Camera
Party like it’s 1992: Lomography LomoChrome ’92 film review
| I shot two 35mm rolls of LomoChrome ’92: one with an Olympus Stylus Epic and the other with a Nikon FM2. This photo, lightly processed to taste in Lightroom Classic, was snapped with the latter. |
I remember 1992 well: Bill Clinton was elected president, Barcelona hosted the Olympic games, Dr. Dre released The Chronic and film photography was at the height of its popularity. Okay, maybe I don’t remember all of those things – I was only four years old – but I do recall the presence of cameras in my life from an early age: My family was all about documenting special moments.
These photos, often shot on cheap drugstore film, have become cherished memories from a time long gone. Coincidentally, the era I speak of is now having a moment, especially amongst Gen-Z. And like so many hip brands in 2023, Lomography is tapping into the 1990s nostalgia craze with its recent release of LomoChrome ‘92 film stock. This ISO 400 color negative film is available in 35mm, 120 and 110 formats and is meant to mimic the look of that once ubiquitous drugstore film.
Buy now:
Who is Lomochrome ‘92 for?
If you’re searching for a color film stock that accurately captures the hues and tones of real life, this isn’t it. Lomography even says that LomoChrom ‘92 users should expect “fascinating blue hues, vibrant reds and delicate pastel undertones.”
Unlike common ISO 400 color films, like Kodak UltraMax or Fujifilm Superia, LomoChrome ‘92 is significantly more experimental in nature. To shoot with it is to embrace the unexpected, from strange color shifts to odd textures and oversized grain. If you want to fully enjoy LomoChrome ‘92, you’ll need to let go of some creative control.
In the digital age, this can be difficult. Indeed, I was a bit disappointed when I first got my scans back by how muted and somewhat ‘blah’ many of them looked, especially compared to how I visualized them in camera. But that feeling quickly passed.
What does Lomochrome ‘92 look like?
First, without any digital adjustments, my LomoChrome ‘92 scans came back flatter and less punchy than I expected despite shooting in a wide range of lighting scenarios, both with and without a flash.
The grain also appears rather chunky for an ISO 400 film stock. Some of my shots additionally have an unappealing greenish hue in the shadow regions, which, thankfully, is easy enough to correct with a bit of help from Adobe. And that’s exactly what I did.
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| I’m not entirely sure what caused the light leak here, but I dig it. This is the type of image you can’t plan for. Shot with the Olympus Stylus Epic. |
How to make LomoChrome ‘92 shine
With a good night’s rest and fresh eyes, I reapproached my LomoChrome ‘92 shots with a new perspective: The ‘bones’ of the images were good; they just needed some toning and exposure adjustments to shine.
Seeing as I edit all of my own film scans digitally using Lightroom Classic — repeat after me, ‘It’s okay to digitally edit film scans,’ and if you think otherwise, keep it to yourself — I figured I’d give these shots the same treatment.
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| Unedited LomoChrome ’92 scan. | Edited scan with green cast removed. |
After all, a little white balance, exposure and contrast adjustment never hurts. Moreover, I wanted the results I shared in this review to be as close to something I’d share with my own social media.
Beyond basic adjustment to exposure variables, white balance and curves, I used the color mixer in Lightroom to lower the saturation levels of those pesky green tones plaguing some of my shadows. However, after experimenting with noise reduction on several images, I ultimately decided to leave it off and embrace the film’s oversized grain.
Other thoughts on LomoChrome ‘92
Ultimately, polishing most of these up took little effort. But I’m still somewhat perplexed by the assortment of light leaks and partially exposed frames I ended up with.
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| LomoChrome ’92 features big grain and cool tones. Shot with the Nikon FM2. |
For the sake of variety, I purposely shot two rolls of film with two different cameras, the Nikon FM2 and the Olympus Stylus Epic. However, both rolls came back with the anomalies mentioned above. It’s also worth noting that I’ve shot with both cameras recently, with no mechanical issues or light leaks to report. Hm.
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| Shot with the Olympus Stylus Epic. |
Either way, these happy surprises didn’t ruin any crucial shots and even added additional character to others, like the car image above. So, even though my results were not quite what I expected, ultimately, I am pretty happy with the outcome. And isn’t that the Lomography way?
What’s the point of LomoChrome ‘92?
In one word: fun. Lomochrome ‘92 isn’t for those wanting the tightest grain and cleanest reds, yellows and blues. It’s for folks who want to experiment with 35mm and – gasp! – not take film photography too seriously. After all, serendipity is one of the best parts of the analog photography experience.
So, does LomoChrome ‘92 really evoke a feeling of the long-gone 1990s? Absolutely. These shots bring me right back to my childhood, from the big grain to the slightly-too-cool tones. LomoChrome ‘92 is far from a perfect film stock, but it’s definitely nostalgic. And that’s the whole point.
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| Shot with the Nikon FM2. |
Moreover, I’m excited to see Lomography expand its film lineup with this whacky yet enjoyable stock. It might not be my go-to choice for everyday use, but it’s definitely an interesting one to experiment with from time to time. And I encourage other analog avengers everywhere to give it a spin through their favorite cameras.
A 35mm roll is $12.90 and develops in C-41.
| Photo: Richard Butler |
Every December, as we approach the end of the year, DPReview editors engage in our annual ritual of picking our Gear of the Year: that one photography item we enjoyed using most during the past twelve months. When I think about how much gear comes through the DPReview offices annually, I’m surprised the decision is usually as easy as it is, but in most years, one product usually stands out for me.
Not so this year. It got complicated.
The candidates
Regular readers may know that I love fast, wide prime lenses, particularly for astrophotography. In the past, I’ve selected a fast, wide prime as my gear of the year at least four times. It’s not exactly a tradition, but it’s starting to feel close. I think there are even a couple of readers who placed bets over whether I would choose the new Sigma 15mm F1.4 DG DN Fisheye lens this year.
If you took that bet, you lost. Better luck next year (and maybe diversify your portfolio). I came close, though. That Sigma lens is a beauty, and I’d love to have it in my kit. But it didn’t quite make the cut for the top spot this time around.
“I’ve selected a fast, wide prime as my gear of the year at least four times. It’s not exactly a tradition, but it’s starting to feel close.”
The next product I considered was a dark horse: The Panasonic DMC-LX7. In case you just did a double-take, that’s not a mistake. I almost picked a compact camera from 2012 as my favorite gear of 2024.
Unless your Wi-Fi went out in 2020 and you never bothered to fix it, you probably know that ‘vintage’ compact cameras – and I use the term ‘vintage’ loosely – have become all the rage among those who are too young to remember being frustrated by their image quality the first time around. (Those were the dark ages, kids.)
So, a few months ago, in a moment of nostalgia-inspired curiosity, I dug my LX7 out of storage and started using it just for fun. Thankfully, no bell bottoms or disco albums turned up alongside it, allowing me to put off confronting some earlier life choices.
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| Despite being released in 2012, the Panasonic LX7 almost snagged my 2024 Gear of the Year award. I rediscovered it earlier this year and have enjoyed its simple, point-and-shoot style. |
And oh, the fun I had! I found myself carrying the LX7 around for much of this year, using it for snapshots and embracing it for the fun of point-and-shoot photography.
I’m sure I’ll snap out of it eventually and go back to more meaningful pursuits like obsessing over megapixels or arguing about negligible differences in dynamic range, but if I were to choose my gear of the year based on the pure joy I got from a product, the LX7 would be the clear winner.
The product that ultimately made the cut for the top spot is the Canon EOS R5 II, a camera I didn’t get to use nearly as much as I’d hoped but used enough to be convinced.
The EOS R5 II
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| Photo: Richard Butler |
The original EOS R5, introduced in 2020, never made my shortlist for gear of the year. It was a capable workhorse, but nothing about shooting it felt particularly special. In contrast, the R5 II added three features that, for me, made the difference.
Stacked sensor: I don’t need a stacked sensor for most of the shooting I do, and I rarely shoot at the highest burst rates offered by most new cameras. However, after a few years of shooting cameras with stacked sensors, I’ve come to appreciate the blackout-free shooting experience such cameras offer.
“It’s a little luxury, like heated car seats for your eyeballs.”
I can’t think of a single instance in which I’ve ever missed a shot due to viewfinder blackout, but I do notice the blackout. Call it a quality-of-life enhancement, if you will, but it’s becoming more important to me. It’s a little luxury, like heated car seats for your eyeballs.
Eye-controlled AF: I’ve been a fan of Canon’s eye-controlled AF since the film days. A few years ago, I even wrote an article expressing my desire for Canon to bring it back with a more modern implementation; four years later, the EOS R3 delivered on that call to action. Thanks for listening, Canon 😉
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Whether using eye-controlled AF or Canon’s new Action Priority AF mode, the EOS R5 II’s autofocus system is up to the task, even for sports. The pre-burst capture feature allowed me to get photos I would have missed. (Processed to taste in Adobe Camera Raw.)
Canon EOS R5 Mark II | F2.8 | 1/1250 | ISO 4000 Photo: Dale Baskin |
I know eye-controlled AF doesn’t work for everyone, but when it does, it can be a transformative way of shooting. It pains me to know there are many people for whom eye-controlled AF still doesn’t work because it’s such a natural way to interact with a camera.
Pre-burst capture: I’m an expert at shooting certain subjects but a rank amateur at others, and it’s this latter group where I find pre-capture helpful. This is particularly true when shooting sports, but I’ve also found it helpful for shooting birds or wildlife. It has allowed me to capture photos I wouldn’t have gotten otherwise.
“It pains me to know there are many people for whom eye-controlled AF still doesn’t work.”
To be clear, I don’t want to give Canon too much credit here. The R5 isn’t the first camera with a blackout-free stacked sensor, and it’s far from the first to offer pre-capture. However, it’s the first camera to offer those features alongside eye-controlled autofocus, and, for me, that combination is what makes the camera so enjoyable to shoot with.
There are many more things the R5 II does better or faster than its predecessor, and some of those things will matter more to other people, but most won’t make a big difference to my photography work. The R5 II hits a nice sweet spot for me, and the fact that it does so in a body with excellent ergonomics that delivers outstanding image quality is icing on the cake.
Canon EOS R5 II sample gallery
Editors’ Photo Challenge: ‘Happy Holidays’
Our December Editors’ Photo Challenge theme was ‘Happy Holidays’: we asked you to show us what the end-of-the-year holiday season looks like through your lens. And you certainly focused on the festive spirit, capturing heartwarming moments and scenes filled with holiday cheer. From twinkling lights and decorated trees to snowy landscapes, your photos truly captured the essence of the holiday season.
Did you miss this challenge? Stay tuned for our January challenge announcement! In the meantime, consider participating in these current and upcoming challenges hosted by other members of the DPReview community:
Open challenges
- Underwater photography (closes Dec. 16)
- DPReview | Your best photo of 2024 (closes Dec. 16)
- Repitition (closes Dec. 20)
Upcoming challenges
- A Big Year 2024 (starts Dec. 16)
- Crepuscular rays (God rays) (starts Dec. 17)
- Colourful landscape in portrait mode (starts Dec. 21)
Drumroll, please! Here are our top picks from the December Editors’ Photo Challenge.
Window shopping
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Photographer: morelens
Description: Window shopping in Beacon, NY, a small town on the Hudson River in NY State.
Equipment: Canon EOS R + unspecified 35mm lens
New Year’s Eve, Mt. Hood, Oregon
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Photographer: rainrunner
Description: New Year’s Eve at Mt Hood, Oregon, each year, if weather permits, we snow camp on New Year’s Eve and watch the fireworks show at Timberline Lodge.
Equipment: Sony a7 IV + Tamron 70-180mm F2.8 Di III VXD
Christmas card
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Photographer: Aleksei Syrkin
Description: A little surprise for my wife, reflecting our life at that time and the atmosphere in the house.
Equipment: Canon EOS 5D Mark II + Canon EF 85mm F1.8 USM
Winter wonderland
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Photographer: Managarm
Description: My winter holiday tradition is taking long walks through the snowy landscape. Nothing brings me happier moments than a cool breeze of air and the sparkling snow in the woods.
Equipment: Ricoh GR IIIx
Ho! Ho! Happy holiday little fella
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Photographer: Hooyat
Description: The boy was watching children lining up to take pictures with Santa Claus. Santa noticed the boy was watching him for quite a while. He was alone with his mom. Santa came over, peeked around the fence, and told them he would take a picture with the boy… free of charge and ahead of the queue. Happy holiday.
Equipment: Nikon Z6 II +Nikon Nikkor Z 24-70mm F4 S
The list
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Photographer: jaberg
Description: I think this is the “nice” list, but one can never be sure. This is part of the American Swedish Institute’s 2024 Holiday Experience, Tomte: The Myth, The Gnome, The Legend.
Equipment: Fujifilm X100V + Fujifilm WCL-X100 II
Winter in Winterland
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Photographer: Viking60
Description: The capital city of Norway, Oslo, is already illuminated with lights indicating the upcoming arrival of Christmas.
Equipment: Leica SL2-S + TTartisan 50mm F0.95
Christmas light!
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Photographer: Jerodum
Description: A traditional Christmas village in France.
Equipment: Fujifilm X-T5 + Sigma 16mm F1.4 DC DN | C
A round world
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Photographer: xenofon
Description: This ball was up on the tree, at a height of 10 m (or more). As a result, the whole square, the fountain, even the parliament in the background, are all depicted in the ball in a spectacular and unique way.
Equipment: Canon EOS R10 + unspecified lens
New Year in the Rockies
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Photographer: etrautmann
Description: Long exposure at a remote cabin near Aspen, CO, just after the New Year in 2022.
Equipment: Sony a7R IV + Sony FE 20mm F1.8G
| Image: Atomos |
Atomos is making the touch to focus feature of its Shinobi II monitor compatible with more cameras. A firmware update lets you use the Shinobi II to control the focus point on the Canon EOS R1, EOS R5 Mark II, EOS R7, Nikon Z8, Sony FX3 and FX30, and the nine other previously supported cameras.
Being able to use an external monitor to control focus is useful for anyone who often films themselves and who would otherwise have to walk around to the back of the camera to make changes. The Shinobi II, which has a ~13cm (5″), 1,500 nit display, also gives you access to advanced monitoring tools that most cameras don’t natively support, such as vectorscopes and false color overlays.
The update also adds ‘Camera Control’ support for the Fujifilm X-T3, X-T4 and X-T5, which lets you adjust settings like ISO, shutter speed, aperture, and white balance using the monitor.
You can download the firmware from Atomos’ website.
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