People say that every film has its own colors. Even slide films. Even when X-PRO-ed, even when redscaled. So I’ve decided to give it a try with a new expired Sensia 200.
After redscaling somehow I’ve got to the situation when a standard LC-A+ film advancing mechanism wasn’t too strong to catch and to move forward the Sensia that was winded and vice-versa. So I’ve switched to an old Olympus that I’ve got as a present.
The results are not bad at least :) Just look at those saturated red through yellow colors. The film texture can be felt, but the grain is relatively low. Tried it at light and in daylight, and I liked them both :)
Most artists prefer to show than tell, especially with their feelings. If you're among the subtle souls, you might want to try the Lomography Redscale XR 50-200, a 35mm art film for you your creative expression.
In this second installment of our special two-part feature on cinematic photographers, we take a look back to more photographers who have mastered the dreamy, often surreal aesthetic of cinematic photography.
Nick Collingwood is an avid film photographer and active Lomography community member in New York City. He loves experimenting, which is why the LomoChrome Purple was his choice of film for his travels to Joshua Tree National Park and Portugal.
If you want to take your creative, analogue experience to the next level why not try starting up a film swap project. You'll get to work with other budding photographers in revealing something totally unique and one-off. This article gives you some tips on getting it right the first time.