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.
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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.
Camera
Adobe is improving masking and selection tools in Photoshop and Lightroom

Image: Adobe |
Adobe Max London is underway, and with it comes announcements from Adobe for its editing platforms. Some of the changes were previously revealed in a blog post from the company. The rest are mostly subtle, but, as usual, aim to streamline and simplify the editing process.
First, a new Select Landscape feature is coming to Adobe Lightroom. This tool will automatically detect and create masks for common landscape elements like plants, sky, water and more. Such automatic masking tools in Lightroom (and Photoshop) were previously limited to obvious subjects like people, so selective edits on landscapes still required more time-consuming manual edits. This should speed up the editing process for landscape photographers.
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The Select Details actions can save you some tedious manual work.
Image: Adobe |
For Photoshop users, Select Details will make it easier to select finer details like hair, facial features and clothes. Masking out hair is a tedious task that can be difficult to get right. Portrait photographers will appreciate anything that eases that process, so if this works as well as Adobe promises, it will be a welcome update.
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Adobe says the Select Background tool will provide even more precise results, even with complex images.
Image: Adobe |
Adobe says it updated the Remove Background tool in Photoshop, promising much more precise results and sharing an impressive demo of it cutting out a fish in a net. It should allow for much more accurate selections when dealing with complex images or colors that blend into each other, like a subject wearing a black shirt against a dark background.
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You can now control colors from the Contextual Taskbar.
Image: Adobe |
Adobe also updated the Contextual Taskbar with an Adjust Colors option. When clicked, it automatically samples the colors for you and creates an adjustment layer. That way, you don’t need to create multiple adjustment layers or manipulate individual color changes when adjusting colors in your images or designs.
Camera
Profoto's new tool offers precision lighting in a compact package

Image: Profoto |
Today, Swedish company Profoto announced the release of the Spot Small. This compact light shaping tool is built for photographers looking for precise control over their lighting and is aimed at professionals in the fashion, portrait, product and fine art industries. Profoto says the Spot Small delivers a crisp, artifact-free beam with its 115mm focus lens.
Features
- Projects a clean beam of light.
- Focusable high-quality 115 mm optical lens.
- Four integrated adjustable metal leaves.
- It has an optional Iris and Gobo Holder (no Gobos included).
- Compatible with Clic light shaping tools.
- Compatible with both protruded and flat fronted 100mm lights.
Integrated adjustable leaves allow photographers to fine-tune the shape of the light, while optional add-ons like the Iris and Gobo Holder allow for the production of custom shapes and dramatic effects. A magnetic front ring ensures compatibility with Profoto’s Clic light-shaping accessories, something users looking for more ways to experiment might be interested in.
Profoto says the Spot Small is built for longevity. It features fully vented 360-degree housing to withstand the demands of professional work. The device is compatible with both flat and protruded flash heads. Images of the product and its accessories can be viewed on the brand’s official Instagram page.
The Spot Small is positioned as a tool for pro photographers who wish to work with intentionality and creativity, confidently shaping light with precision. Currently, there is no listed price.
Profoto Spot Small speficiations
Focal length | 115 mm |
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Lens dimensions | 12-18.5 cm (4.6-7.3″) length x Ø7.3 cm (2.9″) |
Width | 19.5 cm (7.7″) |
Height | 23 cm (14″) |
Length | 35.5 cm (14″) |
Weight | 2.5 kg (5.5 lb) |
Camera
This new accessory keeps the unique aesthetic of the Sigma BF intact

Image: Helium Design Lab |
There’s no denying the bold, unique look of the Sigma BF mirrorless camera. It’s unlike any camera currently available, with a body milled from a single block of aluminum. The minimalistic design lacks a grip, though, which some may take issue with. Helium Design Lab, a company started by photographers Ed Palisoc and Hugh Brownstone, has stepped up to the plate, with a grip worthy of the BF, as PetaPixel reports.
It takes a special design for any grip to look even somewhat right on such a distinctive-looking camera. The Helium Design Lab HeBF handgrip keeps the aesthetics of the camera intact, resulting in what Helium Design Lab says is a “more perfect union between camera and passionate photographers like ourselves.” Like the camera, the grip is made of precisely machined aluminum, and each is hand assembled and inspected. It is designed, manufactured and packaged in the US.
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Image: Helium Design Lab |
The HeBF grip provides access to the battery without removing the grip and features a hidden, anti-tamper AirTag slot so you can keep track of your camera. It also offers built-in Arca-Swiss compatibility, and it’s compatible with the Peak Design Capture Clip and Travel Tripod. There are bottom anchor lugs on the left and right, providing multiple options for wrist and camera strap configurations. It’s available in natural silver aluminum and anodized black finishes.
The kicker: this is a very limited production run. Helium Design Lab says it is only making 100 units and will not offer it again. The limited nature of the grip, along with the close attention to detail of each one, naturally demands a steep price: $390.
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The grip comes in silver and black.
Image: Helium Design Lab |
As Brownstone admits in the YouTube video discussing the grip, “390 bucks is anything but chump change.” But it isn’t the company’s most expensive offering. In fact, it’s actually cheaper than all of the company’s other options by $150.
Brownstone explains that they’ve engineered significant costs out of the grip compared to their other products to keep the price down as much as possible. Still, the grip’s nature means it is expensive to produce. “This is not primarily a rational business decision. We’re bad. It’s an emotional one,” says cofounder Hugh Brownstone. “Our ambition is to break even.”
You can pre-order the grip from the Helium Design Lab website, provided you get there soon enough.
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