As you might have heard, the Diana Baby 110 comes with a set of interchangeable lenses. Read on find out how to make the switch between the 12 and 24mm lenses (or vice versa of course)
To change from one lense to another on your Diana Baby 110, simply hold the lens firmly and make a small anti-clockwise twist from the lower white dot to upper white dot on the side. This releases the lens.
To attach the lens, just repeat the process in reverse. Place the lens white dot aligned with the upper white dot on the camera and then twist clockwise until you reach the lower white dot. This attaches the lens to the camera body.
Want to switch lenses halfway through a roll? You can do that too! You can shoot 1 photo with the 24mm lens and then swap to the 12mm wide-angle lens for the next photo. If you’d like to switch lenses whilst using the same film cartridge, just make sure the shutter is on the ‘N’ (Normal’) setting; this ensures that no light will get to the film whilst you are changing the lens.
Lomography proudly presents the Diana Baby 110, the second member of the Lomography 110 Camera Family. Easy to use and packed with creative features, with this tiny camera you can choose between two interchangeable lenses; shoot breathtaking wide-angle shots with the 12mm lens or switch to the 24mm lens for standard square photos. Read more on the 110 Camera Microsite
Perhaps you've heard or read about the Pixelstick, but are still unsure how it works, or what sets it apart from other light painting tools. Find all the details right now at our dedicated Pixelstick microsite!
Rooms contain what the owner values or has come to hate (tucked in boxes, of course). Colors reveal mood swings. Gardens follow the season’s orders. A house keeps up with ever-changing whims and styles—one of the things that make it a home. Here’s something to inspire your next spruce-up.
Film Photography Day 2015 is an exciting event happening on Sunday, April 12. To celebrate this day, Lomography has teamed up with Skillshare to launch a series of FREE classes to help you make the most of your Lomo cameras. To throw in a little more fun, we're also hosting a competition to win a Diana Deluxe Kit and a full year of premium membership to Skillshare to take tons of awesome photography classes. Read on to find out more!
We met our new LomoAmigo Luka Tacon when we danced to the hypnotic beats of his duo Heartbreaker at our Lomo'Instant Wide Launch Party in NYC. Now, the brooklyn-based DJ and electronic music producer is preparing for an EPIC Lover's Ball at House of Yes with his friends at Might Get Weird, experimenting with the La Sardina and LC-A, and feeling the Latin rhythms of Costa Rica. Read more about his inspirations and how he feels analog equipment, whether it be for music or photography, has something that digital just doesn't. As a special bonus, you can listen to his exclusive Heartbreaker set!
Here’s what happens before we interview a photographer. We gush about the work though we have yet to find out the cameras and processes behind the brilliant composition or the light architecture. And even when they haven’t used a Lomo camera, we feature them anyway. But every once in a while comes a pro who uses one of our premium lenses at work and our fun cameras off-duty. This makes us mighty glad, more so when their images are good and worth sharing. We count cinematographer Michal Dabal's work among them.
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.
Lomography has teamed up with the Victoria and Albert Museum, London to give you the chance to win tickets to see “Paul Strand: Photography and Film for the 20th Century,” the first retrospective of this highly influential photographer in over 30 years. You can also win a Henry Carroll Book and a Lomo’instant Wide.
Architectural photographer Christopher Payne documents America’s industrial heritage with his large format images. For his project "Asylum," he visited 70 abandoned psychiatric hospitals across to country between 2002 and 2008.
It's human nature to be restless and imaginative. The real may be interpreted as what one sees or how one sees something. For the daydreamer, a scene from nature transforms into a canvas. Suddenly a field makes room for chemical coloring, all those anachronistic streaks that somehow look right. Or else, those beautiful colors amplified or subdued to their most pictorial shades. All in the world of trial-and-process film photography.