Redscale, Greenscale, Bluescale + Spring Photo Dump!
A Monthly Newsletter for GOLD Members
7 min read by Dmitri.Published on .
Last month, I hinted at my very expensive Aerochrome redscale experiment. This month, I learned we can also “greenscale” and “bluescale” certain colour films. More on that below.
GOLD members: I’ve got a bunch of photos of an early Vancouver spring I’d love to share with you! Plus, upcoming articles for May 2025 and updates to film Q.
In this newsletter: Redscaled, greenscaled, and bluescaled colour film. Spring photo dump 2025. Updates to film Q. Next month on Analog.Cafe. Support this blog & get premium features with GOLD memberships!
Redscaled, greenscaled, and bluescaled colour film.
Redscaling is a simple process of flipping the film inside the camera so that the light falls onto its backside. When the emulsion side of the film strip faces away from the lens, images on colour film often come out deep red with very little green and blue. You may’ve heard of Harman Red — this film is a perfect example of redscaling done by a factory. But we can also do this at home.
At home, we can redscale any film, which includes some unusual stocks like Lomochrome Turquoise and Aerochrome, which do not render the world in its natural colours. It turns out that those two films are the key to the rest of the flipped film rainbow: Lomochrome Turquise turns bluescale, and Aerochrome turns greenscale. See the linked articles for samples, exposure/filter guide, and colour correction settings!
Alas, Lomochrome Purple isn’t worth redscaling, IMO. Perhaps you’ll have better luck; see this article with my attempt samples and settings.
Spring photo dump 2025.
I love spring in Vancouver. The winters here aren’t especially cold (usually, the temperature doesn’t fall below freezing), but it rains a lot and there’s very little sun. This is why spring weather can feel so uplifting: less rain, more sun, green leaves, and blossoms!
Every year I spent in this city, I had my film camera on me all day, every day in the short weeks of spring bloom. In 2025, I carried my Voigtländer Vitessa A and my Nikon SLRs: the F2 and the FM2.
Many of this year’s spring photos were made using experimental film stocks, like the redscaled/bluescaled/greenscaled emulsions I’ve already linked to above. But I also wanted photos that would better remind me of how it felt to see the young leaves and blossoms after months of fog. So I chose films that gracefully took overexposure, which I could massage into airy, delicate pictures after scanning.