This is constructed almost entirely ?from flimsy plastic, but the Diana+ captures the most wonderful, dreamy images on 120 film. Red light seeps through the window on the back cover (which falls off at regular intervals) and the plastic lens makes anything that’s not dead-centre look warm and fuzzy. You can also open the shutter indefinitely.
A bulbous 170-degree fisheye lens is the main draw here, which lays down circular snaps on 35mm film (albeit cropped slightly top and bottom). This is the ideal camera for a knees-up – controls are simple but still leave room for hamfisted gaffes that often lead to great results. Long exposures combined with the flash and multiple exposures capture the party atmosphere like nothing else.
One lens not enough? How about four? The SuperSampler takes a quartet of long, thin images in quick succession on a single 35mm frame. Shoot a moving subject to make a four-segment mini-movie, or move the camera itself to get something like a David Hockney tiling work.
Most digicams can stitch together shots into a panorama, but this takes 120-degree, landscape format shots with a single sweep of its clockwork swing-lens. It uses 35mm film, with each picture the width of two standard frames. It’s incredibly easy to use with loads of creative potential. Get close for bendy effects.
The elder statesman of the Lomo range, the LC-A eschews crazy effects to get back to the basics of Lomography – simple, stunning, saturated images, with the help of a top-notch Minitar 1 lens. Its new big brother, the LC-A+ delivers some cracking new features such as a multiple exposure switch, enhanced ASA settings and a cable-release button for long exposures.
Want to know more?
Browse the Lomo shop and global community at Lomography.com and check out the Lomo camera groups at Flickr.com.
See loads on analogue photography in the April issue of Stuff, out now.