Given its colour tint and demand for light (I tend to shoot it at ISO 50), the Lomo Redscale is not an easy film to find good scenes for. Combined with a long period of me living out of boxes, this roll ended up staying in the camera for around a year. And when it was finally developed it turned out to contain a few other surprises besides that of re-seeing old frames.
The first surprise was to see the frame on which I suspect the roll had been stuck on in the camera for around 9 months. I’m not completely sure it’s the real reason, but it is striking that Left in Camera is the only frame with two very different colour tints.
The second surprise was that the tint appears to have somewhat shifted over the year, with some shots be quite heavier in the red tones than others. Again this may have been some rustiness on my part, but there was a clean pattern.
At any rate, turns out there’s some evidence to the old advice of not keeping a film in the camera for too long.
I’d been wanting to go to Japan for years, and now seemed as good as ever. Taking the best of two days for travel, it had to be limited to nine full days there, with five spent in Tokyo, two in Kyoto, and two for what lies in-between.
It should come as no surprise that Tokyo was amazing. The cleanliness, the cityscape, and the seeming separatism from the US (compared to large parts of Europe at least). My impression is that it would be hard to move there for good — but coming back to work there for, say, one year is on my list now.
Unfortunately there wasn’t much time left over for Mount Fuji, but we did take the advice of many and stayed a night at a tradition Japanese inn, which is hereby passed on. Got to see the mountain though, and driving past a Fujifilm factory on the way I also finally made that connection (ever wondered why the network gigant is called Cisco?).
In Kyoto the most impressive thing was the Fushimi Inari Taisha shrine, with the entire Inari mountain essentially covered in Japanese Torii gates.
And of course everything was documented with Fujifilm, specifically Superia 200 and 400, and shot on a Nikon FM.