A tricky light hungry monster of a film that when tamed a little yields amazing results.
To begin, Redscale is film reversed in the canister to have what would normally be the backside of the film that would receive light last, now receives the image first from the lens. With that said, I have had a love/hate affair with Lomography Redscale 100 35mm film for most of my Lomo history. I have run it through nearly all my early cameras with hair pulling, teeth gnashing results. I could not figure out how to get the beautiful images displayed by my fellow analog enthusiasts here. I deleted those images or threw away tons of negatives.
What was I doing wrong?
A few very talented and helpful members helped me out with a little tip: Slow the film down, change the ISO to even lower than the 100 rating. Go ISO 50 or 25 even. Great advice!
But there is something even more magical afoot. Something I realized as I gazed amazed at so many images. A certain camera was a match for the redscale, a camera that could not possible shoot below ISO 100 without tricks or extra manipulation: The LC-A+. This camera handled the light hungry Lomography Redscale like a rodeo cowboy on a light hungry bull. It captured all I wanted. It did what I wanted! Was redscale made for the LC-A+? I had to test it myself.
I was blown away. The light meter knew just how much to feed this film that tricked me so many times.
When I bought my LC-Wide I had to know if it could handle the Redscale as well. The results were inconceivable.
If you have one of the LC-A family, I encourage you to try this little quirky film in your camera and enjoy the brilliant red tones