Film Review: Lomography Color Negative 100 (120 and 35mm Formats)

“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.

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Michael Scott Phillips: Beautiful Film Photography Influenced by Oil Painting

All images by Michael Scott Phillips. Used with permission.

Photographer Michael Scott Phillips is one that uses film and who genuinely considers himself an artist. You see, he’s an oil painter. Painting plays a role in his photography and vice versa. His influences are many: Mary Ellen Mark, Bruce Davidson, W Eugene Smith, Edward Steichen, Alfred Stieglitz, Stanley Kubrick, Joel Meyerowitz, John Vachon, and Sebastião Salgado are cited in this post. And while going through submissions for our analog zine, I found Michael’s to be particularly great.

Here’s his submission.

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Kaamna Patel: Analog Film Photography with a Magic Box

All images by Kaamna Patel. Used with permission.

Photographer Kaamna Patel is based in Mumbai–where she returned after working for five years in Paris. “I am interested in themes of identity & globalisation, putting the world and myself under scrutiny, an objectivity facilitated by a lifestyle of constant travel.” she says. “I usually shoot with a Beautyflex 6×6 camera.” Yup, that’s right, she’s an analog photographer. Like many others, Kaamna has fantastic work surely worth being featured here on the website. So here’s her submission.

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3 Reasons Why Spring is the Best Time to Get Out and Shoot Film

Chris Gampat The Phoblographer Zeiss 50mm f2.8 touit extra photos (8 of 14)ISO 2001-1000 sec at f - 2.8

Here in the NorthEast of the USA, spring is in the air. With spring comes lots of new opportunities to go out there and take photos of everything around you, but in particular, spring is an excellent time for you to go out there and shoot photos with film. Why shoot film? Because film photography forces you to sit there and get everything perfectly right in the camera before you press the shutter. You’ll make decisions that you never thought of before like how highlights are affecting the scene, how dark the shadows are, and what the colors will look like. It will also force you to do things like spot metering and figuring out the right exposure that you want–not what the camera is telling you.

Here are some great reasons to get out there and shoot film this Spring.

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DxO Filmpack 4.5 Introduces Kodak Ektar and Agfa Scala 200x

Screen Shot 2013-12-05 at 8.45.37 AM

DxO’s Filmpack has won many awards; rightfully so too. It’s probably the best film rendering product there is out there despite VSCO catching up. To offer even more options to their users, the company announced their Filmpack 4.5 upgrade. The update includes new presets which users might experiment with for the pure fun of them, a tone curve, and a way to adjust frame and light leak settings.

But by far the most important part of the update is the addition of Kodak Ektar 100 and Agfa Scala 200x. Ektar is a film that still has quite a following though it isn’t as valued as Portra.

Filmpack is used by many portrait photographers, wedding photographers and loads more. The interface and renderings lean more towards the technical side of the crowd while VSCO is more for artists that want simple presets. And if you’re a Lightroom user, they recently added in full integration with the program.

You can head over to DxO’s store and check out their discounted prices.

Kodak Reported To Increase Film Prices By 15%

Only shortly after announcing the discontinuance of their entire slide film range, Kodak is in the news again. This time, they are reported to increase the prices of all their remaining photographic films by 15%. According to a Kodak spokesman, this price increase is necessary in order “to remain a sustainable, viable business.”

One can only wonder if, in a time where film sales are ever declining, this is a bright move. In effect, it may keep even more people off of buying film, and may drive those that have been using film towards the far more cost-effective digital medium. In the end, Kodak may yet again be shoveling their own grave (or at least that of one of their products.)

Meanwhile, you can still buy plenty of different Kodak films at B&H Photo, even some of their already discontinued flavors.

What do you think about this?

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Spending Two Weeks with Kodak Ektar and Portra

Portra 160 35mm

Not long ago, Kodak got in touch with me and wanted me to try out their latest Portra films: 160 and 400 in 35mm. At Photo Plus, I was also given a roll of Ektar to play with. Admittedly, I’ve mainly been a user of Portra 400, Tri-X 400, Fuji Pro 400, and Ilford XP2. However, I decided to give it a shot and reawaken the excitement that comes with not knowing what your image looks like until it comes back from the lab.

A giant thank you goes out to Nathan Blaney for letting me use his Canon 1N for this post. Blaney is a wonderful photographer, and you should take the time to look through his site.

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Field Review: Shooting at a Wedding With a Mamiya 7 II and Slow Film

I love film. The Yashica Electro GSN captured my heart a while back and so did the Leica M7. Thankfully, I was recently loaned a Mamiya 7 II medium format film rangefinder with an 80mm f4 lens. Coincidentally, Kodak also was kind enough to hand me rolls of Tri-X 400 and Ektar 100 recently. Even better: a friend of mine recently got hitched. So how does the Mamiya 7 II perform while shooting handheld in extremely dim situations and with slow film?
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