Compared to most full-featured analog cameras, the Lomography Fisheye No. 2 shows that its limitations are its most artistic attributes. With the Fisheye No. 2, I don’t have to think what ASA/shutter/aperture I need to get that unique xpro look. I can get those rich saturated colors with the fixed settings of the Fisheye 2. Combined with an xpro-d Fuji Velvia 100F, the result of orangey, dark blue and violet tones make a wonderfully artistic and unique image.
My Lomography Fisheye No. 2 was my first analog/lomography camera and it is my most favorite camera in my arsenal. Of course, I love the Lomography Fisheye No. 2 because of its unique fisheye lens. Having a fixed plastic fisheye lens makes the camera fun and challenging at the same time because I am forced to make more creative shots with the fisheye perspective versus a gang of bokeh-loving, zone-focusing, aperture-selecting, shutter speed-changing, ASA-choosing, sharp-looking, wide-angling, vignetting cameras. Thankfully, Lomography has provided theLomography Fisheye No. 2 with the advantage of easy double exposure with an MX switch.
The Lomography Fisheye No. 2 is rated with an official f/8 aperture (but feels more like f/16) and a 1/100 shutter speed. This means that this is a sunlight-lovin’ camera that even at sunny weather, can make cross-processed film look underexposed. I also recently learned that fisheye lenses have a unique distortion (other than the curving) effect that makes the outer curves a bit darker. Since slide films have a unique effect of having color shifts when underexposed and the outer curves of the fisheye lens gets darker, the result is something like this:
Compared to most full-featured analog cameras, the Fisheye No. 2 shows that its limitations are its most artistic attributes. With the Lomography Fisheye No. 2, I don’t have to think what ASA/shutter/aperture I need to get that unique xpro look. I can get those rich saturated colors with the fixed settings of the Lomography Fisheye No. 2. Combined with an xpro’d Fuji Velvia 100f, the result of orangey, dark blue and violet tones make a wonderfully artistic and unique image.
Here are some more examples:
This combination is still doable during an overcast day but it turns a bit red-orange than usual and loses the violet and dark blue tones due to the absence of the sky. Here are some photos I took in Bangkok:
The drawbacks of this combination is that you really need a sunny or at the least, slightly overcast day and that Fuji Velvia 100F has very high contrast that shadows turn out really dark.
Still, you can use that high shadow contrast as an advantage for double exposures!
The Fisheye no.2 also works great with the Kodak Elitechrome 100 or any slide film that color shifts when slightly underexposed.
Here are some bonus shots:
Remember: The unique features and limitations of your camera, or any other camera thereof are its most artistic attribute.
Fisheye No. 2 has a 170-degree wide angle view and stunning barrel distortion. Now with a hotshoe and multiple and long exposure capabilities, the world’s greatest compact Fisheye camera is now more amazing than you ever thought possible! Available in different colours and special designs.