header Methodology | New School Photographics

New School Photographics

independent film production

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I'm Christopher Brownfield, the owner and filmmaker.

New School Photographics is a small production company that specializes in high-resolution cinematography using available light.

My goal is to capture breathtaking cinematic footage in amazing locations around the world without leaving a big footprint.

I was trained aboard nuclear submarines using a periscope and sonar, picked up my first professional camera during the Iraq War, then later received mentorship as a street photographer before winning the prestigious Podesta Award.

My obsession with high resolution imaging started ten years ago, when I designed and built a prototype large-format camera that could stitch together images over 1,000 megapixels using Hasselblad digital backs.

Today, I combine traditional photography skills with state-of-the-art equipment to capture raw footage up to 12k resolution in the 35mm format. Each frame has roughly 50 times the number of pixels of "HD" video.

The results are not only visually stunning, they allow for incredible flexibility in post-production.

After filming, I can edit video, record voiceovers and music, mix audio, and perform color-grading to deliver your final content in any format from Tik Tok to Netflix-approved masters.

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A bit of history…

This close-up detail of a Venetian mask shows the amazing resolution I was already obtaining in 2015 with the large format digital camera I designed and built.
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This drawing was from my patent application for the "NPS-1" prototype large format camera. It used a novel inverted partial-frame bellows and nested sliding frames to allow a medium format digital sensor to capture the entire planar image circle of a rectilinear lens projection without any of the perspective distortions typically associated with stitching. The result was likely the largest undistorted digitally stitched image in the world at the time—well over 1,000 megapixels in 2015.

The patent application was rejected because translating a sensor was already accomplished elsewhere and the new bellows and nested frame approach approach was not considered different enough to warrant a patent, even though my results were likely beyond anything that had been accomplished at the time for still photography.

In any case, the camera was large, heavy, very hard to use, and it only worked well on still subjects. But occasionally, the images would be spectacular… and I learned very much along the way.