# 6951-61 / Polaroid ~ instant gratification

all photos (embiggenable)

“I bought that thing as a toy, and I took it as a kind of a challenge. It was this gadget and I decided that I might be able to something serious with it.” ~ Walker Evans

I COULD CREATE A BOOK TITLED My Life With Polaroid. The book would a voluminous thing inasmuch as it would contain at least 200 photographs culled from the thousands of Polaroid photographs–straight out of the camera, manipulated images, image transfer images–that I have made over the years.

Like Evans, I initially purchased a SX70 camera as a “toy” but soon realized that I could create some “serious” work with it. Work, that at the time, was a kinda a darling of the photography Fine Art World. I also did quite a number of “serious” consumer magazines and advertising assignments with the SX70–most notably, a 24 hour, day-in-the-life of Pittsburgh assignment.

“Serious” work aside, the camera was a constant instigator / temptation for just screwing around and making pictures with it. So much so that I was very surprised when the Polaroid company announced that it was closing the doors cuz I thought that my continuing, voluminous purchases of TIME ZERO print film was enough to keep them in business.

Re: Walker Evans and Polaroid: very late in his life Walker was alone (recently divorced), tired, in poor health, recovering from near-fatal stomach surgery. He was being supported by a few neighbors and a few of his Yale University students. While visiting a dentist–a friend and a collector–who was working on his teeth, the dentist/friend spurred Walker to acquire an easy-to-use camera, an Polaroid SX-70. Between September 1973 > November 1975, Walker made over 2,600 photographs with the SX-70. He was aided and abetted in that endeavor by the Polaroid Corporation which supplied him with all of TIME ZERO film he desired.

All of that written, this entry was inspired by an Academic Lunatic Fringe website that is featuring POLAROID WEEK. The displayed work is very typical narcissistic navel gazing ALF bovine droppings stuff that reveals not a thing about the genre’s spontaneous, instant, and joyful picture making heart and soul. Be that as it may, that ALF flapoodle-and-green-paint junk did cause me to revisit some of my Polaroid work which reminded me how much I miss that era in my picture making life.

In revisiting my Polaroid work, I decided to make this entry and include a couple book recommendations, re: Polaroid Photography. In researching sources where the 2 books could be purchased, I discovered 2 things ….

…. the first recommendation, THE POLAROID BOOK–253 photographs by 203 photographers, culled from The Polaroid Collection of fine art photography–is a available at quite a number of sites for $20-30USD. It is beautifully printed and filled to the brim with stunningly good work created with all manner of Polaroid materials-including TIME ZERO, 4x5/8x10 instant sheet film (BW and color), and the infamous 20x24 inch Polaroid camera.

…. the second recommendation, Walker Evans ~ POLAROIDS is out of print but can be had on the used market for between $300>700USD (depending on condition). ASIDE: I purchased my copy years ago while still in print for $50USD. END ASIDE. The book is beautifully printed and all of the photographs are presented in their original size, one per page.

FYI #1, there has been a Polaroid-esque revival of late. A variety of cameras, to include the legendary SX-70 are available, as well as print film for all. None of this resurgence involves the defunct Polaroid Corporation but the gear and films have reach near-Polaroid specs and quality. So, instead of buying a book about Polaroid photography, maybe acquiring a Polaroid-esque camera and film would be a better introduction to the instant picture world.

FYI #2, the cemetery picture above is of a the casket of a very good friend. After the grave-side ceremony, as I was leaving the site, I glanced back just as a sunlight highlight burst forth on the casket. It was one of those weird / cosmic / hair-on-the-back-of-my-neck-standing-up experiences …. almost as if she was giving me a goodbye wink.

polaroids ~ pushing around the emulsion

(embiggenable) • Polaroid Spectra camera

editorial / advertising assignments ~ (embiggenable) • Polaroid SX-70 camera

just for fun ~ (embiggenable) • Polaroid SX-70 camera

Based on my prior use of Polaroid film-Time Zero and professional 4x5 / 8x10 films-I'm surprised they went out of business.

I still have 3 SX-70 cameras, 2 SLR 680 cameras and 1 Spectra Onyx camera. All in perfect working (and looking) condition. Keep meaning to try some of that Impossible Polaroid film to see how well it can be manipulated. Maybe sooner than later.

manipulated # 1 / early ku ~ finding it

manipulated polaroid / c. 1990~ click to embiggen 

A recent photo book review, QT Luong's Magnificent Project, is responsible for a host of thoughts banging around in my head. Thoughts I haven't had for a long time and thoughts - more like nagging gripes - I thought I had gotten over ...

... Almost 2 decades ago, when I moved to the Adirondack PARK - technically not a park but rather a forest preserve - it was in my head that I would now have the time to be able to create grand landscape masterpieces, Photography Division wise, of the the park's natural environment. However, in very short order, a number of things emerged which worked in opposition to that idea.

First amongst those things was the realization that every mountain, mountain top view, lake, pond, river and stream had been pictured in the grand landscape style many times over. Pictured in a manner of making pictures just like what one has been told is a good picture - "perfect" light, "perfect" picturesque scene, "perfect" composition according to the so-called rules of compostion and, most often, color saturation dialed up to a 12 (on a scale of 10). Pictures which, iMo, most men, women and children would respond to - like Pavlov's salivating dogs - the romantized rendition of the natural world.

Springing forth from that realiztion (the second thing) was a reinforcement of the fact that, in my commercial / advertising picture making career, my success was built upon the a foundation of making pictures that were not like those of other picture makers. Pictures which had my personal stamp all over them. Pictures which separated me from the crowd. Therefore, why in the name of all that's holy (picture making wise) would I want to make pictures which blended into a sea of smaltzy, romantized and, iMo, cliched sameness?

Try as I might, I just could not come up with any reason to do so.

The third and most important thing which emerged, not from the aforementioned things, but rather, from getting out and making non-grand landscape pictures, was the realization that my eye and sensibilities are naturally - one might even say, preternaturally - drawn to referents which are most often seen but overlooked, visually complex and which are, in a very real sense, the genius / beauty to be found and seen in the "details" of the Adirondack PARK.

early discoveries / c. 2002 ~ in the Adirondack PARK (click to embiggen)

This discovery / realization had a profound impact on nearly every picture I have made thereafter that picture making epiphany. Whether a picture is of the natural world or the man-made world, vitually all of my pictures are of what, iMo and to my way of seeing, the genius and beauty to be found and seen in the mundane / ubiquitous "details" of the world all around me.