelligent lyrics, powerful electronic beats, and playful percussion.

Shabazz Palaces 01

Shabazz Palaces 03

Shabazz Palaces 04

Shabazz Palaces 05

Arthur Russell’s Instrumentals – directed by Peter Gordon
Another innovator and music genious to die way too young was Arthur Russell. Apart from being a huge influence in underground disco and dance music from the late 1970s and the 80s, he also composed and wrote music for smaller orchestras. His ‘Instrumentals’ were heralded as one of the most important orchestral works of minimalist nature, while fusing pop and jazz music with compositional work in a pioneering way. Incredibily, they were only performed live six times during his lifetime. Therefore, it was fantastic to find this project in the Kilbi’s lineup, featuring most of the original cast of Arthur Russell’s ensemble.

Peter Gordon / sax, organ
Peter Zummo / trombone
Ernie Brooks / bass
Rhys Chatham / flute
Gavin Russom / synths
Max Gordon / piano, trumpet
Gerry O’Beirne / guitar
Bill Ruyle / drums & vibraphone

It was a unique experience to see those music history’s giants pay homage to one of the greatest musician of modern music.

Rhys Chatham

Peter Zummo

Peter Gordon

Gerry O’Beirne

Arthur Russell's Instrumentals

Viet Cong
Last years most impressive debut album was delivered by the Canadian post-punk/noise-rock band with the intriguing name Viet Cong. The stage was covered in an atmospheric haze of cigarette smoke and sweat, creating a fog of war which seemed like thriving conditions for their visceral performance.
Bleak droney soundscapes bled into powerful psychotropic songs, which sometimes dissipated into walls of noise. The intensity grew steadily and reached its zenith in the 10-minute plus giant “Death”, where the pace of Mike Wallace took superhuman tendencies. The short but yet perfect set ended abruptly in a sea of feedback. Together with Saturday’s Sleaford Mods, Viet Cong were the most remarkable band of the three days.

Viet Cong 03

Viet Cong 02

Viet Cong 01

The value and quality of the CineStill film was quite astounding. The tungsten character of the film reproduced lights and haze in fascinating colours. Underexposed skin tones received a bit too much red. The grain seemed very fine but yet prominent (pushed +2 stops, remember), and the contrast was striking. The best results seem to be the close-ups (headshots) and half-body portraits, where as the full stage shots seemed to result in a bit of overcontrasting with heavier shadows. In any case, I will certainly be using it again in future concert photography, and can only recommend it highly for whoever dares to shoot concert photography on film.

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