In reality, I can’t think of a single image I’ve taken with this film that I’ve even negatively contemplated the grain in the final image. And because I’m not a massive bokeh-fiend, and don’t find myself with a desire to shoot much in the way of shallow depth of field photos in daylight, but do enjoy the versatility of being able to shoot colour film in low light, this pretty much makes it the ideal choice for me. That said, as I’ve alluded, with a 50mm f/1.2 lens mounted to a camera with a maximum shutter speed of 1/4000th of a second, I pretty much feel like I can shoot what, where and however I like. The results Because of this versatility, I’ve shot Kodak Portra 800 in a fairly wide range of shooting circumstances. I’ve also over and underexposed it a little bit, just to see how well it would respond. So rather than harp on too much more about the film generally, I thought I’d show some specific examples with a few thoughts around them. My first roll EDUCATION: Chris graduated Magna Cum Laude from Adelphi University with a degree in Communications in Journalism in 2009. Since then, he's learned and adapted to various things in the fields of social media, SEO, app development, e-commerce development, HTML, etc.

Film photography veteran Matt Day used Lomography 800 to document an abandoned gas station in his hood. His video about his small outing inspired me to test out the Lomo in the first place. Matt does exactly what I love about such trips: visiting a previously spotted location, arriving there early and then waiting until the light reaches its sweet spot. Oftentimes, I could describe my own trips in this way: wait, wait, wait, still keep waiting, now shoot!, shoot more, faster!, go home. Images of Industry – Lomography 800 at Dusk The main downside to Portra is its increase in popularity in recent years – and ultimately, price. This is one of Lomo 800’s biggest advantages over Portra.Now, before I get into this, I think that it’s important to caveat this review by saying that it is far from exhaustive, or even conclusive. I’ve shot a number of rolls of Portra 800, but they have all been 35mm, all processed the same way by AG Photo Lab, then scanned with my Noritsu LS1100 and post-processed in Lightroom by me, to my eye. I choose the labs I use for their consistent results, I use my scanner in a specific way and apply fairly subtle process to my scans in Lightroom all to achieve results that I am happy with without too much fuss. I talk more about my colour film workflow here, but I mention this now to highlight the point that there are a lot of variables within the process of shooting film, so really all you’re about to read amounts to is a review based on how I personally shoot and have processed this film. In short, your mileage may vary, but I hope that this at least gives a rough idea of the sort of results you can expect to achieve. Imperfect things attract my attention far more often than impeccable ones. Industrial zones offer exactly this. They were built to earn money, not to appeal to the people. Facilities are being used and maintained. If their profitability decreases, they are often run down, abandoned and finally demolished. Photographing these places means to document transformations, transformations that likely happen faster than in other parts of the city. I guess that’s why I feel so heavily drawn to them. On to the three that were shot and I have to say that I was incredibly disappointed with my Natura 1600 results once again (Film 1). This was my third roll and likely my last, which is a good thing, as it’s now discontinued. If you like the results you see here then I encourage you to give it a try. You have nothing to lose but money. I mentioned in a recent review of my now treasured Konica Hexar RF that I’d had a bit of an epiphany when I loaded a roll of Portra 800 into that camera and mounted my Voigtlander 50mm f/1.2 onto it. The point of mentioning it in that review was more specifically to highlight how versatile the lens had felt on that camera, but adding Portra 800 into the mix really was the final piece of the puzzle for me.

In this example if I use an f4 lens and Lomo 800 film this gives the same exposure as using a 100 speed film with an f1.4 lens. A f1.4 lens is 3 stops faster than f4 and ISO 100 is 3 stops slower than ISO 800. I tend to shoot Portra 160 @100 which slightly over exposes the film but roughly speaking photos with the mentioned lenses and films will give comparable image. As such this is why I share the following 35mm Portra 160 film scans. It helps to give a reference point when comparing the colours and tones from each film. 35mm Kodak Portra 160 sample photos- Romania Photos taken by Matthieu Quatravaux with the Lomography Color Negative 800 ISO 120, pushed 1 stop. Model: @baekoming_jen.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. These were all metered either Sunny-16, or on a couple of occasions with the help of my iPhone as a light meter. As a result of this, I can be fairly confident in saying that the exposure wouldn’t have been nearly as consistent as my first roll. Despite this, and because by this time my scanning and post-process skills had improved, I still got some really nice scans. Hello Matthieu, could you please introduce yourself to our readers? Since when have you been practicing analogue photography? Photos taken by Matthieu Quatravaux with the Lomography Color Negative 800 ISO 120, pushed 1 stop. Model: @cheristyle_.