Here’s a tipster on how to use a redscale film without getting the full reddish effect or outcome of the film. If you want to get a result that brings out a yellow/gold effect, this tipster is for you.
It has come out recently a couple of tipster on using redsclae film by setting the ASA of your camera to 50 or 25 so results would not get as much dominant reddish effects.
But what if your ASA setting could only go down up to 100? Here’s what you can do. If your redscale film is at ISO 400 or even ISO 200, you can set down your camera to ASA 100, this in turn would reduce the dominant reddish effect of the film. But to get a more yellow, gold results, or to just get a surprising color result, you can change the setting of your camera’s aperture. Usually on a sunny day, apertures are set to 8 on a film with ISO 100. If the aperture is set to 8, you will get just enough light for your redscale film notched at ASA 100, but when you step down one more notch to 5.6 on your aperture setting, this will pretty much take away the the redish, wine-tainted colors of the redsclae film. Different color effects results from such aperture adjustments such as yellow, gold, brown and sometimes grayish color. I think it’s just about the right aperture setting so as not to wash-out or overexposed your results.
Also, you can play around with the aperture settings, just note down what aperture was used on such shots taken. This play on your camera’s settings definitely make redscaling more fun. Now, go out and try it.
Our first article in the Instantly Optimal Tipster Series shows you how to get sly, sneaky and snappy! Here are the Lomo’Instant Wide features and settings to put to use when you’re out on the streets.
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.
It's Tipstember! For this month, we will be awarding 25 fat piggies to every tipster article that gets published on the Lomography Magazine. You can share tips on composition, lighting, film experiments and camera modifications; or maybe techniques for shooting portraits, landscapes, still life and even wildlife! If you don't have tricks up your sleeve, however, you can still contribute to the Magazine and let your voice be heard. Here are some suggestions.
The LomoLab EU has moved and is now open for business! Analogue lovers from Austria, Germany, Spain, Netherlands, Belgium, Luxenbourg, and the rest of Europe can send their films to:
However, if you're based in Germany - and you don't mind a longer waiting time, you can still send your rolls for processing to:
Lifesmyle Store Berlin - LomoLAB
In case you missed the news, the LomoChrome Purple film that you know and love is now available in 16mm format, in limited quantities only. If you have a 16mm camera or know someone else who does, make sure to share the news! This beautiful film delivers a nostalgic, dream-like effect in purple tones. To illustrate, check out the movie by Julian Hand after the jump ...
I recently found a roll of XR Redscale 50-200 film lying around in my drawer and decided to reignite my passion for embracing the weird and unexpected results that film can bring. I shot random doubles around the streets of Soho and was rather delighted with the results.
In 2009, Neil Krug uploaded a commercial for Pulp Art Book on Youtube. In the comments section someone asked, “Does anyone know what kind of camera he uses or how he gets his pictures to look the way they do?” Krug was on to something. He did something wildly intriguing, one that looked to have a secret formula.
As many of you would already know, shooting under low light conditions requires more than a steady grip (or a tripod) if you're aiming for outstanding results. You must also have the proper gear, and that, of course, includes film. In this post, we list down five fast films that work their best under such conditions.