Lomography X-Pro Slide 200 is a great choice for those sunny weekend walks. That great “not knowing what the photos turned out until you develop the roll” feeling of shooting analogue is even better when you cross-process the film and add the “not knowing which color shifts you will get” feeling to the mix!
To celebrate the launch of Lomography’s new Wild Valentine’s Edition cameras, my local Lomography store had a competition/shooting this month. The film, developing and scans were included in the entrance fee for the competition. You’d go there on a Saturday, they would give you the film and a list of themes to photograph and you had until 7:00 PM. I decided to participate with my Diana F+ in hand and the film I chose was Lomography X-Pro Slide 200 120.
It was the first time I tried this film and I was really happy when I got it back from the lab. I got the expected greenish and yellowish tint color shifts that this film is known for when cross-processed as well as the amazing bright saturated light-blue skies when shooting sunny scenes:
And while it cranks the saturation up in sunny areas, it tends to tune down the saturation when shooting in the shade or scenes where the sun isn’t shinning through. It does so in a way that makes the photos look a bit vintage and I have to say I love that even more than if it had captured the naturally bright saturated colors of the following graffiti and street sign:
The film shifted the whites, beiges, greys and skin-tones on my photos to greens and yellows, as you can see on all the above photos and the following photos:
That is the major characteristic of this film when cross-processed which makes it so recognizable: it casts its own unique tint on all the photos. For example, I took a shot of this grafitti and the result was the same greenish yellowish tint I got in all the photos:
When I did an experiment and put the photo through Photoshop’s Auto Color tool, it shifted the colors to the actual natural colors of the graffiti:
What the Photoshop tool does is eliminate color casts and it identified Lomography X-Pro’s unique cast and shifted it back to normal.
And speaking of normal colors, I realized that while I got all the lovely color shifts by day, when shooting with flash by night I got regular colors (excuse my bad bad framing, I’m still learning how to deal with parallax when shooting up-close with the Diana F+).
That’s why I say Lomography X-Pro 200 has multiple personality:
- You can cross process it but you can also process it as normal slide
- You get bright saturated colours in the sun but lovely unsaturated vintage colors in the shade
- You get a lovely greenish yellowish tint cast during the day but regular colors with flash
My only regret is that because I had to give back the roll of film fully exposed by the end of the day, I ended up rushing most of the last shots and had to shoot in unfavorable light conditions in which I would otherwise wouldn’t have shot. Of 16 shots on the roll, only 10 came out.
However I’ve already stocked up on Lomography X-Pro 200 film and can’t wait to shoot calmly in no rush, to try all the different flash color gels, as well as to try shooting 12 shots without mask to see how the film behaves with Diana’s lovely maskless vignetting and light leaks.
The new Lomography X-Pro Slide 120 is made from the original Agfa RSX 200 emulsion. If you want whacked out colors, huge contrast, and insane saturation, this film is for you. See our selection of Lomography films here.