Here's a redscale film that gives a retro feel: the Lomography Redscale XR 50-200. Using a Canonet 28, I set the ISO to 50 and got the results that I was hoping for.
First, I must say that I don’t like redscale films that are just red, like a lot. So, I bought the Lomography Redscale XR 50-200 and tried it out. For my desired result, I used it in my Canonet 28, set it to ISO 50, and started to take pictures. The results were what I was hoping for: just great.
I got beautiful shades of red, but not only that; the red tones go from red, to orange, to yellow. The sky is often tinged with green!
I felt that the photos could have been made even a few decades ago. The great thing about redscale film is that you can expose it for a very long time and still get cool results. In addition, you can also work in bright, sunny days with wide apertures. Therefore, I will also try it using other low ISO settings such as ISO 25. Next time, I’m going to try the XR in its medium format.
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.
This is my experience with the Lomography Redscale XR 50-200 (120), my first medium format film. It's an adventure that started when I got a Lubitel 2, to finally shoot with it. In this article, you'll find detailed information about color schemes, the advantages of shooting in medium format, and the differences between standard redscale films. Here are the results of a day of shooting outside, which I recently got back from the lab.
About two years ago or so, I purchased the Lomography Redscale XR 50-200. I saved just one roll of this film and waited for the right moment to shoot with it. In April this year, I just wasn't able to take it anymore! I loaded this film into my Lubitel 166+, which I realized I hadn't used for maybe about six months. One idea came to mind: taking crazy multiple exposures!
If you'd be shooting in low light, at night, or in any other situation that would require a high speed film for best results, why don't you try the Lomography Color Negative 800 for 35mm cameras? Allow five of our community members to convince you with their respective reviews in this installment of Reviews on Rewind.
Really want to bring your film photos to life? We’re now offering totally analogue fine art prints in a host of large sizes and formats! Carefully enlarged from your negatives onto premium photographic paper by lab professionals, each picture is a unique piece of craftsmanship.
Unfortunately, it happens sometimes that your resulting pictures are not what you expected - the image doesn't look that good, the colors are bland, and the subject is banal. Indeed, it couldn't be picture of the year! Herein I propose a second chance for your pictures by modifying your 35mm negatives. Just pick up some ideas from here, experiment, and scan your negatives with the Lomography Smartphone Scanner. Anything is possible: burning, scratching, putting on hydrochloric acid, balsamic vinegar, nail polish, bleach, or raspberry juice... use your imagination and write down your new film soup recipe! You can find a sample of the effects in this article.
I have been using the Diana extensively for the past two years. It was actually the camera that got my into film photography (something that I am so grateful for). So I have compiled a list of Diana tips for y’all…
"Magical" here means that every time I use the Diana F+, the results are always beyond both my expectations and imagination. That's why I always use it when I feel like doing something different. It has never failed me since day one; I even always bring this camera during my trips!
Do you love Lomography's Lomochrome Purple XR 100-400 film? Me too! So let's see what it does when we shoot it through an assortment of color filters. I tried to document everything well enough that others could replicate and experiment on their own. I hope you find it useful.
About two years ago, sandkorn sent me this film for our doubles. She said that she had already exposed this film using the Horizon Perfekt and shot on a sunny day, so the idea was for me to not overexpose the film. The result was so red!
I was completely stoked when I got the chance to test the Petzval Lens for Lomography and the German photography magazine Kwerfeldein. I was afraid that I would end up wanting one for myself, and that's exactly what happened.