Tag Archives: redscale

Best Film for DIY Redscale

While there are quite a lot of color negative films available to redscale, not everything turns out as warm as how I want it. This entry aims to show the different effects when different kinds of films are redscaled.

Before I introduce you the list of films I’ve redscaled, let me show you photos using a non-DIY redscale film from lomography.com. They call it Lomography Redscale XR 50-200.

I am absolutely impressed by how warm the photos can get using this film. The only deal breaker though, like many films from lomography.com, is the price. I don’t think I am willing to spend Php 945/box of three rolls  only to get this kind of shade on my prints, so I resorted to DIY. With a little research in the internet, I was able to make a redscale film of my own! To help you save time from researching, here is my very own DIY Redscale Film tutorial, click here.

1. Fuji Superia 400 – I used a Diana Mini to shoot with a redscaled Superia. The photos turned out so red, far from what I expected. I personally won’t shoot using this film very often but will definitely try it again using a different camera.

2. Agfa Vista 200 – I used Yashica Electro 35 GSN with a DIY Agfa Vista, the photos turned out more orangey and it’s lost contrast because of the rangefinder camera settings. For me, this is better than the redscaled Superia.

3. Kodak Ultramax 400 – The photos were amazing! This is even better than the Lomography Redscale XR 50-200 film. With a redscaled Ultramax, the photos are warm but not too much to hurt the eye. I like the subtlety and the olden-day feel it brings on the photos. I used a Superheadz Super Fat lens on the shots below.

The photos are how exactly I want it using an Ultramax, more golds and less saturated than Lomography XR, so I decided to use it on a few other cameras like Diana Mini and Holga CFN.

An expired Kodak Ultramax 400 is around Php45-80 pesos in the market that makes this alternative a go-to redscale film for many lomographers. I strongly recommend that you try to make a redscale film of your own especially if you are starting lomographer. It makes you not fear the coming modifications and DIY you’ll soon come across with lomography. So gather some guts now and save hundreds of pesos with a Kodak Ultramax DIY redscale film.

DIY Redscale Film: Exposing the Wrong Side of the Film

If you have been researching on redscaling films, you might have come across “expose the wrong side of the film”, but what does that exactly mean? We will not go technical, cut me some slack, this is going to be long for sure. It only means that the matte side of the film should be facing you when you load the film  on your camera. Here’s how we will go about that. 

But before that, you might want to take note of the materials. You will need: (1) Scissors (2) Scotch tape (3) Empty film canister (4) Film for redscaling (5) Dark room or changing bag (6) Marker (7) A little imagination and patience

1. Pick an old canister with at least a centimeter of film left. It is recommended that you label it as the “Redscaled Film” early on so you can avoid confusing yourself. 

2. Pick the film you want to redscale. I chose Kodak Ultramax 400 for this tutorial because it has, by far, given the closest effect to the Lomography Redscale Negative 50-200 film sold overpriced in Lomographic Society outlets. I like the yellow to orange hue it makes and sometimes the sepia effect. 36-exp Ultramax sells at Php80 in Hidalgo. 

3. Cut the leader.

4. Place the film (Kodak Ultramax 400) under the tip of the old film canister.

Here’s another photo of how it should look like, Kodak Ultramax 400 on the left and the empty canister on the right. 

5. Make sure they are aligned and tape them nice and neat. Use a scotch tape, do not use thick tapes, you’ll regret it I swear. 

6. Warning! This step should be done in a darkroom or a changing bag. If you’re new on this, getting a dark room might scare you off, no pun intended. The point is that we are transferring the film to an old canister and we have to do it in complete darkness! As for me, I close the windows and switch off the lights in my room in the middle of the night and there you are, my very own version of a darkroom. What I do to guarantee myself a successful DIY rescaled film, I use a make-shift changing bag (a black shirt) while at it. Again, this step requires zero tolerance for light leaks. 

Start winding the old film canister so that Kodak Ultramax 400 is spooled inside it. Avoid touching the surface of the film. You can use anything to help you wind it except your fingers. Trust me. 

7. Once the film is transferred to the old canister, cut the film but remember to leave at least a centimeter on the Kodak Ultramax 400 canister, which is now the empty canister, for future redscaling. 

8. Cut a leader to your redscaled film to help you load it in your camera of choice. Some cameras have a slot for a leader, some don’t. 

The challenge in loading the redscaled film is that the film curls away from the camera. So the remedy I always do, I fold the tip of the leader so that I can hook the sprocket holes to the take-up spool of the camera. 

At this point you must be ready to shoot and “expose the wrong side of the film” which is, if you notice, the glossy side of it. Please also note that, you have to assume the ISO of the film you used to redscale one stop lower, that is ISO 200, if you redscaled a 400-ISO film. 

The results per kind of film you redscale varies. Here are some of them: http://angelisantina.tumblr.com/tagged/diy%20redscale# 

Turns out the wrong isn’t always bad after all. Happy shooting! 

Past, Present and Future of a Second

I feel like I’ve been left behind, be it my love life or career.

Love: Men always come and go so quick. But that is not what the blabbing is about. The sentiment is, why do they come to bore me to death, if not, they come ill, sick in the head. Sure, there is no school to major in how to be interesting but how about speaking your mind out and involve yourself in the conversation. It insults me when I do monologues with just one audience member.

Career: Work to me now is purely, sincerely and only a source of income. It’s not very healthy or very likely to feel this way when you work for an established international IT company, I know. I feel so restless and burned-out. This is not coming from discontentment (with pay or job post etc.) but with doing the exact same thing every single day. Also, if I may highlight, the lack of proper recognition which is an understatement of office politics that is inevitable and rampant (here). Sadly, hard work is not all it takes to succeed in the real world and this, to me, is the greatest thing I’ve learned so far in my two years at work.

It pains me a lot when I lose all my writings because of incompetent browsers. I could have explained myself better with a lengthier text but I like how it turned out to be summarized when I rewrote it.

*Lomography Redscale XR 50-200 on Bell + Howell (Walang koneksyon ang pictures sa content, duh. Haha.)

My Singapore Flyer Story as told by Diana Mini and Bell + Howell

The facade

Each of the 28 capsules can hold up to 28 passengers. Engineers, why 28?

Hundreds or maybe thousands of steel cables hold the wheel safe and tight. 

A breathtaking view of the Marina bay, the Art Science Museum (lotus flower) on the left and the Esplanade (hardly noticeable) on the far right

Marina Bay Sands Hotel and Sky Park. Gorgeous but can’t run away from a raging tsunami. 😛

A diagonal shore shot from the top of the wheel *goose bumps*

More shots half-way down the wheel *not much excited to set foot on the ground*

Here’s a view of the facade from the capsule right before we alight. 

THE YELLOWS > Lomography Redscale XR 50-200 on Diana Mini 

THE BLUES > Kodak Ektachrome E200 on Bell + Howell BF 35


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