A quick post with a few photos from Christmas time around Blåvand, snow in Amsterdam, and a Paris flea market. Not too good with exposure on this one for some reason.
I’ve already tired the LomoChrome Purple a few times, finding the results amusing for certain settings. Hence, when they released the LomoChrome Turquoise I bought a couple, and finally got around to finishing the first roll.
As seen in Leaves or Roof Tree, clear blue skies turn orange when not overexposed (and lightgrey otherwise). Green colours turn turquoise, and some dark shades turn red (e.g. Red and Green). Many other colours disappear (e.g. City Park or Missing Colours), and skin tones turn scary (e.g. Walk in the Park).
In summary, for this roll, scenes with blue, green, and orange turned out best.
I hadn’t shot a Kodak Ektar for a long time — somehow the last one had left a bad impression, though looking at it now I can only vaguely remember why. In any case, a good friend talked positively about it recently so decided to give it another try.
The rendering of City Park is great, and the same for Windows, Sea Resistance, and Les Pirates. The rendering of Bunker Hotel, Market Barn, and View is close to how I remembered the film, being either a bit too strong on some colours (reds) or a bit too dark on others (dark greens). The rest look somewhat like a Kodak Portra.
Overall I’m happy with the result and have a more positive opinion on the film now. Perhaps it’s important to not underexpose the film, and to use something else for scenes with dark greens and, to a lesser extend, blues.
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.
Shooting the LomoChromo Purple is a gamble or, more positively, a challenge. Here’s my second attempt.
Until solved, the tint of this film sometimes renders frames mundane by not having a lot of colour contrast; Street Corner is one example, Forest another. Yet at other times, this is it’s greatest strength (perhaps going back to its origins in the special-purpose Kodak) and it will separate things normally blent together, such as in High-speed Sheep.
And finally, sometimes the colours are just right making for an interesting alternatively such as Silver Roof, or the soft colours fit the scene nicely as in Love Plant.
Spring is a great time to take photos. Not only is a long photo-crippling cold winter coming to an end, colours are also shooting out from everywhere.
I like Spring and the bright green colours of the tree; I still remember taking the photo, waiting for the wind to lift the leaves to show their lighter bellies.
Wedding and Breath of Air were taken at a typical French wedding hosted at a country side castle.
As in these two rolls of film, the tragic Charlie Hebdo shootings filled up a large part in-between the typical events this winter. Having participated first and foremost as a peaceful demonstrator, I’m happy that bringing the camera along that day allowed me to capture a bit of that very unique atmosphere.
The first roll contains a bizarre mix of family christmas photos, random walk around Paris, and a scenes of shootings.
The second roll covers the peaceful demonstration, as well as more winter travelling.
Both were Kodak Portra, and on a technical note I’m actually surprised how well it stood up to the clearly underexposed evening shots.
When I received my Nikon FM, the eBay seller was kind enough to send along two rolls of old film she had lying around and (probably) wouldn’t need anymore. It was two 24 frame Fujifilm Superia 200, expired along ago. At the same time I had an old Lomography Color Negative 400 sitting in the fridge that had expired a while ago as well. As a result I didn’t expect much and (unlike normally) finished them over the cause of just a few walks around town.
The first one is the expired Fujifilm Superia 200 which to my eye shows no sings of having deteriorated. I couldn’t tell you why it was all about shooting blue skies, but at least the houses vary a bit. I like Before and After for its colours and the difference in the trees, and Versus for the variation in clothing and again the colours. The blue sky in Rooftop Monster is splendid and not what I expected from this film.
Second film is the Lomography Color Negative 400 of which I bought a three-pack years ago. However, I was never too happy with the result it gave when shot on the cheap Lomography cameras, and as a result it was allowed to just sit in the fridge until it apparently expired a year or two ago. Wanting to get rid of it, it was the perfect follow-up to the expired Superia.
Now, it seems clear that the film is of lesser quality, yet its much better than I remembered and in particular like its rendering of for instance Square, Lighting Cracks, Sunday Crosswords, Spotlight, and Three Kids (which is more like what I’d expect from the Superia actually). For the latter, note that there were actually three kids up in the tree, with me waiting patiently for one of them to move into the light; in the end they won though and I had to settle for this.
Finally, while I would like to have that the composition and expression in each photo I take is at least at the level of Skatboard Admiration or Sunday Sun, I have to admit that once in a while it’s not too bad to just shot a film without being too picky. The average quality is higher than I imagined it would be, and still find a pleasure in most of the shots.
It’s my impression that the AgfaPhoto CT Precisa 100 these days are mostly used for cross-processing, yet after having seen what it can do there I got curious to see it’s true colours as well — not least after having seen the beautiful blues of another positive film, the Fujifilm Velvia 50.
Overall I was hoping for more, yet to be honest this is likely to be because the film requires more accurate exposure than I offered it.
In some cases, e.g. City Beach, Rinck, and especially Rain Clouds, we did a great job and got what I wanted. In other cases, e.g. Under the Bridge I’d like to think that the result could have been better on a higher quality film; however, while Stripes and Circles also falls in this latter group not all mishaps are actually that bad.
Verdict? At less than half the price of Velvia 50 it’s still a candidate for nature/post-rain scenes like Rain Clouds.