In this very quick video I give two examples of creative solutions to enhance the metering capabilities of the LOMO LCA and the LOMO LCA Plus.
I’ve just started a film test in preparation for my trip to Italy next month– the two films in consideration are Kodak Ektar 100 and Agfa Precia CT cross processed. Thus far, most of the artworks from my current series A New Eden are either XPRO (cross processed- E6 film in C41 chem) or expired film. However- after much testing here on FR I have recently fallen in love with the new Kodak Ektar …SO I decided to do a quick comparison test and find out: does the XPRO effect really have to be actual cross-processed film?
So what do YOU think? Look at the snapshots below and see if you can pick out the one that is the Agfa Precia CT XPRO…only one is true XPRO…the others are all Kodak Ektar in Photoshop using Alien Skin Exposure 2!
When you finish with part one, click here to listen to part 2!
This audioblog is a quick list of observations I made on my recent visit to Canson Distribution Facilities here in the US. In the coming weeks I will be reviewing their new offerings, 17 papers and canvases in all! Give a listen and stay tuned!
Below find a sample of images I made at their US facility…its over 140,000 square feet!!
Link to Canson
First paper I am testing…Rives BFK!
I was lucky enough to get a brick plus (35mm) of the new Kodak Ektar film at Photo Expo Plus in NYC… so when I returned to my studio in Vermont I quickly loaded my Leica M7 with a roll and decided to make a few “test” shots around my yard.
The Full Size image is a 20″ x 30″ print- the crop represents a 4″ x 4″ section of the full size.
- Leica M7 with Leica Summilux 50mm 1.4 Lens
- F 5.6 at 1/125, Hand-held
- Film was rated at Box Speed (more on this later…)
- Scan was done on an Imacon with NO sharpening applied, scanned at 6300 dpi.
- Photoshop work was limited to white point and black point, no color correction, no noise reduction, no sharpening, no curves…
Image Size/ File Size Info:
- 309 MB file at 300 Optical DPI, 16 Bit
- 20″ x 30″ Print Size
This new offering by Kodak has very tight grain (this is 35mm folks!!) with good, bold color but still “neutral/ natural” in feel. My initial feeling is that it is a bit slower than box speed (normal for most negative material). On my next test roll I will rate it around 50-64 which should be perfect (with color negative material its better to be safe than sorry with regards to your exposure!). Box Speed (ASA 100) is usable, but under difficult lighting situations underexposure is just too great a risk. So far… I am very impressed…stay tuned for Part 2 in a few days.
Viva la Revolution!
Over the next few months I’ll be writing several articles on the LOMO LCA and LCA+. I’ve decided to use these small and very opinionated cameras for my new artwork series, entitled Vanishing Vermont. Articles will focus on working with these cameras, how to carry them, films to use and why… XPros, where to buy and differences in current and older models.
I know there are a lot of opinions out there (both pro and con) about the LOMO (LOMOGRAPHY) and I look forward to an open discussion, so first lets agree on two things: 1. Its the print that counts! 2. See number 1.
Here are a few helpful links to get things started…check them out and stay tuned!
Viva la Revolution!
Some years ago I did extensive work with pinholes, Zone plates and Holga camera systems, specifically for my Through A Glass Darkly artworks and book. Recently I decided to give a Zone Plate a try on my Leica M7 (it is a 28mm f/32 Zone Plate I purchased from Pinhole Resources) and TX processed as I have already outlined here on the Figital Revolution using Diafine Developer. It seems to me that this combo of TX/ Diafine/ Zone Plate and Leica M are a perfect combo. The TX and Diafine Developer really help control the Zone Plate with regards to contrast and it also gives me a high enough EI to make hand held shots very possible (my usable range for TX in Diafine is 400-1600). The M7, or really any rangefinder camera system is nice as the image view is not reduced (illumination) by looking through the Zone Plate as would be the case with an SLR (of course this means that you will have to visualize your final image as none of the Zone Plate qualities will be visible until you process your film assuming you’re using a film rangefinder). Of course digital capture would give you instant feed back (did this a few years ago in the American Southwest) but I just love the look of this combo. Scans were done in house at Indian Hill Imageworks on our Imacon Scanner, wet mount at 3200 optical dpi- a few resulting images are below from my first roll…
For more information on using a Zone Plate or for that matter what is a Zone Plate check out the links below.
Viva la Revolution!