A review of the Lomography Redscale XR 50-200 35mm film and its plus and quirks with examples.
I really enjoy Lomography’s Redscale XR 50-200. It reminds me of the yellowed pictures I see in the old family albums from the 1970’s and that is instant nostalgia for me.
I have tried a few packages of Lomography Redscale 100 and was never quite satisfied with the results as I do with the Redscale XR 50-200. I find the pictures better consistency with exposure than Redscale 100. I rarely get back a blackened picture with the Redscale XR 50-200, although I am still surprised by the results from frame to frame. Occasionally I get frames far more greenish than others. Softer reds, browns and oranges are common. The green foliage of plants tends to make a nice contrast in the frames.
I do warn you that like many Redscale films, if you get prints, check to see if they are not reversed on paper. As often as I warn the clerks at the 1 hour developers, they often panic when the automated machines sensors tell the clerks that the negatives are “backwards” in the machine. This may not occur so strongly with the Redscale XR 50-200, but since my earlier experiences with the Redscale 100, I just ask for developing only and scan my negatives at home. I can always send my scans for developing if I want a print for my desk.
My experience is with the 35mm type but I will soon try the 120 version in my Lubitel 166U. These pictures were taken with the Olympus XA and set for ISO 50.
I hope this gets you motivated to try a new film in your camera!
The Lomography Redscale XR 50-200 35mm gives you full control over your redscale images. With its extended ISO range, you can pick an effect that you want and set the ISO accordingly. Your images will exude a lovely retro feel. See our selection of Lomography films here.
Where do I begin talking about film cameras on the Lomography Magazine? Yes, you guessed right. I will begin with a LOMO, of course, a very special one: the Lubitel 166 Universal (Lubitel 166U). It’s a camera that has almost everything you might need from a camera. Plus, it’s a LOMO!
An Argentinean writer and photographer living in the Pacific Northwest, Lorraine Healy is a long-time fan of plastic cameras and is the author of "Tricks With A Plastic Wonder," a manual for achieving better results with a Holga camera, available in eBook form at Amazon.com. In this article, Healy explains how she fell hard in love with the Lomography XPro Slide 200 film and why she takes it on her many travels.
Pixelstick is exactly the must-get tool to create mind-blowing light paintings with different colours and patterns: 1.8 meter long, 200 full colour and high fidelity LEDs! Grab your camera with long exposure mode and a tripod, and you can create dozens of dreamy pictures just by moving your Pixelstick in the dark. Take a peep at our friends from Lomography Hong Kong’s shots with the Pixelstick!
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The New Petzval Lens 85 continues to captivate the hearts of many photographers from its debut a couple of years back. A perfect balance between form and function, this lens closely mimics the look of the legendary Petzval lens of the 19th century and delivers eye-catching images with its signature tack sharp center and swirly bokeh background. Many photographers from both outside and inside the Lomography community have raved about the New Petzval 85. In this recap, we look back at four community-written reviews.
Its stunning tones, smooth grain, and overall elegant monochrome look have inspired fellow lomographers to pen odes of praise—well, reviews, actually. Find out how the Lomography Lady Grey 400 (35mm) fared right here.
Browsing through the Lomography website, you can find a lot of redscale shots, which are all done on color negative films. I asked myself if it’s possible to redscale a slide or chrome film and then cross process it. (And yes, it is.) In this tipster I’m going to teach you how to create the bloodiest homemade redscale film I've ever come across.
Considered as one of the best 35mm SLR cameras, the Nikon F2 is indeed one of the best experiences on film I’ve ever had. Fully manual and almost impossible to break, this historic camera is really marvelous to use.
It's tempting to form conspiracy theories about the strange effects of Revolog. Are they a result of chemical genius or imbalance? Is every film pre-exposed before being shipped to experimental photographers? Some Lomographers seem to have cracked the code, teasing out Revolog's foggy and thunderous quirks.