I'm a little color blind, but I like that blue.
I just looked at the website of my local old-cameras shop to see if they still have Phoenix to sell. They have; but I was surprised to see they have put in place rationing; not just Phoenix but any colour film is now limited to three rolls per customer.
I can see it and I like the idea that the age of perfect, true-to-life digital captures might not give to many young photographers what they're after subconsciously: an abstraction from reality that Lomo and Phoenix gives them.They reckon it'll sell like hotcakes to the younger customers who don't mind or even like that it's experimental.
I can see it and I like the idea that the age of perfect, true-to-life digital captures might not give to many young photographers what they're after subconsciously: an abstraction from reality that Lomo and Phoenix gives them.
I can see it and I like the idea that the age of perfect, true-to-life digital captures might not give to many young photographers what they're after subconsciously: an abstraction from reality that Lomo and Phoenix gives them.
Agreed, but as of now - they both serve funky films for those of us that like this.Lomo and Phoenix do not seem to be in the same class of abstraction vehicles, based on the best examples of Phoenix I'm seeing online, and based on what Google tells me Lomo Is.
Thanks! But the thing in my case is: if E-6 films were as available now as back when I started to shoot them, and shoot for projection specifically, I've might not approached BW at all - I was curious about it, but it wasn't a necessity. When E-6 films "died on me" however, I moved on to BW challenge and I'm glad I did - taught me a lot, experimentation made me a better photographerYou are the guy who inverts traditional black and white film to make positives, right? Your work is often beautiful, but I think it is , from a methodology point of view, as far removed from realism as what those young people are getting with lomo. Actually more, because choosing black and white and not using colour is the biggest abstraction from reality possible probably.
Some of this is hype and FOMO - fear of missing out, for sure. Time will tell. More available film is good.Whether that lasts remains to be seen
I can see it and I like the idea that the age of perfect, true-to-life digital captures might not give to many young photographers what they're after subconsciously: an abstraction from reality that Lomo and Phoenix gives them.
Now go and print one or two of those in the darkroom, tell me what you think after that.
"Index" scan of my first roll. I wanted to shoot Phoenix really bad, but had absolutely nothing to shoot and weather was as grey as it gets here for most of the time. Nothing interesting on the roll, so the motivation for full resolution scans is really low. Maybe I'll do one or two later... I totally messed the shot of the it8 target and underexposed a few other shots, but if you scan your film it seems like Phoenix is already usable if you are aware of its limitations.
Thanks for sharing. Those frames 14 to 18 are beautiful, and I see nothing lomo-ish about them at all.
The weather here has been utterly miserable and my roll is sitting in my OM2n stuck at frame 0.
EDIT - @brbo if you have some time I'd love to see a higher res scan of 14 and 18. Those red roofs in the evening light in 18 are rendering really nicely on my monitor.
Lomo and Phoenix do not seem to be in the same class as abstraction 'vehicles', based on the best examples of Phoenix I'm seeing online, and based on what Google tells me Lomo Is.
Talking about abstraction and the subconscious, I think I've stumbled on your work on Flickr. You are the guy who inverts traditional black and white film to make positives, right? Your work is often beautiful, but I think it is , from a methodology point of view, as far removed from realism as what those young people are getting with lomo. Actually more, because choosing black and white and not using colour is the biggest abstraction from reality possible probably.
I think most of us use the film medium to experiment to a degree, even the older generations of photographers. I have a book by Koudelka on my lap right now. I think there is nothing realistic in the dodged and burned faces of the Gypsies that pop out from the darkness in the images I'm looking at right now, for instance.
I think defining realism is tricky business. Happy holidays all!
I see Phoenix being much closer to traditional C41 print film than Lomo
I see Phoenix being much closer to traditional C41 print film than Lomo. Phoenix need some improvement in the antihalation layer to become a got to film for me. Phoenix is a quantum leap for Harmon to make as a first step and should be encouraged to grow and mature as an alternative choice to be a C41 negative film for the mainstream.
@mtnbkr I agree, it's best with flat lighting and scenes that are already quite low in contrast. I found that the best photos I took were those with little or no blue sky in, and with the subject mostly filling the frame. Though there were exceptions, that was a general rule.
It's possible, within certain constraints regarding subject matter, to use this as a "normal" film. It's also possible to make some different creative decisions...in my case some worked and some didn't. Next week I'll try and scan my negatives on my Epson flatbed and see what difference that makes compared to the Agfa DLab2.
However I think that there's a place for weird film.
I agree. I like unusual color emulsions and semi-unpredictable results. It's funny, what felt like mistakes 30 years ago are now fun.
Sun flowers do not match the color of Chrome Yellow, yet some Dutchman successfully ignored this and created something amazing, because that Chrome Yellow accurately represented the emotions many have when we see sunflowers.
With this particular Dutchman, what complicates matters is that the colors he smeared onto the canvas were not the colors we see today. Apart from the technical issues underlying this, it also brings to mind the issue of the eye of the beholder...
Therefore I consider the correct use of Phoenix not a set of Lightroom settings to force accurate tonal representation, but the search for sights, which trigger an emotion best represented by this film.
EDIT - @brbo if you have some time I'd love to see a higher res scan of 14 and 18. Those red roofs in the evening light in 18 are rendering really nicely on my monitor.
If you have the time to post the negatives, alongside the inverted, corrected images, I'd be curios to see that.
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