Posing the Question of 'Existence' and Seeking Its Essence: Cho Jin-young's Lomomatic 110 Review

Cho Jin-young, a Seoul based film photographer, talks about how she gradually fell in love with film throughout her life, and explores film photography as more than just a means of recording, but as a medium to capture the nature of existence. She continues to explore the process, recently using the Lomomatic 110.

Hello, welcome to our Magazine! Could you please introduce yourself?

Hi! I’m Cho Jin-young and I run the account @hwifilm on instagram, where I post my film photography works.

After graduating from an art university, I worked in special effects makeup for commercial films. I’m also a stage 4 cancer survivor.

Currently, I work with 3D projects while continuing to shoot film photography. It seems like there’s a lot going on! Will there ever be a day when I can describe myself with just one word? If so, I’d simply like to be known as Cho Jin-young, nothing more.

When did you start taking photos, and what led you to begin photography?

I got my first own camera around the time I finished middle school. Later, while I was in university, DSLR cameras started becoming popular, and I naturally jumped on that trend as well. While taking a photography class, I took some black-and-white photos with a digital camera, but then my professor said to me, “Digital black-and-white is not real black-and-white.” That made me wonder, “What is real black-and-white then?” That led me to buy a film camera.

For a long time, photography wasn’t the main part of my work, but it was always with me. Even if I had to put aside it when I was busy, I always brought a small film camera with me when something special happened or when I traveled. In fact, photography now feels like something I picked up as a tool for 'rehabilitation' after being sick—helping me to walk again, so to speak.

What was the concept behind this shoot?

The concept for this shoot is a reflection on 'existence.' As an adult, I often found myself repeating the phrase, "From the perspective of the universe, we are like specks of dust, so we just need to shine in our own way." This thought brought me great comfort when I was feeling somewhat withdrawn, and it's something I still need to remind myself of now.

For this reason, I tried placing my model, Jeong-in, amidst complex urban structures, capturing overlapping shots through double exposures, or repeating the same figure multiple times to create ambiguity around what is 'real.' Even if the images appear vague or unclear, the truth is, in those few seconds when the shutter opens, each depiction of Jeong-in on the film represents a real moment in time. No matter how I scatter the image, it still shines in its own way, and that remains unchanged.

It seems like you primarily focus on portrait photography. Could you share how you work with your models?

In fact, I haven't been doing portrait photography for very long. However, since I’ve worked on projects related to the human body for a long time, the human figure as a subject didn’t feel unfamiliar to me. In the beginning, I had this rather arrogant thought, like, "This should be easy!" But as I began expanding my scope with photography, I realized that things like building a good relationship, trust, and communication skills are essential.

For shoots with a strong concept or where there’s a lot to share, I make sure to create a storyboard, using both text and drawings, to help the model understand the vision easily. However, I don’t always put so much energy into detailed planning. Sometimes, I approach the shoot with a lighter mindset, quickly observing the model’s strengths or unique charm on set and then capturing it.

Even when the approach is more casual, I usually have a pre-discussion about things like wardrobe or makeup. I also believe it’s important for the photographer to know the location well, so I make it a point to do a location scout in advance or arrive much earlier than the scheduled time to check things out.

You work exclusively with film and even handle the development process yourself. Could you tell us why you prefer film and why you choose to develop it personally?

At some point, I began feeling a bit disillusioned with how easily images are created and discarded nowadays. I've actually worked with digital tools for a long time, and I’m quite familiar with them. I still do 3D work regularly, and recently I’ve been thinking about how to use AI as a tool in my projects in a way that works well. Since the images I create on my computer can be endlessly duplicated, deleted, and regenerated, I find that the consumption of these images speeds up, and they quickly lose their novelty. This sense of emptiness that comes from such a process makes the moments I capture on film feel even more precious to me. I approach each shot with the mindset of truly capturing a moment, and because of the limited number of frames, I take pictures more carefully. Sometimes I feel disappointed when I miss something, but that just makes me look forward to the next opportunity. This process naturally enhances the quality of the images.

Another aspect I find irreplaceable is the fact that there’s a physical original. I’ve always cherished things that have a tangible presence, things I can make and touch with my own hands. I place great value on the process itself. The excitement and joy I feel during the development process—knowing that the film exposed during those brief moments is now creating an image in the developer—makes me feel like I’m part of something special. This naturally led me to want to be someone who can physically preserve someone’s moment.

Was this your first time using the 110 format? How did you feel about using it, and what do you think sets it apart from other formats?

Yes, it was my first time using 110 film since I’ve mainly stuck to 35 mm for the convenience of developing and scanning. This year, I’ve focused on eliminating uncertainties by using the same film, developer, and camera for portrait shoots, so trying out a new format was a welcome change. The biggest advantage that stood out to me was how small and light it is. I find SLR cameras over 500 grams to be heavy, so having something that fits easily into my summer clothes pocket or being able to toss the Lomomatic 110 into my bag without adding any noticeable weight was a huge relief.

Another interesting aspect was the pronounced grain due to the small film size, which gave the images a unique texture. I also found the frame markings with the film name and logo to be a fun feature. And when I held the camera up to my eyes, the way it covered both of my eyes, almost like the mosaic effect from the poster of the movie Parasite, felt quite charming.

What were your impressions of the Color Tiger 110 ISO 200 film?

I’d say the Color Tiger 200 is one of the most versatile films in Lomography’s 110 film line, offering a more natural color palette. Its ISO 200 sensitivity makes it a good all-around choice, especially when paired with a flash in low-light conditions. Recently, I've seen a lot of special edition films from Lomography on Instagram, which has shaped my perception of Lomography as a brand that creates unique and fun films and cameras that break the norm. However, using the Color Tiger 200 reminded me of the Lomography 100, 400, and 800 negative films I used to shoot with. It gave me a sense of familiarity, making it a great option for capturing everyday moments with ease. I think it's a reliable film for day-to-day photography or travel, offering a natural and unobtrusive way to document life.

How did you feel about using the B&W Orca 110 ISO 100 film?

When I first saw the photos, I was surprised by the relatively coarse grain. However, when I used the built-in flash for portrait shots, the increased contrast really appealed to me. I originally wanted to shoot on a clear day, but the weather was quite overcast, which was a bit disappointing. Still, I always feel that cloudy weather pairs well with black-and-white film, and in the end, I was quite satisfied with the results.

If you were to recommend a photography concept for the 110 format, what would it be?

The 110 format can be used for almost any concept I believe. However, I think it shines through more in projects where a slightly rough aesthetic works, rather than those requiring highly delicate details. Due to the small film size, grain becomes more noticeable, and the lightweight, convenient flash can really amplify that retro feel if used well. The Lomomatic 110, in particular, despite being an automatic camera, supports multiple exposures and bulb mode, making it a very exciting tool for creating more imaginative and experimental shots.

Do you have a favorite photo from this shoot? If so, what makes it special?

This photo is actually double exposured. The first shutter was released before the flash had fully charged, so I ended up taking another shot over it. That’s why the overlapping and slightly blurred look of the image felt so intriguing to me. The reflection of the flash light on the plastic-covered door in the background looks almost like a kind of wave or ripple. Since I was using a film with more conventional color tones, I wanted to create more unique and unusual images in contrast. I like this photo because it feels like an ordinary shot, yet it holds a secret that only I know.

Do you have any future plans that you’d like to share with the Lomography community?

I don’t have any grand plans, but I want to keep taking photos with film, no matter what. I want to continuously capture and preserve the moments where someone existed. It feels like this journey, which I started almost instinctively with a single goal in mind, has ultimately brought me so much joy. Looking back, everything I’ve done seems to have led me to where I am now. While I know there’s still a lot of refinement needed if I want to pursue this professionally, I hope that photography becomes an even bigger part of my life.

Lastly, could you share a few final words and your thoughts?

Lately, I’ve been feeling a bit exhausted, with an endless summer draping my energy. But the Lomomatic 110 provided a refreshing spark. It had been a while since I dropped off film at the lab and eagerly waited for the photos to come back, and it made me realize that there was a time when I truly enjoyed this anticipation. Thank you for giving me the opportunity to try out a new camera format and film!

Thank you to Cho Jin-young for sharing such deep insights about photography and her life. You can check out more of her work on her Instagram

written by suy0909 on 2024-11-03 #gear #people #110 #110-format #lomography-color-tiger-110 #lomomatic-110 #b-w-orca-110-iso-100