One of the outcomes of the new calculations was that the LOMO LC-A had become a few grams lighter as the extra parts which were intended to attach accessories to the camera were removed. So for example, on a LOMO LC-A produced before 1997 you would find two small contacts on the bottom right side of the camera, which were designed to act as an electronic interface for a possible motor drive attachment.
One of the outcomes of the new calculations was that the LOMO LC-A had become a few grams lighter as the extra parts which were intended to attach accessories to the camera were removed. So for example, on a LOMO LC-A produced before 1997 you would find two small contacts on the bottom right side of the camera, which were designed to act as an electronic interface for a possible motor drive attachment. In the eighties motor drives were a customary camera accessory and were fitted to the bottom of the camera – they wound the film on automatically, which enabled you to quickly shoot a series of photos without manually having to wind the film on.
Resuming production also meant that the visible range setting by the view finder was also removed. On earlier produced LOMO LC-A’s you could look through the view finder and by means of a small measuring stick you could see what distance you had set (0.8m, 1.5m, 3m or infinite). However, as Lomographers rarely need to look through the view finder, this lovely function, which had been developed by the optics calculator Irina Sowz, was omitted from newer models of the LOMO LC-A.
Reuben Wu fascinates, both with his splendid photographs and the music he churns out for electronic band Ladytron, or when he's doing a solo gig as a DJ. He's also one heck of a nice guy, who, despite being ultra-talented, has been gracious enough to grant another interview and share more of his amazing photos,which were taken with the Lomo LC-A+ with Russian lens.
In case you missed it, Lomography has just unveiled the latest member of its Art Lens family: the Lomo LC-A Minitar-1 Art Lens, which boasts of the same optics that the legendary LC-A camera has and brings the classic Lomographic style not only to analog but also to the digital platform. Over the next few days we'll be sharing with you the first impressions of and photographs taken by members of the Lomography team, who had gone out and put the Lomo LC-A Minitar-1 to the test. First up is graphic designer Andrea Cislaghi, who coupled this lens with the Bessa R2 and Sony Alpha 7.
As a wildlife cameraman and photographer, Ian Llewellyn has worked on a number of television projects. The UK-based lensman breaks free from the strict confines of his profession by engaging in monochrome photography. His personal work is a plethora of abstract and experimental imagery, created in a style distinctly his own. Llewellyn is an ardent user of a Leica Monochrom camera, on which he mounted the Lomo LC-A Minitar-1 Lens, producing the most imaginative, phantasmic results.
"At the edge of the Earth" is an ongoing yearlong project by documentary photographer Markus Andersen in which he captures the coastline of Sydney, Australia on black and white film with the Diana and Lomo LC-A cameras. In this interview, the Sydney-based photographer opens up to Lomography about his latest endeavor as well as on shooting on the streets of his city and the importance of photographing in analog.
In December last year James Wright, editor and creative director of So It Goes Magazine, went on a two-week trip to Sri Lanka, "a place so long on our bucket list, but up until then, as yet unvisited," he writes on the first of his three-part photo diary. Herein is the second part of his series that chronicles his adventures, highlighted by a selection of breathtaking images of the Sri Lankan countryside and the locals, among many other images, captured with his trusty photographic companions: the Leica MP, Lomo LC-A+, and an assortment of films including the LomoChrome Purple.
When asked to recall the moment they first became truly interested in photography, most photographers would remember the magical feeling of picking up a hand-me-down or secondhand camera, the thrill of shooting an entire roll through, and the elation upon seeing and holding their first ever set of photographs. Caleb Savage, however, had quite a unique experience. At 10 years old, he had his first taste of working in the darkroom making prints at Boy Scout camp, thereby beginning a more than a decade-long affinity with photography.