One thing I love about analogue photography is how you can use different kinds of film to paint the world in different colors.
Don’t you love how different films give you different colors? Color negative can give you crisp and clear natural colors, redscale will give you fiery orange or sepia. I’ve seen purple hazes and delicate pastels in long expired film. And of course, cross processing can result in about every color of the rainbow. One of my favourite ways of exploring this richness in color is by comparing pictures of the same subject, made with different film.
Take for instance these pictures of the Taj Mahal. A beautiful building in itself, film can turn it into every color of the rainbow.
And it doesn’t have to be a beautiful building or object either. Even the boring old office block you look upon every day can become a colorful landmark.
But forget about buildings. Everyone knows the sky is blue, right? Wrong! The sky can be every color you want, from delicate pink to threatening green or apocalyptic red. Sure, and blue.
So the grass is also not green? You guessed right…
So forget about how things are in real life, grab some different films, and color the world!
I have always loved the idea of seeing my photos on stone and other natural materials. So, a few months ago, I began googling how it could be done. This is how I discovered (and fell in love with) liquid emulsion. Liquid emulsion is photographic emulsion which you can melt down and paint on any surface. You can then expose an image and develop it using traditional darkroom chemicals. In this article, I would like to explain the process a little, so that if you are also interested in giving this fun process a go, you can!
One of the things I like the most about the Minitar-1 Art lens is how sharp the focus can be when you shoot with a small aperture. So if you are one of those that like to shoot at night, get a tripod, add this to a late dark winter afternoon, and you will end up with a bunch of beautiful long exposures. This is what I did on my last trip to Europe.
Bernhard Rauscher's passion for light painting photography is as vibrant as his creations. His light paintings are either craftily executed renditions of things you see in everyday life, or fanciful abstract figures. He uses do-it-yourself devices made from water bottles and tinsel as light painting tools. Part of his collection of magical devices is the Pixelstick, which he talks about in this exclusive interview.
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.
Last week at Lomography NYC, we were lucky to have Emily Murphy of the garden design blog Pass the Pistil visit us for a special workshop. She talked abut how gardening is a different kind of analogue, and not that different from photography. Learn more here!
Because here’s the thing about film photography that I doubt a digital camera can give you: Permanence, photographs that truly and literally stay with you, not just in a physical form but also in your head and in your heart.
We're grateful for the overwhelming support from all our KickStarter backers. For those who were late to the party, we're happy to let you know that the Daguerreotype Achromat 2.9/64 Art Lens is now available for pre-order in the shop! Estimated delivery date slated for January 2017!
At first, Skyler only visited the Lomography website to take a look at sample photographs taken with different point-and-shoot cameras. Seeing the immense focus given by the community to film photography and experimentation, two things she absolutely loves, she immediately signed up and started her own LomoHome. In this interview, she talks about her go-to camera, the difference between digital and film photography and more.
It's human nature to be restless and imaginative. The real may be interpreted as what one sees or how one sees something. For the daydreamer, a scene from nature transforms into a canvas. Suddenly a field makes room for chemical coloring, all those anachronistic streaks that somehow look right. Or else, those beautiful colors amplified or subdued to their most pictorial shades. All in the world of trial-and-process film photography.
"Photography is a reflection of heart." These are the words of Martin Liu, a documentary, wedding and portrait photographer from Hong Kong. He believes that the photographer must understand the stories, experiences and values of his or her subjects to capture the different faces of love. To capture priceless moments for a smitten pair, he brings the Minitar-1 Lens to Mongolia for a one-of-a-kind shoot. Hear the story behind this shoot, and the rest of Martin Liu's journeys in this exclusive interview.