10 Golden Rules of Lomography

For those who are just new to Lomography, one of the most popular searches made concerns with guidelines or tips on how to take lomographic pictures. Just as traditional photography have basic rules on composition, so does lomography. Although the term “rules” seem to be antithesis to what Lomography is all about, there are 10 Golden Rules that actually exist. You may use them as initial guidelines if you do not know where to start. Eventually, you are expected to make rules of your own; so that, you can have an identity as a lomographer or photographer. Here goes…

1. Take your Lomo everywhere you go. This is a very useful tip. Many times in the past, situations have presented themselves to me; a beautiful subject, a single spectacular moment in time, etc. Unfortunately, on some of these occasions, I am without a camera. If you ever had such an experience, I believe you know the feeling. Regardless of where you are going, however boring your errand is, always carry your camera. Even if you will simply walk around the corner to buy something. No two moments are ever the same, and interesting subjects are never too remote. So, don’t be lazy, put that lomo camera on your pocket, or sling it on your shoulder, and be ready for that one great moment. One more thing, an extra roll of film is also not a bad idea at all.

2. Use it anytime - day and night. Because photography is essentially painting with light, some people are very particular with the quantity of available light. This should not be a concern for lomographers. Your primary loyalty should be to the moment. When the moment comes, with no particular consideration for time of day, click that shutter. You have nothing to lose and everything to gain. However, there are certain limitations to this rule, depending on the camera you are using. A handful of lomo or toy cameras, those with fixed aperture and fixed shutter speed, and similarly does not have flash, are completely useless at night. That’s just their specifications; they are for day time photography only. Unless you find a way to modify that camera to be used with a flash, reserve them for moments under a brightly shining sun.

3. Lomography is not an interference with your life but a part of it. If you feel uncomfortable about what you are doing, or if you feel that you are burdened by the act of carrying a camera and taking photographs, there is something wrong. It could be that, it is simply not your cup of tea, or you are pressuring yourself with unnecessary expectations. Relax! There is nothing at stake here; you are supposed to have fun. Enjoy it as much as you a glass of freshly squeezed orange juice!

4. Get as close as possible to the objects of you lomographic desire. Or, as close as your camera could possibly allow you. Unless you are taking photographs of landscape or clouds, try to get close to your subject. Fill that frame up! It is difficult to appreciate photos that do not seem to have a story to tell. Also, lomographic techniques that result to saturated colors and high contrast complement well with well defined shapes.

5. Don't think, just shoot. Among all the rules of lomography, this is probably one of the most frequently quoted. It is a slogan for many lomographers. It is the ultimate expression of the carefree and punk rock nature of lomography. Too much thinking makes your photos more predictable, hence less surprising. It defeats one of the major joys of lomography, that is, stumbling upon happy accidents. Spontaneity is the key, not composition; let your instincts take care of that. Humans by nature are hardwired to appreciate beauty, order and symmetry, so it should come natural for us to compose an image without being conscious about it. Besides, lomograpic cameras are not necessarily SLR cameras, so there really is no point in relying much on your view finder, in fact there are some cameras that do not have one. And, if you are still thinking if you should take a photograph of a subject or not, that simply means you should!

6. Be fast. For me, this is one of the most challenging rules. Timing means a lot to photography in general. Great pictures are those that immortalizes a single great moment in time; like Pacquiao’s gloves pressing against and denting Cottos cheeks. The impossible question is, when will that time come? More often than not, timing is a game of chance; hence, if you cannot predict it, don’t wait for it! In a matter of seconds, one special moment would gone by, never to return again. Do not wait for the right moment, because the perfect moment is here and now. Once you feel it, shoot it! Again, refrain from too much cognitive processes.

7. You don't have to know beforehand what is on your film;
8. Nor afterwards. After the shutter clicks, move on. Do not linger on the previous subject or imagine how the image might come out. You can’t do no wrong in lomography, so relax! It is done! Your next subject awaits you. Commit to the moment!

9. Shoot from the hip, behind your back, from the ground, and what not. The camera should not always be in front of your face. Everybody’s looking for a new perspective, those which the eye does not often see; so let your hands take your camera to unchartered territories and impossible angels. Surprise yourself, as though these pictures were taken by your alternate personality. Go psycho over lomo!

10. Don't worry about the golden rules. Break it and shake it! Welcome to photographers’ anarchy!

Cross Processing Color Guide

As mentioned in my previous blog, different brands of slide film give out different colors when cross processed. Below is a guide to some of the more popular brands. This list was taken from Stephen Schaub’s Figital Revolution. Consider using this list to determine the proper color film for your photographic needs.

FUJI

• Velvia 50 – Green
• Velvia 100- Rich magenta
• Velvia 100F- Emphasizes reds
• Fujifilm Fujichrome 64T – Gold/green
• Sensia 100- Magenta with bright green cast
• Sensia 200 – Green/ Blue
• Sensia 400 – Green
• Provia 100 – Green
• Provia 100f - Cyan
• Provia 400F – Green
• 400x – Greenish but with a great bump in contrast and very fine grain

KODAK

• Kodak Elitechrome 100 – Green with a hint of cyan
• Kodak Elitechrome 200-Green with a blue shift, saturated colors
• Kodak Elitechrome 400 – No color shift, saturated color
• E100VS - Greenish
• E100 G – No color shift, saturated color with contrast boost
• E 100GP – No color shift, saturated color with contrast boost
• Kodak Ektachrome 64T - Blue

AGFA

• Agfa Precisa CT 100 – No color shift, saturated colors with strong contrast boost.

From:

http://figitalrevolution.com/about/our-fearless-leader/color-film-chart/

Cross Processing 101

Among the many techniques lomographers use, one of the most common is the misuse of chemicals in developing the film. The result of this technique is the distortion of color to the highest degree of visual pleasure! Altered hues, surreal images, saturated colors; a concoction of marmalade dreamy images. You have seen them probably, makes you drool, right!? You don’t need to take hallucinogens to experience this mind blowing feast of colors! This is called cross processing or xpro. It may sound intimidating or complicated, but it’s really pretty simple, if you know the basics; that which I am about to share you.

The Basics

There are three general types of film, categorized by their general purpose and the kind of chemicals needed to develop them.

The most common film we know of is called the negative film or color film. These are the ones we normally buy in stores. When we have them developed, what we get together with the photos are the negatives (hence, negative film). I suppose you know how they look like. On the box of a negative film, you will find the code, C41. This indicates the kind of chemical to be used in developing negative film, C41 chemicals.

Another type of film goes by many names. Color reversal film, positive film, slide film, chrome film, pertains to the same kind. They are not normally intended for photo prints, unlike negative films. They are meant to be used as a projector slides. When this type is film is developed, you do not get a negative, but instead a positive (hence, positive film). If you view it against light, you can already see the image, as it is supposed to be. Each frame is normally mounted as a slide (hence, slide film). If you are familiar with carousel projectors (a technology popular before the age of PowerPoint presentations), they use these slides to project images onto to a screen or wall. In movie theaters, motion pictures are projected from a reel of film; such is more or less the same material as slide films. This type of film is developed using E-6 chemicals, as indicated on its box.

Lastly, we have the traditional black and white films. They are of course used to take black and white photographs. Although there are many black and white films in the market that can be developed using C-41 chemicals, traditional B&W films are developed using B&W chemical.

Cross Processing

Now, hopefully you have been enlightened somehow about the different types of films. Your knowledge of them will help you in understanding the technique of cross processing. We now know that each type of film, negative, slide, and traditional black and white, are developed using specific chemicals. Technically, cross processing refers to using wrong chemicals in developing a particular film type. If you use C-41 chemicals in developing slide films, if you use E-6 chemicals in developing negative films, if you use black and white chemicals in developing slide or negative films, you are cross processing! You are processing the film with the wrong chemicals. Although, there are several means to cross process, the most commonly used is the use of slide films which are developed C-41 chemicals, instead of E-6. The result of which, I have loosely described in my opening paragraph. It is also the service easiest to avail. Not too many photo labs have E-6 chemicals to be used in developing negative film, and if there are, it’s more expensive.

How to Have Your Slide Film Cross Processed

Some hardcore lomographers and advanced film photographers develop their own film. In their own dark room, they can cross process anything! What about the beginners and those of do not have laboratories of their own? They can still experience the joys of cross-processing. It’s quite simple. After you have finished a roll of slide film, simply go to a photo laboratory, and ask the personnel to have the film developed, as though you are having a regular negative film developed. Specify that it is a slide film which you would like to be cross processed or developed using C-41 chemicals. If he knows what he is doing, he will accept that without questions. If not, he may hesitate, or he may insist that they do not have E-6 chemicals. Simply assure them, that you exactly what them to develop the slide film using C-41 chemicals. If he still insists on not accepting it, better look for another photo lab. Here in the Philippines, Digiprint branches accept slide films for cross processing, with no questions asked, and for a very cheap price! Some labs offer you the choice of either photo prints, or simply scanning the film and burning it to a CD. Personally, I go for negative scanning. Once I have seen the soft copy, them I will choose which images I would like to be printed.

Slide Films

Generally, slide films are more expensive than negative films. They are also less available. But if you search hard enough, you will find them. I normally get mine from the Internet. Lomography forums in your locale usually have people who sell slide films and other lomographic items. Just be careful with your online transactions. Look for expired ones, they are cheaper. Many say that they also give out the craziest of colors. I have already used films that are 5 years expired; they are still as good as ever. Different brands are also known for different dominant hues in the images. For example, Fuji Sensia 200 normally comes out greenish in color. Try different brands, and have yourself surprised with the wonderful colors that cross processing bring.

Is Xpro Equivalent to Lomo?

The short answer to this would be, NO! It is however a misconception that is very common. I myself made the same mistake early on. There is just such a strong association between the two. At the same time a substantial percentage of lomographers do cross processing. They however argue that the use of negative film (not cross processed) is also lomographic, provided that you spend it with the lomographic attitude! Using black and white film and red scale film are also popular among lomographers. I will discuss them soon in my succeeding write ups.

For now, go get yourself some slides, and experiment with cross processing! Enjoy!

Buying Your First Camera

Although it may seem not critical, the choice of camera to purchase is one of the first decisions one has to make if he or she is to pursue lomography; an important one at that. As many of you know, there are a lot of cameras available in the market; toy cameras, vintage cameras, Russian cameras, lomographic camera,s among others. Different cameras have different characteristics; in their built, features, affordability, and in the quality of the images they produce. Individuals are different themselves. Your spending capacity, preferences, and priorities, are things to consider in making that first purchase. I say first, because if you stay long enough, you are likely to make your second, third, and so on. As of now, I have gone as far as my fourteenth buy; but that is just few, compared to how much others are willing to spend in collecting cameras.

Below are some questions you have to ask yourself before buying. If you cannot understand some of the terms, please feel free to Google them.

How much am I willing to spend?
Do I want to use 120 or 135 film?
What type of image quality do I like?
Do I like more flexibility in setting the ISO, shutter speed, and aperture?
Without flash? With flash? With color splash?

These are just few; you may have other considerations. Chances are you will have conflicting preferences; you like one camera’s affordability, but also like the other camera’s flexibility, and yet like the other camera’s film size. The final decision will depend on what you prioritize most. Of course, if you have the money, you can simply buy five at a time. But for me, such is ill advised. It is better to buy one, and warm up to it; enjoy it. When you are ready to try something new, that’s the time you buy your next camera.

My first camera was a Holga120N; Amanda, as I have personified her. There are many things that drew me to this camera; the square frame, the vignette, the vintage-like appearance of the images, its flexibility in term of the modifications you can do with it, and its affordability. I spent a lot time learning about this camera before I bought it. It really is very important that you research before buying. Do not make the mistake of relying only on the photos on the internet, as a gauge to what you are looking for. There is more to the camera than just the quality of the pictures they yield.

Again, be intelligent in choosing your first camera. This is a make or break situation for you. A good camera choice can enhance your passion or interest in photography; but a poor one may just as easily bore you, and put out that fire in your heart!