In this video I’m basically a jetlagged kid walking around Santa Monica with one roll of black-and-white film and a Leica MP. I call it “24 Frankenstein frames,” because I shot the entire morning on a single 24‑exposure roll of Frankenstein 200 from the Film Photography Project’s Monster series. It’s quiet, reflective, and intentionally not a gear-heavy breakdown—more about what it feels like to slow down, watch the light, and commit to what’s in front of you. I started around the hotel where the palm tree shadows were doing something really special (rare moment where the first frames ended up being my favorites), then wandered through bright, mostly empty streets—“Santa Monica before it remembers it.” Down by the water and the pier, the birds and the stillness made everything feel oddly cinematic, like a living postcard. The big surprise: for a film called Frankenstein, this stock was perfectly well behaved. It handled the bright sun beautifully, with crisp highlights, deep shadows, and a sturdy tonal range that feels almost motion-picture in the best way—then of course I hit the classic film reality: you get what you get, and the light moves on without you.