Lomography is still on its mission to take over the world. I spend a lot of time thinking about my relationship with the global phenomenon, because a lot of what I do could very well come under this style. But it is something I have a problem with.
What’s the Problem?
Many people comment on the high prices for cheap cameras, the fact you need to join into this consuming clique and so on. This doesn’t really worry me. If I want a Lomography Camera, and I think it is worth it I will buy one. I bought my Diana F+ full price in Carnaby Street. I bought my Fisheye 2 for less than the website price in Leeds, from a Chinese shop called Dragon Photos. I will tell you about my Supersampler later. But it’s up to you. If you think it is worth it, buy it. If not, don’t.
The thing that bothers me most about the whole Lomography business is the actual attitude to photography. All the things that make up the Lomographic vision – vernacular photography, happy accidents, soft focus, cross processing and so on have their place in photography as an art form, as a media. Vernacular photography – defined as photography where the subject is that of day to day life and the technical aspects are negligible acts as a fascinating insight into people’s lived realities. Abstracts are, when executed well equally as aesthetically valid as considered representations (though my girlfriend would disagree). Soft focus is a well used technical style, be it a filter, a plastic lens, or Vaseline smeared on a piece of cling-film. Continue Reading “The Reluctant Lomographer”