Meg Wolf

pixels and parsnips

Leave a comment

Lomography Sunset Strip film

About a billion years ago when I last blogged, I mentioned the Sunset Strip film from Lomography. Since then I’ve had my first roll developed, so thought I’d follow up and share some results. It turned out to be more different from the Revolog films than I expected, giving a more subtle colour cast.

Rufford Old Hall

I’m not quite as thrilled with the results from this roll, though the subjects may be a factor; I’ve got to stop bringing film cameras to late-night parties (not pictured)! The colour shift gave a sepia-esque tone to some photos, but was almost undetectable on others. These negatives came back a very deep blue, and for whatever reason the quality of the scans was particularly poor, with a distracting amount of visible grain. I’ve run these all through Noise Ninja before posting (and I’m not sorry). Some additional shots are posted over at Lomography.

In the meantime, I also finally purchased a Diana camera from the Manchester Lomography shop, right before they sadly shut down. The first roll totally exceeded my expectations – I love it! Here are a few shots taken along our European road trip in March. More at Lomography.


Leave a comment

Revolog results

Alas, far too much time has passed since my last post here! Much has happened in the meantime, including a holiday and a house move, but I’d like to start back up by belatedly sharing the results from my first roll of Revolog film.

Revolog are an Austrian-based company who make special-effect 35mm films. Their range includes various textures, scratches, and light effects. I was most interested in the colour-shifting films (600nm, 460nm, and Kolor), so I picked up the mixed pack. I don’t know exactly how they achieve this witchcraft, though unofficial consensus seems to be that the rolls are pre-exposed.

The first roll I shot was the 600nm, which is advertised to give either a red or blue cast depending on developing. The packaging suggest that underexposure will result in a stronger effect than overexposure, so I intentionally underexposed my shots — I’ve found I like strong colour-shifting results in other films, so didn’t want to risk negating the effect! I was very pleased with the results of my first roll. You can see the full set here.

Interestingly, not long after I ordered these, Lomography brought out their own pre-coloured film, ‘Sunset Strip’, which looks like it has a similar effect in blue/orange. I’ve just turned in my first roll of this film for development, so will be curious to see how they compare.


Brownie daydreams and my first roll of 120 film

I first had Brownies on the brain in the wake of Kodak’s unfortunate recent bankruptcy announcement. I grew up near Kodak headquarters in Rochester, NY, and always enjoyed the displays of old camera models in the Eastman House’s galleries, from gorgeous art deco enamels to primary-color plastics. Friends and I speculated on how more could’ve been done to leverage Kodak’s nostalgia value to appeal to niche markets and hipsters. I dreamt of a Brownie brand revival, apps emulating classic film stocks, Beau Brownie iPhone cases. (I even channeled this enthusiasm into a Spoonflower fabric). Browsing through Brownie fan sites online, I wondered about obtaining one of my own; but reading about technical details and respooling film, I initially thought that getting a model in functional order would be too arcane an effort.

The idea next came to my attention after a visit to the newly-opened Lomography gallery in Manchester. I started pining for some lo-fi medium format film goodness. The Dianas were tempting, but I waffled over the cost. My thoughts again drifted to the old box Brownies.

The Ensign Ful-Vue

Enter the Real Camera Co, a few blocks away from the Lomography shop in Manchester. I noticed their box camera selection along the top of a shelf on one visit, and was amazed to find out how reasonably-priced they were. Though all the available Brownies took 620 spools, they had other box camera styles that used regular 120 film, no respooling required. I was convinced! I resisted the urge to take them all, and chose an Ensign Ful-Vue, a British make of box camera. According to online sources, this boxy style dates to the early 1940s.

At Stonehenge Hever Castle

The camera got its first try out on a Jubilee week roadtrip we took through the south of England. It was wheeled out for tourist shots of Hever Castle, Stonehenge, Durdle Door and Glastonbury Tor. The point-and-shoot mechanism couldn’t be simpler, but there was a tiny thrill in first seeing the reflected image come into focus through the viewfinder. When we returned, I turned in the first finished roll for processing, and spent the wait time worrying about whether anything would come out at all. Had I loaded the film correctly? Would everything be a frightful blur? Were there major light leaks going undetected after all this time?

Glastonbury Tor At Durdle Door

Happily, there was nothing to worry about – nearly all our bright outdoor shots turned out well (although indoor shots were, somewhat predictably, a lost cause). Now that I’ve seen how these rolls turned out, I’m looking forward to trying out other films with it, in higher ISOs and colour. And though I’m enamoured of the Ensign, I won’t stop keeping an eye out for a Beau Brownie No. 2 to call my own.

Durdle Door

A note on processing: Negatives were scanned by the developing lab. They have had post-processing adjustments in Photoshop. Digital edits have not altered the content or character of the images beyond what could reasonably be achieved by darkroom processing.