“It’s Kodak Gold,” I’m often told by Lomography reps about Lomography Color Negative 100. The film is one of the offerings from Lomography that is also a more affordable option at times in both 35mm and 120. Now, some folks may scoff at the idea of shooting Kodak Gold since for years, it was designed for being shot by just consumers. But in truth, it’s capable of delivering some seriously lovely colors. To that end, so too is Lomography Color Negative 100. At times, I genuinely feel like Lomography Color Negative 100 sometimes just intensifies whatever scene is just in front of you. But either way, if you’re looking for a low ISO alternative because you don’t like Kodak Ektar’s colors, then Lomography Color Negative 100 is a very viable option.
All images by Albertino. Used courtesy of his website and blog post.
In many ways, the Lomography Lomo’Instant Wide an almost perfect Instant film camera except for the fact that it doesn’t have manual exposure abilities. But Albertino, the same man that designed the Lego Instax camera, finally has his own hack. The hack involves taking the lens off the camera and using a third party one mounted to it.
The Lomography Lomo’Instant Automat Glass Magellan answers the prayers and wishes of almost every Fujifilm Instax Mini film user–and it’s arguably one of the absolute best cameras shooting the format on the market. Obviously, part of this appeal is the glass lens on the front of the camera. This lens is the same optic used on the company’s Lomography LCA 120–and so it is the sharpest and the fastest aperture lens available for use on any Instax camera (at the time of publishing this review.) That quality will appeal to a lot of photographers; and though there are a number of shooters who still want manual controls, you’d be shocked at how great the photos are from the Lomography Lomo’Instant Automat Glass Magellan.
And if you don’t care about any of that stuff: then this is the absolute ultimate Instax Mini camera on the market.
A while back, Lomography LomoChrome Purple was released in 120 and 35mm formats. But earlier this year, the company updated the formula to make it more stable. With it came the major improvement of making it easier to shoot with. The current LomoChrome Purple formula allows a photographer to get great results whether they’re shooting at ISO 400 or ISO 100. Lomography states that you can rate it at either setting, as opposed to the older formula which needed a lot of light to create the best images. This new emulsion is available only in 35mm, but it provides finer grain and still very nice colors.
So if you’re the type who only wants to shoot in 120, then the size may put you off. But make no mistake, the quality is absolutely there.
It’s been a few years since Lomography announced LomoChrome Purple, and just today they’ve announced a new update to the film. The new Lomochrome Purple 400 film is designed to be a whole lot more stable. With that said, we start out with a recommended and set exposure at ISO 400 vs the previous version of the film which was said to need a lot of light. To that end, it wasn’t uncommon that photographers shot it at ISO 200 or even 100. The new Lomochrome Purple will continue to shift blues to greens, greens to purples and yellows to pinks. The new emulsion increases the film’s sensitivity to red hues.
The Square Format is an absolutely lovely format when it comes to shooting photos. It delivers a really nice symmetry that can sometimes be very difficult to work within when it comes to creating photos. But for many years, it was the standard on Instagram. Square Photos also seem to have a special charm about them; and I strongly suggest that every photographer try it.
Here are a number of our favorite square format cameras.
Creating the Photograph is an original series where photographers teach you about how they concepted an image, shot it, and edited it. The series has a heavy emphasis on teaching readers how to light. Want to be featured? Email chrisgampat[at]thephoblographer[dot]com.
I’ve done a number of posts for our Creating the Photograph series partially because they help me to show off a different way or thinking about a problem that needs to be solved on a set. So recently when working with the Fujifilm GFX 50s on a shoot, I tried to find a way to deliver that “club” type of look that’s becoming so popular again in photography. I’ve written about it before, but not a whole lot and not in terms of practical application.
So here’s my story.
There are whole swarms of photographers who absolutely swear by and to the 50mm focal length, yet when it comes to portraiture, it’s easy for a lot of photographers to find the focal length a bit lacking. That’s where all of these slightly longer focal lengths have been coming from for a while now–something just a bit longer than a 50mm lens is often a fantastic option for portraits because while it isn’t as constrained as an 85mm lens, you tend to get a slightly longer field of view and therefore just enough more compression when shooting.
Here are some of our favorites.