Lomography Color Negative 800 ISO 120 3 Pack

Product Information

As such, I then decided to shoot a roll with a very modern, high contrast, high resolution lens. In fact, it was this next roll – the one I mentioned at the beginning of the post with the Konica Hexar and Voigtlander 50mm f/1.2 – that really sealed the deal for this film for me. Now, I mainly push the Lomo 800 of one stop, using them at 1000 ISO (always to keep the shadows) for my studio photoshoots in continuous light or when I'm looking for a more intense texture of the grain. The same scenario happens with the other ISO films -- I push the Lomo 400 of two stops, exposing at 1000 ISO to slightly modify the colors and get an intense contrast. At the end of November, a museum around the corner installed three life-sized dinosaurs on their property. These models promote the museum’s new exhibition – dinosaurs and their representation in movies and TV.

Since shooting these rolls I had been busying myself with getting into the swing of 2018 and I had all but the fuzziest of memories about exactly which roll I shot where and when. I can tell you this however, each roll was fresh and once in my possession they were shot across three consecutive days on my Leica M6 TTL 0.85 with the wonderful 7artisans 50mm f/1.1 lens at ~f/4. I metered all the films at EI 800 so as to level the playing field a bit – some might say giving an unfair advantage to the Fuji. More on that later. The grain really comes out when metering at box speed (aka the manufacturer’s recommendation, in this case, 800) and when shooting in low light – but is still manageable and not overbearing. Many photographers like to meter Lomo 800 1-2 stops overexposed at 640 or 400 as well, which reduces grain in images (just like Portra 800). Lomography Color Negative 800 was tested with the Yashica GSN Electro 35, the Mamiya 6, Fujifilm GW690 III, and the Pentax 67. All film was graciously developed by Lomography NYC. Tech Specs Importantly, at least as far as my workflow goes, I didn’t find myself needing to correct colour-shifts much between frames, which to me was a good sign that Portra 800 could hold up to at least a bit of variance in exposure within my workflow without it causing me a headache in the scan and in post. This is something I really like about Portra 400, but for one reason or another, I didn’t expect I’d get the same consistency from Porta 800, which is an older emulsion.

A little bit of overexposure

You take a lot of pictures with the Lomography Color Negative en 400 ISO et 800 ISO films. Why do you like these films?

When using theLomography Color Negative 800 film with the Mamiya 6, I discovered how good it can be when working with interiors. We went to a restaurant with lots of tungsten lighting that was begging to be shot with CineStill. But the film handled the mixed lighting situation very well. That makes them way more difficult to scan, and prone to scratches overall. There may be a secret to drying these negatives flat, but I certainly haven’t found it yet. Photos taken by Matthieu Quatravaux with the Lomography Color Negative 400 ISO 120. Model: @xiaqua. Since Colorplus 200 is the latest version of VR 200, and evidence points to Lomography 100 and 400 being its respective Kodacolor VR counterparts...This was one of the most surprising results to me. I did not expect to see that these were exactly the same films. But it makes sense. Kodak Portra 800 is quite possibly my favourite colour negative film. I say that as someone who’s just committed to shooting only P3200 and Ektachrome E100 for at least 6 months in a bid to learn these two returned-to-market films from Kodak properly. But when making that decision, the first concern I had was how I was going to cope without my quite-recently found love for this fast and very versatile colour emulsion. You can see the darkness starting at the same point on two separate rolls of film, one short in a Mamiya 645 Super, and one in a Hasselblad 503CW. The Ektar was processed right after — same process, same chemistry — without any issue. This must be the film. There are several industrial areas in Hannover I regularly return to. If you now say: “Wait a minute, I think I know this place from one of your previous posts!”, you are probably right.

Lomography 800 is a daylight-balanced color negative film rated at the fairly high speed of – surprise – ISO 800. For my shots, I almost gave up the advantage in speed and overexposed it by one or even two stops. High-speed films are usually associated with a higher amount of grain compared to films rated at a lower ISO. Spoiler alert, I didn’t get the impression that Lomo’s grain is distracting at all.The photos were taken on an overcast fall day when the trees were in full bloom. I used a tripod for many of the photos, but most exposures were taken by hand. If you have tried this film yourself, let me know in the comments below what you think of it. If you haven’t tried it yet, I hope this review has helped you anyway. Or is that kind of far-fetched? Never having shot VR 1000, I'm not familiar with what it was like. But for those who have shot it and have also used the Lomography 800, could they be similar? Or is the Lmography much better/newer than VR 1000 in image quality? As you can see, the skin tones here are really nice. This photo was illuminated with low amounts of window lighting and the brightness of a laptop LCD screen. It’s still pretty awesome.

For the rest of the Lomo 800 120 images I shot scenes as I walked around the city of Cluj. It was raining and almost dark when I took some of the photos yet it looks like daylight in the pictures. I was shooting at ISO 800 but my Sekonic lightmeter died so I was guessing the exposure at one stage. I shot the Fuji GS645 Fujinon lens wide open and f3.5 at 1/30 for some photos to try to get enough light into the cameras. Scanning film – photo of monitor showing preview (*Not true representation) Film scans and thoughts – Romania But that’s a pretty bold claim. I don’t believe Kodak has ever allowed their professional lineup to be rebranded. However, Kodak Portra 800 is an entirely different film from Portra 400 and 160, which were reformulated to produce better digital scans in 2010. To get the more saturated colours from Portra 400, I’ve always found I need to overexpose it a bit or that I need to push the colour more in post. Both of these options can be a little problematic. Proimage 100 is another film that’s given me the more saturated colours I like, but as a 100 speed film, I just didn’t find it to be as versatile as I’d have liked.In the photos above, lighting was coming from a ceiling light, so Kelsey’s skin tones came much redder than the photo below with a lot of sunlight shining in.