Well it's been a few weeks so I thought I'd better come up with something for the blog and, so, I've investigated the Lomo style of photography and come up with a little guide on how to take a bog standard snap and give it a bit of the old Lomo magic.
For those of you that haven't heard of it I should probably describe what the Lomo style, or Lomography, actually is. I guess it's actually two things; one of which is easy to define, the other of which isn't. The easy one is the physical look of the photos; there tends to be a vignette (darkening at the corners), the colours are very rich (due to the use of slide film and the common practice of cross processing the negatives) and the quality is generally low with blurriness, poor exposure and even light leaks frequently featuring. Most of these properties, normally avoided at all costs by most photographers but sought out by the lomographer, are down to the very low build quality of the lomo camera. Think 1980s, Russia, plastic.
The element that is more difficult to pin down is the style and composition. Perhaps a good place to start would be with the motto of the movement: Don't Think, Just Shoot. Although it could easily be confused with the motto of the American military it is actually a style encompassed by The Ten Golden Rules of Lomography as laid out on their website. These include such adages as Take Your Camera With You Everywhere You Go, and, Lomography Is Not An Interference In Your Life But A Part Of It. Basically, they try to encourage you to break every traditional rule of photography that ever existed. The Rule of Thirds would be anathema to a lomographer. I highly recommend a look at their site to get more of a feel for this unusual brand of photography; you'll probably either like it or you wont.
The question is: how did such an odd, counter-intuitive and niche movement even get started, nevermind become an international phenomenon? It all started as recently as 1992 when a group of Viennese art students came across an old Lomo camera whilst on a tour in Prague. They found it in an old camera shop and used it in a very casual kind of way, often not aiming, shooting from the hip and generally just mucking about. Upon returning home and developing the film they were charmed by the "unique, colourful and sometimes blurry images" that were produced. Interest amongst friends and family rapidly grew and the following year they founded a society in honour of the strange new camera. The camera in question was a Lomo LC-A Compact Automat, produced some ten years previous in the USSR. The build quality of the device was.... well, there was no build quality; but this leant itself perfectly to the students shooting style.
There was a problem, however; with the fall if the USSR also came the end of the production of the camera and the prospect of a ready supply of the student's new favourite toy. Undaunted, the students flew to St. Petersburg, where the Lomo factory was located, to make a deal for tax breaks so as to make it economically viable to continue production. They successfully got the special permission required from the mayor of the city, a very amiable and friendly chap, one V. Putin. The rest, as they say, is Lomography. Production has since shifted to China and production continues to this day; the future of Lomography seems secure and Lomo cameras remain cheap and affordable for all to try. The film is now the increasingly expensive part.
But what if you don't want to faff about with film and developing and such like and just want to create the same effect using your existing DSLR and a bit of canny processing? Well, I'll show you how - so long as you intend to use Adobe Elements, although many applications are broadly similar these days. Those of you not interested in the technical parts can just skip to the pretty picture at the bottom.
The picture we're going to start with is no great shakes. The exposure isn't great, I should have got my neutral density filters out, the sky is overexposed and there's some lens flare; but as we're aiming for the Lomo style none of this should matter, if anything it'll help. So there are two main things we need to do here; create a vignette and achieve a cross-processing effect by increasing saturation and contrast. There is more than one way to do each of these steps including just clicking through the guided Lomo Camera Effect wizard, but where would the fun be in that?
There are two easy ways to create a vignette. The first is to simply go to Filter>Correct Camera Distortion and use the sliders in the vignette tool, which are normally used to remove a vignette, not to create one. I'd normally go for somewhere around -40 to -50 but it's totally up to you.
The second way is a little more involved but gives you more control. Take the Lasso tool and, having selected a feathering level of, shall we say, between 100-200 pixels, draw a vaguely circular shape in the middle of the photo. Again, we're not aiming for perfection here. We want to alter the outside of this circle not the inside and so you need to click Select>Inverse. Now create a Levels layer and slide both the shadows and the midpoint markers to the right a little, this will add to the vignette effect. I actually prefer to use a combination of these two methods to make my vignettes.
That's the vignette sorted but now we need to work on the distinctive colour palette of lomography; again, there are a couple of ways to go about this and I like to use a combination of each. First up: colour curves. Click on Enhance>Adjust Colour>Adjust Colour Curves... (yes, it really does have the three little dots after it). Here you are presented with a straight diagonal line on a grid. The left hand side of the grid represents dark colours, the left hand side highlights, and the middle is the midtones. There are several preset options available but you can also drag the points on the line to warp it. Moving any given point on the line either up or down will make the corresponding band of colour more or less intense. We want to make the curve look like an S; this will have the effect of making the highlights brighter and the dark parts darker, i.e. increasing contrast. If your line looks something like the one in my example below then you're on the right track. Press okay when you're happy with the effect achieved.
I would also recommend increasing the saturation, this will help to achieve the cross processing effect that is so synonymous with the Lomo style. To do this you can either click on Layer>New Adjustment Layer>Hue/Saturation... or simply click on the button with the diagonally divided circle on it on the right hand side and select Hue/Saturation... Use the slider for Saturation to give your colours a bit of a boost. For a 'normal' photo I wouldn't want to push this much past the mid teens, but for the Lomo style you can probably get away with numbers in the 30s, 40s or even higher depending on the photo.
In the same way that you got your Hue/Saturation... layer you can now select a new Brightness/Contrast... layer. Here, I wouldn't say that the Brightness has to go one way or the other, this really depends on what look you want to achieve with any given individual photo, but I would recommend increasing the contrast a little.
Lastly, I would say it's worth while putting a Fill layer in. To do this, select Layer>New Fill Layer>Solid Colour... Call the new layer whatever you like or leave it as the default and click Ok. This should default to a layer of pure black and you will completely lose the picture you have so carefully created. Fortunately it is only hiding behind the black layer and we now have to blend the two together to reveal the finished product. Click Ok again. At the top right in the Layers panel you will have a drop down box with various different blending options; I would recommend Soft Light or Hue or Saturation and an Opacity of something like 30-50%. This should really help bring about that cross processing look. Cross processing, by the way, is where you develop film using non-standard chemicals. There are two main film types; standard 35mm and Colour Slide film. Each of these sets has their own chemicals used in their development, C41 for 35mm and E6 for Colour Slide film; however, lomographers noticed that you can get some really cool results if you swap these up. As I understand it the more common option is to use Colour Slide film and process it with 35mm chemicals.
That's about it. With any luck you should now have a photo worthy of the annals of Lomography, or at least something that looks a little old timey; you can see my effort below. None of the techniques I have mentioned here are set in stone; indeed, that would go against the whole freestyle notion that made Lomo popular in the first place. The idea is not to be constricted by the traditional norms, to break the rules and not to worry about the consequences. As Rule #10 of Lomography says: Don't worry about any rules.
There are two easy ways to create a vignette. The first is to simply go to Filter>Correct Camera Distortion and use the sliders in the vignette tool, which are normally used to remove a vignette, not to create one. I'd normally go for somewhere around -40 to -50 but it's totally up to you.
The second way is a little more involved but gives you more control. Take the Lasso tool and, having selected a feathering level of, shall we say, between 100-200 pixels, draw a vaguely circular shape in the middle of the photo. Again, we're not aiming for perfection here. We want to alter the outside of this circle not the inside and so you need to click Select>Inverse. Now create a Levels layer and slide both the shadows and the midpoint markers to the right a little, this will add to the vignette effect. I actually prefer to use a combination of these two methods to make my vignettes.
That's the vignette sorted but now we need to work on the distinctive colour palette of lomography; again, there are a couple of ways to go about this and I like to use a combination of each. First up: colour curves. Click on Enhance>Adjust Colour>Adjust Colour Curves... (yes, it really does have the three little dots after it). Here you are presented with a straight diagonal line on a grid. The left hand side of the grid represents dark colours, the left hand side highlights, and the middle is the midtones. There are several preset options available but you can also drag the points on the line to warp it. Moving any given point on the line either up or down will make the corresponding band of colour more or less intense. We want to make the curve look like an S; this will have the effect of making the highlights brighter and the dark parts darker, i.e. increasing contrast. If your line looks something like the one in my example below then you're on the right track. Press okay when you're happy with the effect achieved.
I would also recommend increasing the saturation, this will help to achieve the cross processing effect that is so synonymous with the Lomo style. To do this you can either click on Layer>New Adjustment Layer>Hue/Saturation... or simply click on the button with the diagonally divided circle on it on the right hand side and select Hue/Saturation... Use the slider for Saturation to give your colours a bit of a boost. For a 'normal' photo I wouldn't want to push this much past the mid teens, but for the Lomo style you can probably get away with numbers in the 30s, 40s or even higher depending on the photo.
In the same way that you got your Hue/Saturation... layer you can now select a new Brightness/Contrast... layer. Here, I wouldn't say that the Brightness has to go one way or the other, this really depends on what look you want to achieve with any given individual photo, but I would recommend increasing the contrast a little.
Lastly, I would say it's worth while putting a Fill layer in. To do this, select Layer>New Fill Layer>Solid Colour... Call the new layer whatever you like or leave it as the default and click Ok. This should default to a layer of pure black and you will completely lose the picture you have so carefully created. Fortunately it is only hiding behind the black layer and we now have to blend the two together to reveal the finished product. Click Ok again. At the top right in the Layers panel you will have a drop down box with various different blending options; I would recommend Soft Light or Hue or Saturation and an Opacity of something like 30-50%. This should really help bring about that cross processing look. Cross processing, by the way, is where you develop film using non-standard chemicals. There are two main film types; standard 35mm and Colour Slide film. Each of these sets has their own chemicals used in their development, C41 for 35mm and E6 for Colour Slide film; however, lomographers noticed that you can get some really cool results if you swap these up. As I understand it the more common option is to use Colour Slide film and process it with 35mm chemicals.
That's about it. With any luck you should now have a photo worthy of the annals of Lomography, or at least something that looks a little old timey; you can see my effort below. None of the techniques I have mentioned here are set in stone; indeed, that would go against the whole freestyle notion that made Lomo popular in the first place. The idea is not to be constricted by the traditional norms, to break the rules and not to worry about the consequences. As Rule #10 of Lomography says: Don't worry about any rules.
