It could be a risky combination: a film with an ISO range between 50 and 200, the Diana F+, and the British weather. But play carefully with the light and you can achieve some intense results.
I shot the first few rolls of this *120 film* with a sense of trepidation. Ideally, my *Diana F+* prefers at least 400 ISO for good results. This redscale film’s ISO ranges between 50 and 200 ISO, and the camera doesn’t make its own adjustments for slower film. I like a good bit of redscaling, though, and I always enjoy the results when I shoot a 35mm redscale film. So, nothing ventured, nothing gained!
I took some shots while on a trip to Italy in the autumn. The days were quite bright so I set the Diana F+ to “sunny.” The resulting images were dark, imbuing the ruins of Pompeii with a fitting sense of apocalyptic gloom (see the results here).
Back in the UK I tried a few interior shots with a flash, as well as some experimental double exposures. Again, the results were a little dark at times, but somehow the redscale tones made the murkiness less of a failure and more of an atmospheric vision.
Allowing some time to pass before I tried the film again, I decided to shoot a roll this summer. Again, Diana F+ was recruited for the job, but this time I resolved to try two approaches. Firstly, I wanted to try to shoot more double exposures using the Splitzer. I’d found that the redscale film really suited this kind of experiment – shoot once with the camera the right way up, move the Splitzer, shoot the same subject again with the camera upside down. I found a castle and a photogenic cathedral for this purpose.
The second approach was made easier with the sunny weather. Previously, I’d shot the film as if it were a standard color negative. This time, despite the sunshine, I set the Diana F+ to a wider aperture than would ordinarily be required. The results were much more glowing with golden rust colors, exactly what I like to see with a redscale film.
There you have it, my tips for shooting the Lomography Redscale XR 50-200 120 film with a Diana F+. This accident, however, got me thinking:
An accidental shot on the bulb setting exposed the film a little longer, producing more washed-out sepia tones. How does the redscale film respond when used in a camera with variable ISO settings? What’s it like when exposed for longer intervals? Over to you, Lomographers!