This is a bit of a story/review of the 2 different redscale 35mm films made by Lomography, and how I changed my mind about which one was/is my favorite film to use of the two.
Obviously, before I had even considered purchasing a redscale roll of film, I had a little look on here to see what the results would be like. I then got some for my August bank holiday trip last year, knowing that at 100 ISO, it would need some pretty awesome sunshine to yield the dramatic orange hues that I craved. After my trip I was not disappointed with the results I had obtained using my Diana Mini.
After a while, LSI introduced us all to Lomography Redscale XR 50-200 ISO, which was meant to be better than original Redscale, working at all different ISO to achieve different results. I bought some immediately and, although I didn’t own a camera where you could set your ISO rating like the LC-A+ or anything, I figured if I loaded it into one of my other cameras, but shot it in different conditions, I might yield some of the different results I wanted. This all went horribly wrong when I accidentally loaded a roll into my Diana Mini, when drunk, on a night out, thinking it was just a color negative 100. The results were rubbish!
Although this put me off it a little bit, I decided to persevere, and when I got an LC-A at the start of 2011, I thought it’s first outing might be a good place to try the XR again. I hadn’t realized the camera had a light leak, but ignoring that, the film didn’t behave the way I had hoped it would. Although some of the photos came out at differing shades of orange, there were none of those blue-green hues I had been after, despite me setting it to a low ISO (I think 50) in the bright springtime sun.
I sort of decided I had had enough then, and totally fell out with the XR. I just got a load of the old stuff and decided that if I wanted orange, I would stick with that as it seems to guarantee great results every time, even in a more basic toy camera. I next used it in my new LC-Wide at the York meeting this summer. As always, I got the great results I had both expected and coveted.
Some of the photos in this set however, had a slightly green hue, reminiscent of the XR examples I had seen. I don’t know how this had occurred with the redscale original film, when I hadn’t changed the ISO setting and the sun had been bright more-or-less the whole day, but I liked it.
Although this was not enough to persuade me to give up with the original redscale film, it did make me want to give XR another try, especially as the original stuff seems harder to com by these days, and this time to think more about my shots. I took a roll on holiday to New York with me, figuring that if a city as amazing as that can’t do it justice, then I would guess nowhere can. I was not disappointed this time around. I used it in my LC-A (having fixed the light seals) and shot it at every ISO from 200 down to 25 and was thrilled with the results I got.
Now I would say, although nothing could make me totally convert from the Redscale 100, I equally like the flexibility of the XR given the right conditions. If you are a newbie, i would say give them both a try as they both have their unique charms.
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.
Load up the Lomography Redscale 100 35mm film and achieve the warm-tinged effect produced only by exposing the negative on the reverse side! You’ll get breathtaking square shots evoking intensely warm, honey hues. See our selection of Lomography films here.