Łukasz Spychała Translates Emotions Into Images

Łukasz Spychała captures the world through a dreamy analogue lens, his photographs glowing with surreal colors and nostalgic moods that transport viewers elsewhere. A passionate film shooter, he has experimented with many Lomography stocks over the years – from Lomography Redscale XR ISO 50–200, LomoChrome Purple Pétillant ISO 100–400, to Lomography Color Negative ISO 100 & 400. Always open to new ideas, Łukasz finds himself in one of the most creative phases of his journey, constantly turning inspiration into new images. We sat down with him to talk about his inspirations, his love for film, and what lies ahead on his analogue path.

Welcome to Lomography Magazine! Could you introduce yourself to the Community?

Hi, my name is Łukasz Spychała. I’m 30 years old, based in Poland, and my artistic pseudonym is ‘Koneser’. I studied computer science and work as a programmer, but analogue photography has been taking up more and more of my life – both as an artistic expression and a way of living.

I photograph with a Japanese medium-format Mamiya RB67 Pro-S, working across black-and-white, color, and slide film. My focuses are on female portraits and nude photography, but I also explore fine art, cinematographic, conceptual, and narrative photography. I chose film as my medium because it allows me to create fully thought-out, refined frames. Beyond personal projects, I produce collector's prints, album covers, and publications, and I lead workshops to share my approach to analogue photography.

Among my achievements, I was named ‘Professional Analogue / Film Photographer of the Year’ at the 2022 International Photography Awards, and in 2024, I received further distinctions in Monochrome Photography Awards, the Fine Art Photography Awards, and the Analogue Sparks International Film Photography Awards.

How did you first get into analogue photography, and what drew you toward film rather than digital?

I’ve been involved in photography since high school. I started with digital, but analogue soon became my conscious choice. The turning point came in college, when I joined the Culture Agenda of the Wroclaw University of Technology and discovered film and the darkroom. I loved its unpredictability, physicality, and focus on each frame – it felt like the most beautiful type of photography ever created.

Both my parents were hobbyists: my dad in the darkroom, my mom photographing mountain landscapes. From them, I learned that images can evoke strong emotions and share a piece of your soul. Still, the camera wasn’t my first choice – I only asked for it when I was ready, which gave me the conviction that I chose photography, not the other way around.

For several years I’ve worked exclusively with analogue. A session may yield 12 considered frames instead of hundreds, encouraging reflection and attentiveness. Film offers unique color, depth, and tonal range unmatched by digital. Medium format gives me both image quality and plasticity, which even large digital sensors can’t replicate. That’s why I choose film with full conviction – it’s not only a technique, but a way of seeing the world.

What does working with analogue mean to you, and how does it shape the way you see and capture the world?

Analogue photography, for me, is a completely different way of creating – more conscious, calm, and rooted in the process. I like to polish each frame, and pressing the shutter is the final confirmation of decisions I’m sure about. During a session, time slows down, and with the model, only the here and now matter. It feels like meditation that digital photography rarely offers.

I love that analogue forces you to think before shooting. Instead of taking dozens of shots, I create consciously, focusing on details. When I pick up my medium-format camera, I immediately feel calm. I prefer fewer photos, but ones with meaning. Often, I find myself more fascinated by the preparation – thinking, talking, feeling – than the actual photo. Each photo has emotional and physical value; I can hold the negative in my hand.

Of course, traditional photography has limitations. Sometimes one detail ruins a frame, and I must give up. It’s also expensive and time-consuming, and I can’t show results on the spot, so I use Instax for previews. Despite everything, it’s in analogue that I feel most like myself – here lies the heart, the silence, and the truth.

You mentioned being in an “extremely intense and creative period” of your photographic journey. What’s inspiring you most right now?

My ideas come from many sources. Sometimes they appear suddenly, other times they take a long time to mature – sparked by a conversation, emotion, memory, or place. I am inspired by what moves me: films, sounds, and especially painting. Hopper, Sendor, and Beksinski fascinate me with their use of light, space, and mood. Painting’s silence and depth often trigger me to think about images.

I avoid looking at too many photos by other photographers. I want my work to come from an inner need, not from imitation. People are a huge inspiration – their energy, gaze, and presence often tell me what story I want to capture. Places also matter; some have a special atmosphere that guides the session. Travel inspires me too, whether long journeys or everyday walks. Sometimes a chance encounter, a book fragment, or a melody is enough. More than the content itself, it’s the emotions that drive me – whether I can later translate them into an image. For me, photography is a constant search. Each photo is an attempt to understand myself, my emotions, and the world.

Can you walk us through your creative process – how do you move from an idea to a finished photograph?

I don’t have one fixed way of presenting ideas before a session. It depends on the inspiration and what I want to express. If it’s personal – an experience, an emotion, a situation – I share it directly, believing authenticity builds trust and helps us quickly find common ground. When the source is a dream or sudden vision, I describe what I see – the atmosphere and emotions. I rarely prepare mood boards; I don’t want to impose images that limit imagination. At most, I’ll share photos of the location or styling ideas. The rest comes from conversation, leaving room for doubts and joint exploration. I like when not everything is defined in advance – that’s when spontaneity and genuine emotions arise.

For me, a photo shoot is a meeting between two people. It’s shaped not only by my plan but by what we feel together. Often, the model’s presence – movement, gaze – ultimately shapes the idea. I’m not interested in recreating a previous vision. I want something authentic to happen here and now. That’s why each session is different and unique.

You’ve experimented with several Lomography films in the past. Which have been your favorites, and what was that experience like? Were there challenges or surprises you enjoyed? And which film would you like to try next?

In the past, I have worked with films such as LomoChrome Purple Pétillant 100–400 and Lomography Redscale XR ISO 50–200. I really appreciate both – they inspire new shoots and change the way I look at color. As someone who loves intense tones, it was love at first sight. These films transform familiar places, giving photos a completely different mood and character. That kind of surprise keeps analogue photography fascinating for me. I definitely want to explore Purple and Redscale further.

In the future, I’d love to try LomoChrome Color '92 ISO 400 (also in the Sun-kissed version) and LomoChrome Metropolis 100-400. I’m curious about their potential in my hands. Beyond film, I also use DigitaLIZA 120 Scanning Mask daily, which has made my work easier and which I often recommend. I also own a 35mm Lomo LC-A and would love to try the 120 film version – it would give me fresh energy and satisfaction in my work.

When preparing for an exhibition, how do you decide which photos to showcase? Do you follow a theme, or rely more on instinct?

When selecting photos for an exhibition, I focus on the theme, but just as much on instinct – choosing images with the inner strength to resonate in the space. The theme gives direction, but intuition shows which photos carry the truth and emotions I seek.

The exhibition space is equally important. Each place has its own character, light, rhythm, and history. I aim for harmony so the images resonate with their surroundings and affect the viewer not only visually, but emotionally. This makes each exhibition unique. Even when using the same photos, their order and presentation change depending on the space. A white gallery differs from an austere venue. This dialogue between photographs and place creates more than an exhibition – it becomes a story the viewer experiences with their whole being.

Is there a subject, theme, or place you haven’t yet photographed but would love to explore with your camera?

I am constantly working on exciting projects and always give them my heart and soul. I cannot reveal details yet, but new results will soon appear in my portfolio and on Instagram. My ideal project is always the one just around the corner. I treat every photo as if it were the most important, dedicating time, attention, and a part of myself.

It’s hard to choose one dream place because I am inspired by the process of discovery itself. A new space always brings new emotions, stories, and perspectives. Sometimes I simply let intuition guide me. I also have a symbolic dream: to shoot in space with Earth in the background – reflecting my desire to seek new perspectives and push boundaries. For me, photography is always about traveling, both literal and internal.

What advice would you give to young photographers just starting out with analogue?

My advice to young photographers is simple: don’t strive for perfection at all costs. Analogue photography is not about perfection, but about truth and emotions. Know the rules, but also when to break them – sometimes a ‘mistake’ gives a photo its greatest value.

Don’t try to please everyone; authenticity matters more. Be satisfied with what you create – your sensitivity, perspective, and story should resonate in the frame. Appreciate everything around photography: it’s an excuse to travel, meet people, and discover places you’d otherwise miss.

Talk about your photos, listen to opinions, but always filter them through yourself. Photography is a dialogue with the world, but the final word is yours. A good photo is one you are proud of and that fully expresses your vision.

Keep up with Łukasz´s upcoming projects and follow his work on his website.

written by wiktoria on 2025-10-23 #gear #people #in-depth #portrait #redscale #lomochrome-purple Share Article