Reimagining Worlds Through Lomography Film With Estefanía Lonné

At first glance Estefanía Lonné's work is like falling down a rabbit hole entering a magical colorful world. Breaking apart and reimagining reality through techniques such as multiple exposures and EBS (exposing both sides), she uses the prompt What If? as a guide to keep her creativity flowing.

For her experimental photography Estefanía loves using the different LomoChrome films but also has a soft spot for the Fantôme Kino B&W which she used to capture emotionally compelling scenes. In this interview we get a chance to learn more about Estef's style of photography, her favorite things about Lomography, and the analogue community in Argentina.

Greetings Estef! Can you introduce yourself to the community and tell us how you started your analogue journey?

Greetings! I‘m Estef, an amateur photographer based in Buenos Aires, Argentina. I started my analogue journey when my father, back in 2017, showed me my grandfather's old point-and-shoot camera and asked me if I was interested. Back then I was in college for film and I was studying to become a sound technician. I said to him I was for sure interested and I was going to ask my photography instructor if the camera would work. To my surprise, the camera (an old Gevaert Rex Lujo from the late 40s ) was working just fine. Five years later, in October 2022, I finally tried the camera and since then I never stopped shooting.

What kind of gear do you mostly use?

Honestly, I use whatever camera falls into my hands! I'm honored that many people around me see what I can do with them, and they offer me their cameras so I have used many cameras to create images. After all, these are cameras they have stored away, and they see it as a positive thing to see these cameras out and about. On the other hand, where I live it is difficult for one to own more than one camera, so I'm always grateful when someone approaches me and freely offers me one to use. That way, I can get to know new cameras and lenses, and how they affect things depending on the film I use and the possibilities that each combination can give me.

These days, the camera I use the most is an Olympus OM-1 with the Zuiko 50mm lens that came with it. I really love this camera because it's not as heavy as other reflex cameras from its time and the lens is very bright. Plus, with its manual film advance, it allows me to use all kinds of film stock. The other one I use is a Canon EOS 500n, with a 35mm zoom lens that is very useful for quick shots and in the city. I also often use it with a Canon 50mm fixed lens.

Apart from those, whenever I can get my hands on 120 film stock, I take the opportunity to use the Diana F+, which I adore, with the lenses I have a normal, a telephoto, and a fisheye lens. I also use a Gevaert Rex Lujo that belonged to my grandfather, who used to take 120 photos, but I love using it with a 120 to 35mm adapter to take panoramas or whatever else inspires me to snap a photo. I also use a Holga CFN, which I find super practical.

When I don't feel like worrying too much about the technical part, especially at family or friends' gatherings, I usually use a Canon Sure Shot which, as a point-and-shoot, I find comfortable to carry and has given me good results. As for accessories, I really like the splitzer for use with the Diana F+, which I hope to use in the near future to experiment with photos. I also love the split image lens set that came with the Holga CFN, which I can even use with the lens filter holder on the Olympus OM-1.

How would you describe your style and how did you find it?

I'm not really sure if I've already found my style, but I'm working on it! I suppose if I do have a style, it would be best described as a big experimental "What If...?". This is because it's what I always ponder before selecting a film stock and camera to use when I want to experiment with something inspired by an idea that arises unexpectedly in my mind, or from my subconscious.

Your recent multiple exposure photos using LomoChrome Purple and Metropolis are amazing! Can you walk us through the process behind them?

First of all, thanks a lot! The process involved experimenting with internal masks and also trying to expose both sides of the film, which I did in the case of the LomoChrome Metropolis. To achieve this, I created the design I wanted on internal masks, using a printed acetate sheet. Then, I exposed the film first with one mask and then with the other. It's worth noting that if one uses a 36-shot film stock (and decides to use the entire roll for this purpose), a total of 72 exposures are required. It takes time and patience, especially for those who take their time with their photos.

In the case of the Metropolis, it was a bit more laborious. I made the first pass by exposing the roll in a "normal" manner, and then, to expose it on the other side of the film, I had to cut the film leader to straighten the film so that I could tape it with Scotch tape turned over the tab of an empty canister. Once I did this, I had to transfer the entire film to the empty canister in a dark place at night. If you have a dark bag, you can do this calmly at any time of the day. Once it reached the end, I cut the film and shaped it so that I could rewind the film into the take-up spool camera again.

To do this, I recommend using a manual film-advance camera, as the film is only taped with Scotch tape to the other end and in an automatic film-advance camera, there is a risk of it coming loose. Another thing I recommend if you want the photos to be exposed in the same place for both passes is to make a mark with a permanent marker (on both sides of the film) before closing the camera lid. This mark will help to place the film in the same position both times, ensuring the same alignment. When exposing the red side of the film, the ISO should be lowered by 2 stops to prevent the images from being overexposed. For example, I exposed the Metropolis at ISO 400, and then when I exposed the other side, I did it at ISO 100.

In the case of LomoChrome Purple, I decided to expose at ISO 400, and I did both sides the same because I didn't use the EBS technique. And then, I went out to take photos! The most fun and enjoyable part of the process. In my case, I only went out to take photos. I didn't note which previous photos I took to compose them with what I took later, but I think that added some excitement to waiting for the result and to the magic of seeing the outcome! I recommend that if you want to take composed photos with a very precise result in mind, write everything down. Write down how you took the previous photo so you know what to photograph in the second pass of the film.

What do you like about these film stocks?

In the case of the LomoChrome Purple, I love the range of purples it delivers, as well as the blues and reds. But what I like most is that it brings everything together, which is ideal when taking photos with internal masks using color film stock because the result will always vary depending on the time of day, and that will positively or negatively affect the final result. In the case of the LomoChrome Purple, it's like it ties everything together with its immense range of purples and adds versatility to the time of day you choose to shoot. What I liked most in this particular case was the different tones of color it gave to the water every time I photographed it.

In the case of the Metropolis, I really like the mood it creates. For those of us in Latin America, it gives us a feeling of a European-style photo and takes us to another place. I wouldn't know how to put it better into words for someone who isn't living here. On the other hand, I really like the desaturated tones it generates, and in the case of EBS, I liked how it created a subtle contrast between the Redscale XR and the regular film stock, which in the case of the sky ended up creating a very nice combination of complementary colors for me.

What do you look for when coming up with these kinds of shots?

The first thing I sought was to experiment with these two techniques: internal masks and EBS. I wanted to answer my internal question: "What if... I combine images within the same frame with such and such analogue camera and such and such film stock, and at the same time do EBS on the Metropolis, how will it look?" But delving into a deeper response, perhaps what emerges in the images is that double world between nature and concrete, tranquility and the city, leisure and duty, calmness and movement.

As a girl from a small town, I found it challenging to adapt to the architecture and movement of the city when I moved there. To be honest, I still find it challenging. But there's something about it that fascinates me, and I enjoy capturing the city like that. I suppose I like seeing different worlds collide, and I found in the use of internal masks and EBS the tools to depict it more graphically and poetically. After all, when composing with internal masks, there will always be a dialogue between the parts that compose the image.

I also enjoy taking photos in leisure areas and on leisure days because these are the places and moments where people seem less sad, engaging in activities they enjoy. I like it when people's emotions don't take center stage because, as I see it, that's when the city emerges and both architecture and people become protagonists as a whole.

What other Lomography products have you used, and can you tell us your experience using them?

I have used the medium format versions of CN100, CN400, CN800 and Lady Grey 400.

For 35mm I've used Fantôme Kino B&W 35 mm ISO 8, Berlin Kino 400, Redscale XR and CN400 and still have Babylon Kino B&W 35 mm ISO 13, LomoChrome Turquoise, and Potsdam 100 waiting to be tried out. I've loved them all, but I have to say that the Fantome 8 is by far the one I liked the most. The possibilities it offers for multiple exposures are impressive! Another one I've loved the results of is the Redscale XR where the contrast brings even the frame one considers insignificant back to life.

Regarding cameras and lenses, I have a Diana F+ 10-year anniversary edition with the normal lens, a soft telephoto 110mm, and the fisheye lens. As for accessories, I have the 35 mm back and a Splitzer. I think the Splitzer is ingenious.

What's your favorite place to take photos in your city?

My favorite place is El Rosedal because it's filled with beautiful roses that I love and they always serve as a source of inspiration for me. Additionally, it's a tourist spot, and people who visit usually have a good time. They're accustomed to seeing people taking photos, so it's easier to blend in and take pictures naturally.

On the other hand, I often choose central avenues, which tend to be busier with pedestrians. This is very helpful when I want to capture a group of people instead of individual shots. However, my favorite place will always be the one I don't know.

Can you tell us more about the analogue community in Argentina?

There's a lovely analogue photography community in Argentina, but it's a reality for us that the price of film stock and cameras is very high for us. As a result, analogue photography tends to be an occasional hobby for many, and the truth is that not everyone who wants to take analogue photos can afford to do so. This also forces us to experiment with quite a few restrictions. We push ourselves to study extensively to minimize the chance for error. My greatest wish is that more of us can afford the film stocks and cameras so we can continue experimenting in this beautiful and rewarding art!

Where do you find inspiration for your photos?

I always find inspiration in the question "What if...?" It's my biggest drive to go out and try new things. I'm often inspired by looking at a film stock and thinking, "okay, this could be useful for trying out this idea, let's see what happens!" I also find inspiration in seeing what other photographers have achieved with the same film or technique; in this regard, the Lomo community has been very helpful. Of course, inspiration also comes from my family; I love photographing them and capturing memories in the form of pictures or moments that I don't want to forget. On the other hand, flowers are always a great source of inspiration, especially roses, which I adore! And of course, cities, people, the movement within them, or empty cities, all inspire me greatly.

Can you share with us a couple of your favorite photos and the stories behind them?

The first photo is one I took of my mum while she was arranging a bouquet of iceberg roses from her own garden. It's not experimental; it's quite real. I loved how the light was falling on the roses and her hand. I couldn't resist taking it. Now it's part of those memories in life that I capture through photos, so I can always remember her bouquets, especially when she's no longer with us. I know it's very nostalgic, you could say pre-nostalgic. But I love capturing these photos that I know will become a beautiful memory and testimony. When someone asks me, "And what were those beautiful bouquets your mum used to make that you're telling me about?" I'll be able to show them the photo.

The second photo is one I took with the Lomo Redscale, and at the time, it was just a photo I took because I liked the movement of the water and wanted to finish that roll to start another film stock I wanted to try. It ended up being one of the most moving photos I've ever taken. I love how the lighting and the reddish tones transformed that photo and that moment into one of the most unforgettable ones I've photographed. Plus, instantly when I saw it, I remembered the beginning of the book, "Alice in Wonderland," which I read when I was six years old. It transported my imagination to a very similar image, which is the phrase that goes like this: "All in the golden afternoon. Full leisurely we glide..."

If you were a Lomography film which one would you be and why?

It would definitely be a mix between Fantome 8 and LomoChrome Purple! Fantome 8 for the level of drama in that film, how deep it is in showing a person's personality, and the extremes it offers for playing with that. On the other hand, LomoChrome Purple for its versatility and the consistent range it provides within its possibilities. Additionally, it shows an alternative reality to what one is seeing, and I feel that's always where my mind leads me to see and show.

Is there anything else you would like to share with the rest of the community?

Ask yourself "What if…?" and let that be a driver to step out of your comfort zone. Don't be shy, don't be scared, just go for it! Fear not the mistake! And if you do make a mistake, it's not the end of the world. That's what it's all about: learning by doing, learning from the process. I see many people afraid of wasting a frame of their film stock; I tell them to lose that fear. When you lose that fear, you break free from those chains, and the best ideas start to flow. Moreover, many of the best results come from mistakes! Just as they come from learning the correct technique first and then starting to push its boundaries.

We thank Estef for her wonderful photos and be sure to check out her Instagram and LomoHome

written by rocket_fries0036 on 2024-06-26 #culture #people #places #argentina #multiple-exposure #experimental-photography #cn-400 #lomochrome-purple #lomochrome-films #lomochrome-metropolis #fantome-kino #babylon-kino Share Article