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He had devised a solution that could keep her blue eyes from turning white on camera, a problem caused by the blue-sensitive orthochromatic film used at the time.

The aesthetic leaned on an orthochromatic signature, one that’s sensitive to blue light and familiar to the time period.

“When you’re looking at 19th century photography, skies tend to be bright while skin tones are very dark, because blue is overly sensitive in orthochromatic stock. We wanted that same texture on this film,” says Blaschke.

Since motion picture orthochromatic film is no longer available, the cinematographer combined black-and-white Eastman Double-X 5222 panchromatic negative and a custom short pass filter designed by Schneider Optics to detail the visual style.

“They have a shimmer and glow that adds another layer to the image, giving balance to the hard orthochromatic look.”