Let me share a review about shooting with expired Ferrania Solaris 200, the Italian color negative film made famous by the Japanese.
Ferrania Solaris Color Negative film is well known for producing pastel, faded hues, which is the exact thing I love about it. Their 100 and 200 CN are my go-to films when I want to produce dreamy, nostalgic images — imagine my surprise when this is not the case with a roll of expired ISO 200 film I won in a blog giveaway.
I must admit I never expected that this was how the pictures were going to turn out; before this, I would never describe the Solaris films as wholesome, but I adore the warm but slightly muted contrast in these. The color shifts are very obvious due to it being expired, but I definitely think they give the pictures more character than I would imagine.
It’s been some time since I used my favorite Solaris films while I experimented with other brands but this roll has gotten me really excited to get back into them again.
A long-time fan of plastic cameras, Argentinean writer and photographer Lorraine Healy is the author of “Tricks With A Plastic Wonder,” a manual for achieving better results with a Holga camera. In this article, Healy shares her images taken with Rollei's Digibase CN200 negative film and Lomo’s LC-A 120, and a few thoughts.
One of our regular first roll testers, Brian Bruno, had an exceptional shoot set to work hand in hand with the Lomography F²/400 Color Negative Film. In this interview, he shares his photos and thoughts on the film.
Thanks to Lomography the world can experiment again with the magic of color shifting films. But how does one use these films properly in different lighting conditions? Here are some tips about shooting with the LomoChrome Purple XR 100-400 and LomoChrome Turquoise XR 100-400 at night.
Earlier this year we were chuffed to launch a very memorable type of 35mm film: the Lomography Color Negative F²/400. We had recovered it from the last ever supply of an Italian filmmaker, and stocked it for seven years in special conditions. Much sought after for the film's nostalgic aesthetic, beautiful blue tones, with hints of X-Pro character, the F²/400 35mm rolls flew off our shelves like hotcakes – and rapidly went out of stock worldwide.
Haruka Yamamoto is a Japanese photographer who is fascinated by film photography’s fragile atmosphere. She constantly shoots girls portrait named “Otomegraphy“ (otome means girl in Japanese), and this time she took the Daguerreotype Achromat 2.9/64 Art Lens to shoot dreamy images in busy Tokyo.
Guen Fiore is a young Italian photographer, who specializes in creative and portrait photography. We let her shoot with the Neptune Convertible Art Lens during a sunny day in Rome. Let's get to know her and see her first impressions of the Neptune Convertible Lens System.
A sad news for film hoarders and large format photographers out there: some of the beloved colored negative films from Fujifilm will no longer be available by December, plus the total discontinuation of the Fujicolor 160 NS (4x5) & (8x10).
Before, movies were only available in monochrome. Now, cinema seems to be having the best time with limitless colors, with zero plans to implement black and white aesthetic into their films, unless made by an auteur.
By far the oddest-looking camera I own, the Electric Eye is an auto-exposure viewfinder camera made by Bell & Howell in the late 1950s. I picked one up online and ended up with another one, that came with a very cool, retro looking carrying case, from my grandfather. It took a little while to try these two out but after running some film I found that this camera is a lot of fun to shoot with.
Paolo Raeli is a young Italian/Danish photographer who is gifted with the talent of telling stories about his peers. We sent Paolo a Lomo'Instant Wide, so let's see the pictures he took and get to know him in this interview.