Review: Lomography LC-A+

Today I finally got two rolls of film that had been through the Lomo LC-A+ (that I got for Christmas) developed.

I was going to do a bit of editing but the store didn’t scan TIFFs as I requested, they gave me JPEGS ….72dpi… (ALWAYS THE SAME). So here is my selection in it’s unedited glory.

Lomo Chrome Purple 100-400 (this film and the LCA+ are available at Lomography Store in both 35mm and 120):

© Katherine Broadbent
 © Katherine Broadbent
© Katherine Broadbent
© Katherine Broadbent
© Katherine Broadbent
Expired Fujicolour 200
© Katherine Broadbent

© Katherine Broadbent

© Katherine Broadbent
So I am hard pressed to decide what I enjoyed most about shooting these rolls. I love how easy the double exposure feature is with the LC-A+. But the effect of the Lomo Chrome Purple is sensational! I’m also a bit enamoured by the grain on the Fujichrome! I am really looking forward to shooting the next roll I have. Also excited when my turquoise edition is shipped!
With the LC-A+, metering is done by half pressing the shutter. One red light means you’re all good. Two means your pictures will end up either under or over exposed. Now every shot I took; I had one red light. But as you’ll see from this selection some did still come out exposed incorrectly. This might have been due to the batteries going down. Or maybe just how far away I was in low light! Since the LC-A+ let’s you set your ISO, you can always try pushing the ISO up to compensate for the low light.
In any case, happy accidents. I like the gothic feel. And I will be scanning in the negatives to see what I can do to compensate for the exposure.
The LC-A+ is a really great camera to have in your bag for some analogue adventures.
  • Double exposures are a breeze.
  • Compact, light and robust. Perfect for having with you all the time.
  • Focusing is straightforward.
  • Manually select your ISO. Great for when you have ISO variable film (eg Lomo Chrome!)
  • Metering can be a little off at times.
  • Can’t focus close up. 0.4m is the closest you can get.
  • Vignette a little inconsistent.

Review: David Lynch: The Factory Photographs

June last year I came across an advert for Prestel Publishing. Who have quickly become one of my favorite publishers.

The first book that caught my eye was David Lynch The Factory Photographs. My first thought was ‘David Lynch does photographs?!’ But on reflection, it’s not that odd for a cinematographer, especially such an auteur* to also be a photographer.

* A term used in film theory. The French word for ‘author’. Used in reference to a film maker who’s personal artistic vision is portrayed throughout their body of work.

The book collects images taken between between 1986 – 2000 across Europe and America. Interestingly England only providing a handful of opportunities to shoot. Lynch explains how the decline in industrial factories in England meant that a lot of the vacant sites have been demolished and/or rebuilt. I would imagine this is owing to the limited space we have in England, all workable space is precious with our ever expanding society and need to preserve Green Belt areas. I suppose in larger countries and states in Europe and America, respectively, have space that they can allow to ‘go to seed’ for longer periods. Creating some beautiful derelict and abandoned places. Perhaps it might also have something to land owning and procuring laws.

The book opens with a portrait (taken by Nicky Bonne) and quote from Lynch:

“I just like going into strange worlds. A lot more happens when you open yourself up to the work and let yourself react to it. Every work “talks” to you, and if you listen to it, it will take you to places you never dreamed of.” Gilroy-Hirtz, P.“David Lynch: The Factory Photographs Germany: Prestel, 2014. 

I suppose this is fitting owing to Lynch himself, as an artist and public figure, being the main selling point for the book. Opposed to the notoriety of the work, however brilliant, itself. The quote also prepares us as readers/viewers on how to contextualize what we are about to see. 

Following this is a short interview between Petra Gilroy-Hirtz and Lynch which further familiarizes us with the world we are about to enter. Lynch remembers some photos were taken just after his film, The Elephant Man. This dates some shots in the collection back to the nineteen eighties. We also learn the subject matter of Lynches great fascination is owing to the great beauty and abstract forms he found in these abandoned places. This certainly comes through in the images. Lynch succeeds in capturing the individual personality of each factory. Personality that is, Lynch laments, lacking in modern factories.

After a longer piece detailing an overview Lynch’s career and further exploring his fascination with industrial scenes. Finally a collection of quotes from Lynch. The title “Reading David Lynch” directs us to take note and bear these in mind when looking over the work.

For me all this introduction material was fascinating. It really helped me to understand the meaning of abstract photography. I was also able to contextualize modern photography in terms of photographic history. Gilroy-Hirtz draws parallels between Lynch’s work and that of the New Objectivity movement in the nineteen twenties. Even those who have studied photography academically, or otherwise, will find something of interest. 

The Text

Written by curator Gilroy-Hitz is compelling and well presented. Making the reading experience enjoyable.

The Book 

The one thing I love about (and makes me willing to invest in) photography books is that they are often beautiful objects. The Factory Photographs is just that. The cover is a soft textured linen. The 160 prints are spread across good quality paper in a matte finish. It’s a medium sized book measuring 30.4 x 26.7 x 2.6 cm.   

The Photographs 

The collection is arranged loosely into untitled sections. My description would be External, Internal, Windows and the final section moving toward abstract landscapes.

A common thread through out the series is Lynch’s use of high contrast black and white. This is commonly used in abstract photography, creating flatter images breaking 3D objects down into 2D shapes. As color film was readily available at the time it’s worth noting that this was a conscious choice by Lynch to create a certain mood in the project. One he has made in some of his films(IMDB: David Lynch) as well.

Through out the book we certainly get a sense of Lynch’s fascination with industrial spaces by variety of shots included. Delving deeper we find the photographs were taken over a period of 14 years. Further showing how much time Lynch has dedicated to the study of his subject. 

David Lynch: The Factory Photographs is available from The Photographer’s Gallery & and is published by Prestel

This publication coincided with an exhibition of the work. I was gutted to have missed this as it was held in London at The Photographer’s Gallery 17th January – 30 March 2014. 

I have since visited The Photographer’s Gallery and it is a fantastic exhibition space spread over three floors. There’s also a cracking photography bookshop (shop online here) in the basement. They also, if you have the budget, sell a selection of prints from selected photographers (available online here). Along with a large selection of books and magazines the shop also sells refurbished Polaroids by The Impossible Project and Lomography products. 

New Years Day: Great Yarmouth

Starting as I mean to go on, me and Nick decided to have an analogue day! While I have a 35mm SLR I really wanted to have a go with these two:

The Lomo LC-A+ was a Christmas gift from Nick and The Cannon AF35ML was a bargain I picked up on Ebay. The thing I love about the LC-A+ is that multiple exposures are a breeze! All you do is take your first image, flick a switch and your shutter is primed and ready to go for round 2!
The Cannon AF35ML is a reliable little shooter with the convenience of a built in flash.
Both cameras allow you to set the ISO (which I can’t on my 35mm SLR). This is an advantage if you want to shoot with ISO variable film or experiment with over/under exposure when your metering is automatic. I have a roll of Lomo Chrome Purple to experiment with later in the year which features ISO variable from 100 – 400. The higher the ISO the more intense the colour shift! 
New Years Day was spent walking up and down the seafront. But I don’t have any photos to share yet since I shot on film! Here’s one I took on Instagram to tide you over!
© Katherine Broadbent
Sadly the Winter Garden has been closed for some time and fallen into disrepair. But this along with the overcast sky made for some atmospheric shots. I’d love to be able to go inside and shoot one day!
Where would you love to shoot? Is it local to you? Or do you have jet setting dreams?
 I got a few shots from outside, it’s a lovely Victorian structure.
As it’s off season we were able to park for free which was a bonus. It also made us walk further (and find more shots) because the free parking it quite far up the promenade. I finished off one roll, and got half way through two others. I think I will take the LC-A to the industrial estate where I work and finish off the current roll there.
Industrial buildings really inspire me! As you might have spotted in my previous post I have David Lynch’s Factory Photograph’s. I love this photo book because it made me realise that I am allowed to photograph whatever inspires me. It doesn’t matter if it’s traditionally beautiful or not. 
All that matters is that; whatever you photograph mean something to you.
If you’re interested in David Lynch’s photography, stay tuned, Factory Photograph’s will be my first review later this month.