The full details of the press release are included here in this article. Briefly, here are the important bits.

Lomography 120 Film New Prices (in US Dollars)

Color Negative 100 ISO 3 Pack : was $34.90, NOW $24.90
Color Negative 400 ISO 3 Pack : was $34.90, NOW $24.90
Color Negative 800 ISO 3 Pack : was $39.90, NOW $27.90
Redscale XR 50–200 3 Pack : was $35.90, NOW $24.90
Potsdam Kino 100 ISO : was $10.90, NOW $6.90
LomoChrome Metropolis 2021 : was $12.90, NOW $11.90
LomoChrome Purple 2021 : was $13.90, NOW $11.90

Lomography’s film can be purchased from retailers such as B&H Photo (there may be a delay with price reductions as retailers roll out the change), or through Lomography’s own online shop.

In a time in which prices seem to be universally on the rise, including prices for film and cameras, it’s a relief to find some good news of price reductions.

If you’d like to learn more about Lomography’s film, you can find many of their films profiled here. And if you’re unsure of which medium format film camera is right for you, take a look at our many medium format camera reviews and buyer’s guides.

Lomo’s films, which in many cases offer visually unique images and a strong individual identity, are now competitively priced with more “normie” films like Ilford’s HP5, Kodak Portra, and Gold 200.

I’m pretty stoked whenever a company moves to keep film photography affordable and bring more people into the craft. This move by Lomo should encourage people to try medium format, even if they had previously thought the format prohibitively expensive.

For my part, I’m already scouring eBay for a new medium format film camera.

Medium Format Film Camera for sale | eBay

Get the best deals for Medium Format Film Camera at eBay.com. We have a great online selection at the lowest prices with Fast & Free shipping on many items!

120 Film | B&H Photo Video

Your source for 120 Film from top brands like Kodak, Lomography, Ilford and Rollei. Visit us for outstanding prices, selection, and fast shipping.

wwwfstopcameras.com

A classic camera shop specializing in cameras and lenses, film, collectible cameras, medium format, 35mm, and some digital. The retail side of Casual Photophile.

Follow Casual Photophile on Youtube, Twitter, Facebook and Instagram

[Some of the links in this article will direct users to our affiliates at B&H Photo, Amazon, and eBay. By purchasing anything using these links, Casual Photophile may receive a small commission at no additional charge to you. This helps Casual Photophile produce the content we produce. Many thanks for your support.]

The post Lomography Announces Big Price Cuts on Medium Format Film! appeared first on Casual Photophile.

At the time of writing, a 5-pack of 36 exposure rolls costs a cool $79.99 from our friends over at B&H. That’s $15.99 per roll! Remember when you could get a roll for $6.99? Ahh, 2015, what a time to be alive.

But don’t run off to sell your kidneys yet. There are still plenty of great color film alternatives to Portra 400 that are worth your time if you want to save a couple bucks.

While some of the alternatives listed here aren’t directly comparable to Portra in terms of grain structure or low light capability, they’re all close enough to be useful in nearly all of the situations in which one would typically be using Portra. It’s also true that using some of these less popular films may even help your photos to stand out from the crowd!

Fujicolor 200

Fujicolor 200 is a fantastic consumer-grade film that yields slightly subdued colors and leans toward cooler tones when compared to Portra. An upside to its consumer-grade status? It can sometimes be scored at big box stores at steep discounts when taking advantage of promotions and coupons. It’s a great film for street photography or in areas where there’s lots of leafy green foliage (think greens and tans). Despite leaning toward the cooler side of the spectrum, it still produces natural, pleasing skin tones, making Fujicolor 200 a great choice when you want to grab some candid shots of friends but don’t want to burn through all your expensive Portra 400.

In December of 2021, it was learned that Fujifilm had outsourced production of Fuji 200 to Kodak, and that the new Fuji 200 was nothing more than repackaged Kodak Gold 200. This news was never explicitly announced, but comparing Kodak Gold 200’s spectral sensitivity curves with the published specification sheet for Fuji’s new 200 film showed identical information. Fuji further confirmed that some of their product line had been outsourced to partners during that period of time, a period in which supply chains were disrupted and materials scarcity became a problem.

More recent reports have claimed that Fujicolor 200’s spec sheet has reverted back to the older spectral sensitivity of original Fuji 200. So, although this is again unconfirmed, it seems that Fuji has resumed production of Fujicolor 200 in Japan. We’ll update if and when we get further news or confirmation.

Current price: $29 for a 3-pack of 36 exp rolls or $9.66 a roll (B&H)

[Fujicolor 200 image samples provided by the author, Sarah Rizzo, and Casual Photophile writer Josh Solomon]

Lomo 100

Lomography’s color negative 100 is a sharp film delivering punchy colors and a retro vibe. At an ISO of 100, it’s a great film for the sun-soaked days of summer. Although the film is sharp, it doesn’t have a lot of fine detail and will show a touch more grain than Portra 400 despite being an ISO 100 film. For this reason, I wouldn’t recommend it for intricate, detailed landscape work. With that said, I think it’s a great option if you’re going to be in a bright and colorful location like a beach town or carnival and want to throw it into a reusable disposable, point-and-shoot, or Holga for some fun shots.

Current price: $29.90 for a 3-pack of 36 exp rolls or $9.96 a roll (B&H)

[Lomo 100 image samples provided by Casual Photophile writer Danielle Wrobleski]

Kodak Gold 200

Okay, you knew we weren’t going to make it through this list without at least one other Kodak stock making an appearance! Good ol’ Kodak Gold 200. It’s a film that was in the family camera of many film photographers who grew up in the U.S.  in the 90s and early aughts. Kodak Gold 200 is nostalgia. It provides warm tones, a forgiving exposure latitude, and medium contrast. There’s really no situation where I wouldn’t recommend bringing some Kodak Gold along. Take it camping, into the city, into a wheat field for luscious golden hour portraits, or out into the desert for Americana scenes – I could go on forever. If you want a higher-end look, load it into a nice SLR or rangefinder with a sharp lens. If you want the retro vibe, load it up in your favorite point-and-shoot with the flash on.

Current price: $29.99 for a 3-pack of 36 exp rolls or 11.99 per 36 exp roll (B&H)

[Kodak Gold image samples provided by the author, Sarah Rizzo]

Lomo Metropolis

Launched via Kickstarter by Lomography in 2019, Lomochrome Metropolis was the first new color film stock in years (The formula was reworked in 2021, so keep this in mind as you browse sample photos). This unique film is rated with an extended ISO of 100-400. It provides a very unique aesthetic, best characterized as gritty, and delivers beautiful chrome hues. It’s definitely more grain-forward than other options on this list, but that’s part of its charm. Metropolis is the perfect film for those gritty street scenes and fluorescent lighting. However, the skin tones aren’t particularly natural, so I wouldn’t recommend it for portraits unless you’re going for an experimental look. This film is roughly $2 per roll cheaper than Portra and I’d say it’s a perfect choice if you want to experiment with something unique.

Current price: $13.90 per 36 exp roll (B&H)

[Lomo Metropolis image samples supplied by Lomography]

Cinestill 400D

Another crowd-funded addition to the list, Cinestill 400D, was launched in March of 2022. According to Cinestill’s website, this film is not their usual re-packaged motion picture film, but a brand-new stock developed for stills photography. The film is daylight balanced and while it’s rated at ISO 400, it has an impressive exposure latitude. According to Cinestill’s website, 400D can be push-processed up to 3 stops, making this a great film if you’re loading up toward the end of the evening and may need to do some night shooting. At box speed, it delivers soft, yet rich colors that are suitable for everyday use. In extreme lighting situations, there is halation in the highlights. At about a dollar less per roll compared to Portra 400, the savings won’t make you a millionaire, but during a time when color film stocks are limited, it’s nice to have options.

Current price: $14.99 per 36 exp roll (B&H)

[Cinestill 400D image samples provided by Cinestill]

So, there you have it. Kodak may be the last man standing when it comes to professional-grade color negative film (RIP Fuji Pro 400H), but there are still some great consumer-grade options when you want to save some cash and set yourself apart from all the other Portra-toned fish in the sea.

Whatever film you shoot, enjoy it! Don’t stress. Just take your time, shoot your shot, and enjoy the process. Despite the rising cost, we’re lucky that this stuff is still around.

More film articles at Casual Photophile

Fujicolor Industrial 100 - Film Profile

The simplest, most cost-effective way to jazz up one’s film photography is to spring for a new film stock. Sure, you could seek a rare lens or a unique body, but nothing beats the ease of buying whatever film is trending. Such is the case with the so-called “Fujicolor Industrial 100,” an apparent darling of ... READ MORE

Kodak Ultramax 400 Film Profile - Confessions of a Film Snob

Kodak Ultramax 400 35mm film review with sample shots and specifications. A consumer grade film that punches above its weight.

Ilford Delta 3200 Film Profile - The Fastest Black and White Film Available Today

Paranoid about passing through six airports and their dreaded x-ray machines with a bag of unprocessed film, I read some advice; toss in a roll of high-speed film to better justify getting a hand inspection. So far as the advice claimed, if you have high-speed film that’s more likely to be negatively affected by... READ MORE

Cinestill 800T Film Profile - Shoot Like Abrams, Allen and Tarantino

Living in Los Angeles is a bit different than outsiders think. In the popular imagination, LA is a sprawling, steamy city teeming with lawyers, writers, and aspiring actors who live fast and chase dreams with ruthless, amoral fury. It’s a place filled with sunshine and broad streets, racing cars and celebrities, scorching beaches and winding... READ MORE

Shop for cameras and lenses at F Stop Cameras

Follow Casual Photophile on Youtube, Twitter, Facebook and Instagram

[Some of the links in this article will direct users to our affiliates at B&H Photo, Amazon, and eBay. By purchasing anything using these links, Casual Photophile may receive a small commission at no additional charge to you. This helps Casual Photophile produce the content we produce. Many thanks for your support.]

The post 5 Color Films That Cost Less Than Kodak Portra 400 appeared first on Casual Photophile.

My name is Jessica Dunston. I’m originally from Raleigh, NC. I just recently moved to Brooklyn about 4 months ago. I’ve been out here moving and grooving. I have always been a creative person by nature, kind of touching a little bit of everything including poetry, blogging, drawing, painting. I want to get into music production but I have not sat down long enough to learn it.

That being said, I feel like I’ve been taking pictures as long as I’ve had a camera phone. We’re in the age of picture taking, but I always tell people I learned what ISO, aperture, shutter speed, all that was in the beginning of 2020. I wanted to get into it and learn it. Hone my craft and learn what kind of artist I want to be. I’ve been on that journey ever since. I’m just addicted to it. I love photography. I love taking pictures. I love learning about the history of it. Getting addicted to cameras and wanting to buy every single camera. So yeah, that’s me!

So you just seriously started taking photos in 2020?

Yeah! So I had been on this corporate path, and I still have my corporate job, but for a while I just thought I’ll do this job and then do little creative projects here and there on the side. Then in December, 2019 something just hit me and I realized I didn’t want to do this. I realized it wasn’t my path. I challenged myself to experiment and see where my interest took me.

The funny thing is I originally thought I wanted to get into acting. I had a journal entry where I wrote about not wanting to do my corporate job anymore and thinking about becoming an actor. Then something led to another. I took an acting class. I took a drawing class. But something about film work, and by that, I mean motion picture work. I was really interested in it. I ended up getting a camera in February, 2020 with the purpose of making short films. Then I started playing around with video and editing. Spent thousands of hours on YouTube working on all of that. But I somehow landed on photography. Once I started just taking pictures, as opposed to video work, it just stuck with me. And that’s not to say I won’t ever go into video work because I love cinematography and getting into all of that. But I’m really invested into creating [still] images at this point.

When you jumped into photography did you start with digital photography? How did film come into the picture?

I started with digital. I started with the starter camera that a lot of Canon digital users go for, the Canon Rebel series. So, a really decent camera, but a beginner camera. I was learning on that camera. As I got into the photography community, it really started in Charlotte. Just finding people that were in the community, into photography so I could learn more about it. I was just in awe of everyone and the amazing things they could do.

At the time I stumbled upon @AnaloguePapi on Instagram. That was my first introduction to modern use of film in photography. Before that, what I thought about film was like Gordon Parks who shot film because it was back in the day. I didn’t realize people were actively using film and shooting film on brand projects or high profile portrait pieces. So, getting exposed to that through their Instagram profile piqued my interest because I kept seeing them post about Lomo 400 and Portra 400, and thought “What does any of theis mean??” Once I got my Canon AE-1, and popped my first roll of 35mm I have just been addicted to the process. I can’t get away from it. [See our review on Jessica’s Canon here.]

Chincoteague with a Rolleiflex and Kodak Portra

A visual feast of pastels and beach tones results when Juliet takes a Rolleiflex to Chincoteague, an island off the coast of Virginia.

And what keeps you shooting film?

For me, it’s the complete process. One, the intentional nature of it. I shoot mostly medium format now. Rolls of medium format are between $12-16 these days. And with the 6×8 on my Mamiya I get 9 frames per roll. So each of these frames we are setting up. We are taking our time. We are understanding the settings and composition, because I can’t just click and get 1,000 photos. I have to be very intentional. I really enjoy that. I feel like that’s why my film work is better than my own digital work because I’m so much slower and intentional with the process all the way from choosing the film to understanding what kind of settings I want to use, how am I going to meter.

I don’t develop now, but I want to in the future. Getting the film developed and getting it back is almost like a Christmas present. You know what you took pictures of but the exact frames might not be fresh in your mind. Getting them back is so exciting. So that’s part of the process, the whole getting a present every time I get a roll of film back scanned.

Where did portraits come in?

It’s crazy. I don’t think I even had a period of not doing portraits. I think my first instinct when I got a camera was to go find someone to take photos of. It didn’t even occur to me to, like, go outside and take a photo of a tree. For some reason it just didn’t occur to me. Because of that I started working with portraits and I haven’t left that since. I’ve tried a little bit of street photography. Most of my street photography work is focused on people and capturing scenes with people. I’m not sure why. I think it has something to do with the fact that people are interesting. Even just faces and all the emotions we go through and all the faces we can give. How our bodies can move and change shapes.

It always feels like there’s a story behind the people you capture. You’re a portrait photographer + story teller.

I’m really glad you said that. Especially in the last year and a half I’ve made a concerted effort to go more towards storytelling. When I first started, I was just taking pictures of faces. Then it became “Okay, this face, what is going on with this face? Why is this face here?” And then when I was in a mentor-ship in the second half of 2021, he pushed us further to say, what are you saying with this photo?

We love beautiful things. But I think when your photography is related to a story, one it’s more memorable and two it’s more impactful. So even as I transition further, I’m trying to take it a step further. One of the projects I’m focusing on in the second half of this year, I want to tell a story and every picture is a still of a story. Almost like a movie still. To be able to set up each individual shot, like this is this part of the story and next is scene two to further push being able to tell a story through photography.

Over the last few months you’ve been posting photos from a series you call Black Love. I’d love to hear more about how that project came to fruition?

It all came together in 2021, I started this mentor-ship. He’s asking us to come up with a series for an exhibition we’re a part of. I’m trying in general, in life to follow my gut and follow what feels real and feels good. I was really pushing myself on what I wanted to talk about. For some reason I just kept going to love. I am one of those people who’s a sucker for love stories, for romance movies and romance novels and rom-coms. A couple months prior I had been taking photos of my parents, and I’ve lately been very invested in understanding their story since they’re in their 70s now. So part of that was documenting their love story, so that also sparked my interest in wanting to know other people’s love stories.

I wanted to make sure that I was going into their spaces. Because I feel like when you go into a person’s space you get to know their history. There’s pictures on the walls, their individual items are all over. Their personality is in it, helping set the scene. Then you have them. Any time I go into a session, I tell them I don’t want to pose you. I want you to be how you naturally are, and we’re just gonna chat and take pictures at the same time. Trying to verbally get their story and trying to capture that visually in their space with their natural energy. Once I started that, I have just been addicted to it. I can’t even fully tell you why. I think for me it’s just a natural curiosity to want to document.

I had an exhibition where I did another set of couple’s pictures for couples in Harlem and in my write up, I was even a little insecure about it. But I’ve made peace with it, it’s just my natural curiosity with what love is, how it presents to each other, and how each couple is unique.

Do you continue to plan to show this in galleries and exhibits?

Yes, it started with the group show called Black Gaze in Charlotte in January 2021. I’ve just been building on the project. I just showed another set of couples portraits in Harlem for an exhibition lead by a group called Faces of Harlem, a non-profit. I’ve shown some there. And I just had someone reach out to me about a gallery show in Charlotte she wanted to pull some of those same pieces for. So yeah, just continuing to develop. I hope as I keep developing this body of work it can evolve into something more focused but until then I’m just doing what I love.

I would love to have a photobook of it!

I think that would be a beautiful and uplifting piece. I think a lot of time, especially for black photographers, art has to be tied to something tragic or making a bold statement versus something that is just very joyful and exciting and beautiful. I think that’s another reason why I love the concept of doing a coffee table book and having it all together.

I love the work you do with musicians, especially Pat Junior. I’d love to hear more about those collaborations. What draws you to wanting to document other creatives?

For one, especially with musicians, as I mentioned before I have such a love for music and musicians whether it’s singers, instrumentalists, or production. I’m one of those people where the only times I don’t have music playing is when I’m asleep or watching TV. All other moments include music. I’m so inspired by it. I’m so moved by it.

That project that I said I wanted to do, with capturing different scenes, that came to me because I was listening to a song and it painted such a picture. When I listen to music I see things like colors and scenes. That’s one of the reasons why I really enjoy working with Pat.

When I started working with him for his album he released in 2021, he really gave me the freedom. He just asked me to listen and tell him how I felt. Even before he told me what the album was about and where he was in the evolution of him as an artist,  I could tell it was fresher, lighter, more joyful, and brighter. That’s why all the images we’ve made for this album are super colorful, bright, and golden. Being able to take what I hear and translate that into what people see, is super exciting for me. I love to be close to the music as well without having to get into it.

Since you have discovered photography, how do you feel that it’s changed your life?

Oh my gosh, I think it has made me so much more creative. Like I said before, I’ve been into other art forms and media and have dabbled in them and got some level of fulfillment out of them. But I think being able to do this has fulfilled me in a way I haven’t been before. Being able to dive into what do I want to say, what am I trying to show, and understanding how to do that. That’s been the biggest thing, being so much more fulfilled and giving me something to be very passionate about. I love this stuff. What was I doing before? I try to think about my life before because now it’s filled with editing photo sets and doing photo walks and taking pictures, and all this stuff. And I’m just like, what was I filling my time with before??

What photo of yours is most impactful or meaningful to you?

I have this photo on my page, it’s one of the couples shots. They’re on the stairs, and it’s more like a wider angle shot I got through this archway when they were on the stairs. And I think the way I was able to get that shot and the intimacy that is palpable through the photo. It’s one of my favorite photos because of that. Along with wanting to tell stories, I want my photos to make people feel something. To experience something when you look at it. It’s one of those photos that I think is definitely an experience looking at.

In the way we consume photography nowadays where we’re often just seeing curated feeds and not seeing behind the scenes as much, I think it’s easy to forget we’re all a work in progress. To that end, is there anything in photography you feel like you struggle with or are working to improve upon?

Two things that I have insecurities around and want to get better with. One, is my composition. I feel like it could be more dynamic or set up in a more interesting way. You always feel like you could push your compositions further and I very much think that. When I first started I was taking more classic portraits, very posed, which are beautiful and I love them but as I move forward I want to be able to push that further.

And two, how I write up about my projects or how I write about myself as an artist is also something I’m insecure about. I see other photographers who’ve been in the game a little longer and their project statements are more eloquent or their artist statements take you on a journey. For the Faces of Harlem exhibition I’m in, with that artist statement I gave it was pretty straight to the point and then I saw other people release their statements and they really painted a picture with words. So those are the two areas I’m going to keep working on.

On the flip side, throughout your photography journey, what is something you’re especially proud of?

I think since the beginning of my journey I’ve been particularly focused on color, not just of the whole photo, but particularly of the skin of the people that I photograph, like how their skin comes across in these photographs. I’ve experimented and tweaked things in post. So I think my color work on my photos. I’ve really enjoyed where that has come from since the very beginning. Especially when it comes to film and understanding at a base level what film stock should be used for this subject and will be best to capture what they look like.

Do you have favorite stocks you’ve found through experimenting that get you the look you want?

I’m always a Portra girl, Portra 400 or 800. For clients with deep brown or darker brown skin, I like to use Ektar because the reds that come through on Ektar can do a good job of picking up the undertones in people which comes across beautifully. When Ektar is bad, it’s bad but when it’s good it’s great. Usually I will stick with those. I was having this conversation earlier with somebody and how I get a little frustrated with Fuji when it comes to using Pro 400H and how it renders brown skin, I absolutely hate it. So I don’t use that. Other than that, Lomo is pretty decent. That one comes behind Portra for me. But even with Portra itself I usually do a little tweaking, not a whole lot, but a little bit to get it where I want it to be.

Shooting Lisbon with a Minolta SRT 303b and Kodak Ektar

Our own Jeb Inge visits sunny Lisbon, Portugal with a Minolta SRT 303b film camera and Kodak's most vibrant film, Kodak Ektar 100.

Who are your favorite female photographers either past or present?

I will start with Carrie Mae Weems. Her table series inspired my couple series. The intimacy in all those photos, the self portraits she did were gorgeous. So of course her. I’m a huge fan of Renell Medrano. She’s one of my favorites. She does beautiful work. I’m also a huge fan of Alex G. Harper. She’s out in Los Angeles, she does a lot of work with musicians, brands, and artists. Also, CoThePhotographer. She does really beautiful work. And then Kanya Ewano, she is also based out of Los Angeles. She does amazing work as well. So those are my five!

And lastly, what’s next on the horizon for you?

Yeah! I have a complete list of things going on. The Faces of Harlem exhibition is going on in Harlem Morning Side Park until November 30. So that’s going on! I told you about the project I want to shoot with the scenes. I was also just approached for a solo show in January, so I think I want to use that project for that exhibition so hopefully that all goes to plan. Also I’m going to be featured in an exhibition in Charlotte in January showing some of the work I’ve done with my couple series. And then just trying to do what fulfills me outside of that and making work that makes me and other people happy!

If you are in New York City, I highly encourage you to check out the Faces of Harlem exhibit and Jessica’s work. More information about the exhibition can be found here. It will be on display in Moringside Park until November 30, 2022.

You can find more of Jessica’s work online on her Website and on her Instagram.

Get Inspired

For more stories behind the images and photography from the community check out the many series we’ve published over the years below!

Featured Photophile – we shine a spotlight on amateur photographers whose work we love.

Photographer Interviews – in-depth discussions with professional and established photogs doing great work.

Female Photographers to Follow – get inspired by a monthly series focused on the beautiful and unique perspectives of female photographers.

Five Favorite Photos – a hand-selected examination of the oeuvre of ur favorite famous photographers.

Follow us on Twitter, Facebook, Instagram, and Youtube

[Some of the links in this article will direct users to our affiliates at B&H Photo, Amazon, and eBay. By purchasing anything using these links, Casual Photophile may receive a small commission at no additional charge to you. This helps Casual Photophile produce the content we produce. Many thanks for your support.]

The post Film Photographer Interview – Jessica Dunston appeared first on Casual Photophile.

But over the last few years I’ve increasingly realized there is another part to the film ecosystem that the film community often doesn’t talk about, the camera supply side. Sure, we hear about it when a celebrity or popular YouTuber highlights a camera and prices suddenly skyrocket. Times like these, the realities of a market with largely a fixed supply and varying demand become all too apparent. But there seems to be a solution to this that not many people take. Buy new cameras. Not “new to you,” but like, new, from a company, with a box and everything. You don’t even have to go to eBay for them.

So that’s what I decided to do this year. If I wanted to buy a camera, it had to be new.

Now for 35mm options, I’m pretty well stocked and don’t have much of a need for a new camera. My Pentax KX was my first camera and it’s still my favorite by far. If I had to pare down to just one camera, it would be an easy choice. The KX is a glorious piece of kit.

Medium format was an entirely different beast. Up until 2020 I had never shot a medium format camera. Despite taking some photography classes in college, it just never came up. But after doing some research, I initially got into the format with the Mamiya C33 TLR, picking up the 65mm and 105mm in a kit. Fantastic camera, amazing glass, loved the system, two-thumbs up. Would buy again. But I mostly shoot documentary family stuff, so a camera with no metering and longer lenses made it not ideal for the everyday shooting I do. I then turned to a Pentax 645n, which solved both of those complaints. But it’s a big camera. It doesn’t pass my critical “fits in my car’s center console” test, which means I often don’t take it with me and the family, and thus it’s a bit of a shelf queen. Plus it’s possibly the loudest camera in existence. So maybe medium format just didn’t meet my needs.

The Solution Presents Itself

While researching for medium format options that might thread my rather specific needle, I happened upon Eduardo Pavez Goye’s review of the Lomo LC-A 120. What stood out to me was the form factor, a 6×6 camera that was coat pocket-able and weighed less than the Pentax 45mm f2.8 lens for my 645n. It’s nothing fancy, basically a 6×6 full auto point-and-shoot, but it seemed to meet my requirements. Eduardo’s review piqued my interest in its capabilities. It offered a glass ultra-wide lens, and seemed to have decent metering.

The one thing I was concerned about was the camera’s zone-focusing. I hadn’t really done much zone focusing in the past, and it seemed like a completely unreliable way to try and grab a shot. But while I was debating about the camera, I got a hold of a Rollei 35, with a similar focal length to the LC-A 120 (40mm vs 38mm). After a few rolls and being able to get a good hit rate with it, I was encouraged to take the plunge on the Lomo.

What is Zone Focus, Plus How and When to Do It

Zone focusing (sometimes called scale focusing) allows a photographer to know what will be in focus without even looking through the viewfinder. It's an invaluable technique that's often used in street and other types of photography where speed and spontaneity are factors.

Struggling to Make It Work

As someone who’s ordered a fair amount of camera gear in the last few years, there was something exciting about getting the LC-A 120. Rather than arriving trapped in bubble wrap and smelling musty, it came fully sealed in a brand new box. Honestly, Lomography’s packaging was almost too much, very stylish and ornate, with an included photo book of sample photos from the camera, a manual, cable release, and a strap. I appreciate the accessories, but all the paper and space seemed a little wasteful. I’m sure it looks good on a shelf but give me the option for minimalist packaging.

That being said, everything seemed very thoughtfully included, down to the LR44 batteries needed to operate the camera. This was my first sign that maybe these cameras weren’t selling like hot cakes. The batteries included were expired and starting to corrode. Not the end of the world; they remained safely nestled in their packaging and I had a bunch of spare batteries around, so I was off to the races.

I quickly shot off two rolls with the camera, and everything seemed to be operating as expected. In my haste, I neglected to put on the camera strap included with the camera. When I decided to add it on, I noticed that one of the strap lugs was super dented. If this was an [EXC!!++++++] camera from eBay, I probably wouldn’t have thought twice about it. But, it came like that straight out of the box. The camera had a warranty from Lomography, so I contacted their support and got an exchange.

This is where things got frustrating. I am now on my fourth copy of this camera, all returned under warranty. While the first two rolls from my original dented unit turned out fine, every other copy has given me not insignificant light leaks on my photos. With the first roll, I thought it was something I did during loading. But after being extremely careful and even trying to load it in a dark bag, I was still getting light leaks.

Throughout this process, Lomography’s support has been top notch. They are quick to respond to emails, and turned around the exchanges very quickly. But it was extremely frustrating when the returns didn’t seem to resolve the issue. This is either a design flaw with the camera or perhaps an effect of these cameras sitting for some time, maybe both.

A Word on Lomography

At this point, I’m sure some readers will think to themselves, “What did you expect, you bought a camera from Lomography. They make cheap plastic junk.” While my own experience with the LC-A 120 was less than ideal, I can’t abide this kind of knee jerk negativity. I’ve heard Cameradactyl’s Ethan Moses talking about the capital costs involved with making a camera using plastic injection molding, and they are daunting. You can say that Lomography chases fads or doesn’t make cameras that you like, but you can’t deny they are investing in building out both sides of the analog photography world in a way that very few companies can today. A lot of this is bringing new products to market, like the Lomograflok.

While my experience with the LC-A 120 may have been frustrating, and quality control might be something Lomography should double down on, the reason I was attracted to the camera in the first place was because it was genuinely innovative. It filled a niche like no other available camera could. I remain impressed with it as an idea, even if the execution didn’t live up to it. Do I wish Lomography could do better in some regards? Sure. But I refuse to view them as anything other than essential to the future of analog photography.

Life After Leaks

Setting aside the light leak issues, let’s talk about using this camera. Remember how I said that zone focusing the Rollei 35 gave me the confidence to take on the LC-A 120? Well I was partially justified in that act of hubris. Focusing on it is fairly reliable, but operates much differently than on the Rollei. With that camera, you’re essentially using a fully manual camera, with a traditional focus scale on the lens. This matters because I really only shoot the 35 at f/8 or slower, meaning that I know how much depth of field I’m going to have to help hedge my guess about guessing distance wrong.

You don’t have that luxury on the LC-A, since the aperture (and shutter speed for that matter) are all handled by the camera. Instead of a set focus scale, you have a little lever with set markings and detents for 0.6m, 1m, 2.5m, and infinity. You can also set the lever in between these, but you’re really guessing at that point. There are some advantages to this arrangement. Unlike the Rollei 35, you can both quickly confirm and change focus with the camera up to your eye, perfect for quick shots. Since there are only four options, you can just rack the level quickly to move the focus. Given that the lens only goes down to f/4.5, you’ve always got a little depth of field to play around with, especially beyond 1 meter.

Overall, I actually really like the design of this camera. The body is all plastic, but when handling it, you don’t get any creaks. Lomography uses a softer touch plastic where you grip the camera, embossed with a leatherette styling, and feels good in the hand. The shutter button feels really nice, with a long throw but a solid actuation. Like the 35mm original LC-A, the 120 is designed for quick street work. The lens cover needs to be slid down to shoot. Having it up blocks the viewfinder and locks the shutter, so you can’t accidentally shoot a frame, a nice touch. I was afraid that moving the lens cover would also move the focus level, but luckily your focus stays put.

A lot of what makes me put up with the travails of the LC-A 120 is the lens. At 38mm on a 6×6 negative, it offers a 21mm equivalent field of view, which is always wider than you think it is, especially vertically. This alone makes the camera unique, as getting a lens that wide in medium format generally requires buying a lens that’s considerably more expensive and heavy. That wouldn’t mean a lot if it was bad, but I find it sharp enough and punch as hell. In all of the sample photos Lomography puts up for the camera, they show a heavy vignette. I haven’t found it to be nearly as dramatic, often there’s no vignette, so your mileage may vary.

Areas of Improvement

I suspect that Lomography isn’t actively manufacturing this camera any more and selling through old stock. All the replacements I received showed signs of sitting for a while (one was quite dusty). If that’s the case, there are a few features I’d love to see Lomography add to a refreshed model, maybe a Lomo LC-A 120+.

Asking for aperture priority on this camera seems silly given that it’s a simple device electronically. But I wish there was a way to lock the aperture into a set stopped down position, say f/8. That’s something you can do on a flipping Holga. Not only would this make it easier to focus critical shots, but it would also be nice for working with flash. Right now using flash means everything is shot wide open, which is rarely ideal.

Speaking of flash, the camera does have a hot shoe but hacks a PC sync port. I know I could get an adapter for the shoe, but it would be nice to get some off-camera flash a little easier with this camera. While I’m at it a proper bulb mode would be great for long exposures. You can sort of do this by blocking the light meter, but just give it to me as a proper option. Exposure compensation is that other glaring omission on this camera. Given that you can only set ISO in full stops from 100-1600, even having a ∓ 1 option would add a lot of flexibility. Again you can sort of hack it with the ISO dial, but it’s a hassle.

Would I Buy It Again

Honestly, if I had known about the light leak issues, I would have just kept my original copy and done without a strap. The camera is pocket-able enough that I just would have used a wrist strap on the other good lug. I’ve ended up with a lot of wasted, or at least compromised, film as a result of this camera. A lot of it was original frozen Acros, that hurts.

But I keep wanting to love this camera. It’s truly unique in the photography world. The look you can get from the lens is great, made even better because you can take it anywhere. While expensive compared to a lot of other Lomography gear, compared to other ultra-wide, portable, or just more recent medium format cameras, it’s priced competitively, if not a bargain. With everything I’ve gone through with this camera, the one thing I would never do is buy it used. I can’t reiterate how nice it was to have a warranty on this camera, with actual company support, rather than hoping that I could get a refund on eBay or something like that. While you can definitely find bargains on these used cameras online, I’d hesitate to pull the trigger unless you get it in writing that it’s in light tight condition.

Overall the LC-A 120 is sticking around for now. When it nails a shot, it’s just so dang fun. Right now it fits really well into my need for packing light. Combined with my Rollei 35, I can pack two cameras on my without needing a bag (although if both are in my pockets probably a belt). I now know its limitations quite well. It’s serviceable as a fun documentary camera, where I’m not strictly look for precision. I thought that this might be a great landscape companion, but until I can tame the light leaks, I think that’s asking a bit too much. I’ve recently found a lot of fun using it with flash, dragging the shutter to get some striking motion blur and a relatively crisp subject.

Knowing what I do now, I’d probably pass on buying it. I don’t need a medium format camera for my work. But now that I have it, it’s still a striking and supremely unique camera.

Buy a Lomo LC-A on eBay here

Buy Lomography products from B&H Photo

Follow us on Twitter, Facebook, Instagram, and Youtube

[Some of the links in this article will direct users to our affiliates at B&H Photo, Amazon, and eBay. By purchasing anything using these links, Casual Photophile may receive a small commission at no additional charge to you. This helps Casual Photophile produce the content we produce. Many thanks for your support.]

The post The Camera of Shattered Dreams: Living with the Lomo LC-A 120 appeared first on Casual Photophile.

This year, I decided to use my Mamiya 645 1000s to expose two extremely expired rolls of 120-format Kodak Kodacolor film that was generously gifted to me by a kind soul a few years ago. The roll of Kodacolor II expired in July of 1981, and the Kodacolor VR expired in July of 1986. I had no idea how these rolls had been stored, but I assumed that since they were shared by a fellow photography enthusiast, that they would at least have been kept in a temperature controlled environment.

I know there are a lot of opinions about how to properly expose expired color print film, and that not everyone agrees with the “rule” to add one stop per decade (of expiration), but that general guidance has always worked well for me.

However, since both rolls of Kodacolor were originally rated at ISO 100, using this exposure compensation method would have taken me to ISO 12, requiring me to shoot wide open with my manual focus Mamiya Sekor-C lenses. I might have had enough midday sun at the beach to handhold at these slower film speeds, had I not also insisted on shooting everything with a polarizing filter that cut an additional stop of light.

My workaround was to rate the film at ISO 25 and push it an additional stop in development. In retrospect, I should have gone with my gut and rated the film at ISO 12 while still pushing it an additional stop in post for an effective rating of ISO 6. Fortunately, I was able to salvage my slightly underexposed results by scanning the negatives in 48-bit mode and adjusting the levels in Adobe Lightroom.

I exposed both rolls under full sunlight in Nags Head, N.C., and was usually able to shoot at 1/125^th with my two faster lenses (the 45mm f/2.8 and the 80mm f/2.8). With my 105mm f/3.5, I had to shoot at 1/60^th and slower. In order to get sharp photos of beachside action, I primarily shot with the wider lenses stopped down as much as was feasible.

Kodacolor II was the first Kodak emulsion to use the C-41 process, and had only been available in 135 format for eight years by the time the roll I received expired. The shots on this older emulsion turned out rather nice, albeit with the quirks and degradations one would expect from a questionably stored four-decade-old roll of film. I actually liked the color shift toward cyan and magenta, which gave the beach scenes a dreamy, retro feel.

Even pushed, the film’s grain was pleasant and organic. The main drawback that I noticed was significantly reduced dynamic range. Highlights in particular tended to blow out when I metered for the midtones.

I was not as thrilled with the results from the Kodacolor VR, which was one of the early emulsions to utilize Kodak’s T-Grain technology. Mostly, I was disappointed with the look of the grain, which to my eye felt clinical (almost like digital noise) compared to the Kodacolor II.

The newer film also suffered contrast and color issues, but unlike the older film, the results felt more like a fault than a feature.

One fun quirk the Kodacolor VR demonstrated was burned-in ghost images from the film’s backing paper. This is a fairly common artifact found in other super-expired 120-format shots. Despite its understandable shortcomings, I was honestly impressed that the Kodacolor VR shots turned out at all.

Shooting expired film is always a gamble, especially when the film in question predates the photographer using it. That said, my experience with these two rolls of Kodacolor from the early 1980s was a winning bet. The fun, memorable scenes I was able to capture feel like snapshots from a bygone era, and rewarded my film experimentation with useful learning opportunities and enjoyable results.

Feel free to check out all the shots from my various OBX film sessions in my album on Lomography.

Buy your own expired film on eBay and get experimenting! 

Get a film camera from our shop at F Stop Cameras

Our guest posts are submitted by amazing photographers and writers all over the world.

Today’s Guest Post was submitted by…

Isaac D. Pacheco, a Washington D.C.-based journalist who travels the world and tells the stories of the people and cultures he encounters along the way. He invites you to connect and enjoy more of his work on his website or on Instagram.

Featured Photophile – we shine a spotlight on amateur photographers whose work we love.

Photographer Interviews – in-depth discussions with professional and established photogs doing great work.

Female Photographers to Follow – get inspired by a monthly series focused on the beautiful and unique perspectives of female photographers.

Five Favorite Photos – a hand-selected examination of the oeuvre of our favorite famous photographers.

Follow Casual Photophile on Twitter, Facebook and Instagram

[Some of the links in this article will direct users to our affiliates at B&H Photo, Amazon, and eBay. By purchasing anything using these links, Casual Photophile may receive a small commission at no additional charge to you. This helps Casual Photophile produce the content we produce. Many thanks for your support.]

The post Antique Beach – Creating Summer Memories with Expired Kodacolor Film appeared first on Casual Photophile.

This sight, simple, yet truly beautiful, still brought me moments of begging for spring and the wash of vibrancy it ushers.

Now, don’t get me wrong, I am primarily a black and white film user, but every so often, there is a tugging at my eye that I can’t ignore. In this article though, the draw for color has been replaced with the need to know the possibility of a certain piece of gear.

Living in Spokane, Washington, there are some truly beautiful landscapes around every corner. The camera that’s the subject of this article is a great medium format camera for landscape shooting. But I mostly use it in whatever way fits the moment. I tend to walk around my neighborhood and the not too far surrounding areas almost everyday. Work and other things often weigh in and affect this privilege, but I try my darndest to do a few blocks here and there on even the sleepiest of days.

Movement is very important to me, whether it be the movement of my feet, my eyes adjusting to a scene, my mind wandering through its bubbling bog of ideas or my move to purchase an amazing camera and lens (for the second time) because I just couldn’t cut a certain thought free. One particular thought was that I had let go one of the best made film cameras of all time, and one that was fitted with a beautiful kit lens as well; the Mamiya C330 Pro F, wearing the lovely Mamiya Sekor 80mm f2.8 on its front. I was so impressed by this camera. The way it leaned into my hands so comfortably when composing and how it offered so much control and so many options during use. I really enjoyed my time using that camera, but then came life, and I had to sell it.

That’s where my story with the formerly-owned pristine Mamiya kit ends, and my current journey with a very well kept C330 (with one of the ugliest 80mm lenses I’ve ever seen) begins.

This story is more or less about the wonders that can be explored (and explored confidently) with a lens that doesn’t seem like it could give good results. Because the truth is, we can spent hundreds or even thousands of dollars less on a beat-up lens and still get sharp, well balanced, contrasty, and flare free results, even with glass that looks like it was pulled out of the bottom of Indiana Jones’ side bag 33 years after his retirement. Hairy, dinged and dusty, rough as an elbow and still shining.

The snow has been replaced with trees heavy in themselves, leaning and giving off their scents. Puffs of green dotting along lane after lane beside other long stemmed flowering cities and fluffy ground covers. Some wearing clusters of lovely thin layers, yellow, white, pink and so on, inviting bees and butterflies for seasonal conversation and sending them off with gifts.

This is the blue sky backdrop where my new kit was welcomed in. I first opened the box it came in and was a little worried. Having bought it online and in “heavily used” condition, where the photos were not so telling, I was unsure of what to expect. Right away I noticed the circular scratches covering both lenses. Looking a little closer I saw what looked at first like specks of dirt, or maybe some kind of lens coating issue. I quickly ran to my room and grabbed some cotton swabs, a little isopropyl, and gave them both a visit to the doctor.

I cleaned the lens bodies, for there was a bit of grime all over, and lastly the elements themselves. That’s when I noticed there was definitely an issue. The issue wasn’t with the shutter mechanism or the aperture blades being sticky, or any of the common issues that one finds when buying old gear (and especially older leaf shutter lenses). It was something I had never seen before on any other lens, and it sort of freaked me out.

Pitting. There were tons of tiny little dings all over both front elements. Now. I don’t know if you have ever experienced this yourself, and if you have perhaps you’ll understand, but if you haven’t, let me tell you that it’s horrifying!

I didn’t know what to do, and I bounced around in my head whether or not to contact the seller, start looking into potential repair, possibly look into buying new front elements… the list goes on. Eventually, having given some time to looking and focusing inside and outside through the bright finder of the C330, I decided to load the camera with some Kodak Tmax 100 and go for a walk. It was a bright day, and I figured this would be a great time to test for softness and flaring or any other aberrations that may accompany such an ugly set of lenses. I gave the camera a little pat on the back, dropped an extra roll of Tri X 400 into my shirt pocket and headed out.

There isn’t anything special about my setup. No grip, just strapped and hanging there waiting to be scooped, held and cranked, and I did just that. Walking through that day glow looking at all the houses and parked cars with rosebush back drops, tulips hugging tulips the way they do, watching cats maneuver through yards and follow squirrel tracks. I looked for test images to make terrible negatives, sure that the resulting images would my new lenses out to pasture. Then I would reach out in some new direction to try for a solution to the problem of the pitted lens.

I wandered down alleys, finding new growth climbing the sides of blinding white sheds and garages leaning with time. I don’t use a light meter so I was really going for the gusto here, trying to see how well the lens could handle the brightness. I knelt down in a shaded area under the trees, trying for images that gave the lens some respite and would push it from the other end of the spectrum. I don’t fully know what I was expecting to find, but probably some sort of fogged out, soft images with lots of weird distorted points that I would see, and give up on, lightly tossing the negatives into my bowl filled with scraps for future negative collage.

I carried on, probably walking for about an hour. Finishing the roll of Tmax and loving the general feel and function of the camera again. Oh, the familiarity of knowing. I loaded up the Tri X and went through maybe three images before circling back to once more find myself outside of my house. I went inside and got prepared to develop the roll and see the results (with no small amount of hesitancy).

I develop all of my black and white film (except for Ilford XP2, which is a C41 process film) in Cinestill Df96 monobath, so it’s a very simple process. I know it, I like it, its consistent, and it takes no time. After developing, I hung the negatives to dry and looking at them while they just hung there in the dim light of my room, I didn’t see much to prompt an immediate conclusion in how the lens performed, so I told myself to chill and carry on doing something else for the time being.

I went out into the living room with my tripod and a flash and decided to shoot the rest of the Tri X with flash. Doing some self portraits and stuff with a banana and just whatever I could think of in the moment for the last few frames, I still had some reservations. Not knowing how much detail would be lost even with the wonderful crispness that adding flash can bring, I trudged on. The roll ended, I went to the kitchen shook and wiped out the Patterson, the reels and loaded up the Tri X for development. I figured that while this roll was drying I could scan the Tmax and see what I was dealing with, and then sandwiched by both discoveries I could truly have answers. So I did just that.

With the Mamiya sitting just beside me on the table, I scanned image after image from that walk just hours before and what I saw was very surprising. Mostly very usable images, with the right amount of contrast and, yes, yes, some blown out highlights, which I was expecting. But that is not the lens’ fault, that was user error. Not using a meter sometimes jeopardizes my final image, but never in a way that I can’t fix it in post with software or in the darkroom. So I wasn’t bummed or caught off guard, knowing that blown highlights wasn’t something to expect every time I used the lens. I continued scanning and continued to be happy to know it performs well while the flash roll dried, hanging there… looking at me. What to expect next!

Then the time came. I don’t shoot flash in this way, nearly ever. The most flash photography I had really done up to this point was with point and shoots. So the flash I had attached was nothing fancy, some little Vivitar deal. And for this reason, the flash roll had me more nervous. No meter, indoors, with flash, without much experience, with a lens that I was still unsure of.

Let the scanning begin!

Frame after frame, yet again, I was stunned. Not by the subject matter or composition, but by the amount of detail in the highlights and shadows. The mid tones were there making an appearance as well! I was so happy, and really pleased that I didn’t make a huge mistake. I was convinced that in the future I could be scrolling through lenses or looking at lenses in a free or cheap box and find a lens that normally would be on the pricier side or about to be thrown away, pick it up for dirt cheap because of how “ugly” it was and end up making some, to me, perfect images.

I really think this is a mostly untapped market for buyers and the resale value and potential is not guaranteed, nor should it be at this stage, but it’s so worth it. If you are looking for something that has been used into the ground but still has much more to offer, based on your budget, having more options, your work flow or just finding it on a shelf somewhere, pick it up, pop it on whatever camera you are wanting to use that day, and give it the time of its life. These lenses aren’t being newly made and this could be that lens’ last ride. I’m truly happy that the last time this Mamiya Sekor was used by the previous owner was not its last moment to shine. With me, it will get to experience a whole new life in all of its glorious, banged up brilliance.

Browse eBay for Camera Gear here!

Shop for anything camera-related in our shop, F Stop Cameras

Follow us on Twitter, Facebook, Instagram, and Youtube

[Some of the links in this article will direct users to our affiliates at B&H Photo, Amazon, and eBay. By purchasing anything using these links, Casual Photophile may receive a small commission at no additional charge to you. This helps Casual Photophile produce the content we produce. Many thanks for your support.]

The post Ugly Lens, Beautiful Photos – My Experience With Cheap Gear appeared first on Casual Photophile.