# 6409-6417 / polaroid ~ barrel o' monkeys fun

all photos ~ (embiggenable)

MUCH HAS BEEN WRITTEN, RE: THE JOY OF PHOTOGRAPHY but little has been written about flat-out, just screwing around fun with photography. And, iMo, when it comes to just pure fun with photography-different from the pleasure to be had in “standard” picture making-nothing, in my experience, comes close to the making pictures with Polaroid cameras or films. I can’t even guess, with any accuracy, the number of Polaroid camera/film pictures I have made. Multiple thousands for sure to include SX70 and Spectra camera-made prints, 4x5/8x10/ sheet film prints, 669 print film (3 1/4x4 1/4 pack film) prints.

A significant part of the fun of making Polaroid photographs comes from just screwing around making straight/ un-manipulated pictures with family and friends and sharing the instant gratification that derives from sharing the results - most often smiles all around, all the way up to fits of hilarity.

As much fun as that is, the inevitable next step up the fun ladder is when you realize you can push around the emulsion of an SX70 print-does not work with any other Polaroid material-before it hardens. This is rather addictive and those so addicted can find themselves carrying around a little kit of pointy tipped things (of varying thicknesses for different width strokes). Embracing and perfecting (a matter of taste) this technique kinda makes one feel as though they are an artist (of some sort).

Then, once ya got the art bug, the serious amongst us move up to the Polaroid image transfer process. This requires the use of a 4x5 view camera and a Polaroid 4x5 film back in order to shoot and process 4x5 Polaroid print film. The process is as follows:

  • have a tray of water, a roller instrument and a squeegee, and sheet of heavy fine art paper ready

  • make an in-camera exposure onto Polaroid print film

  • put the paper in the water, soak thoroughly, squeegee dry but still damp

  • pull the film pack of of the back to start the film processing

  • before the processing is complete, peel the film pack apart, place and then roll the film onto the fine art paper

  • wait 10 minutes and then peel the film off of the paper

  • Voila, the dyes from the film will be transferred to the paper

The fun part of this process is that you now have an image on fine art paper and have the ability to add hand-coloring or any other embellishments to the print. Artist, indeed.

All of that written, my fun with Polaroid continued over into my professional work inasmuch as I made many manipulated SX70 prints and Polaroid transfer prints for quite a number of advertising clients and editorial assignments.

Unfortunately, as they say, all good things must come to an end. And, yes, there is a sad ending to this barrel o’ monkeys’ fun. To my knowledge, none of this is possible today. RIP Polaroid.

Photo captions (top-bottom, l-r): 1) my ex, 2) good friend and then par amour, 3) son 1, 4) son 2, 5) Pittsburgh magazine special issue ~ 24 hours / a day in the life, 6) national teen magazine article ~ teen life in a small West Virginia town, 7) regional magazine article - boxing gyms, 8) regional magazine cover ~ rebuilding the rust belt article, 9) University of Pittsburgh magazine ~ School of Dentistry article

PS I have created a new Fun with Polaroid gallery on my WORK page.

# 6469-78 / people • places • things ~ instant satisfaction

me on a hot day photo shoot ~ (embiggenable)

all pictures embiggenable

IF, AT THE TIME OF MY ENTRY INTO THE picture making life, the Photo Gods had called me aside and declared that I could proceed but only if I limited my picture making to Polaroid materials, I probably would have declined and stuck to sketching. However, if the Gods had set forth the same condition in 1972-the year the SX-70 camera / Time Zero film was introduced-I would have been happy to agree.

That written, lest you think that I would have been stuck with just the SX-70 camera and film, the fact was that, by 1972, I had Polaroid film backs for all of my “real” cameras-35mm, 120, 4x5, and (by 1973) 8x10 cameras. ASIDE the 4x5 Polaroid Type 55 film produced a seriously nice 4x5 instant BW print and a best-I-ever-used 4x5 negative. END ASIDE

My use of Polaroid professional films was primarily for my commercial picture making activities. Even though I did use the SX-70 / Time Zero tandem to make pictures for commercial clients, they were my go-to picture making tools for my personal picture making pursuits. And, using it as such was a pure joy. Especially due to the fact that passing around an actual print just moments after the picture was made is surefire crowd-pleaser if ever there was one. The SX-70 camera is the most fun camera I ever owned.

While I am on the subject of Polaroid, I can honestly write that if those same Photo Gods were to limit me to owning only 1 photo book-a book of pictures, not writing-that book would be THE POLAROID BOOK ~ Selections from the Polaroid Collection of Photography.

The Polaroid Collection of Photography is comprised of over 23,000 Polaroid pictures from over 2,000 photographers. The book features approximately 300 pictures made with a wide variety of Polaroid cameras and film. Each picture is accompanied by the artist’s name. The book Index has small icons of each picture with artist name, picture title, date made, and film type. The reproduction and production values are outstanding.

My only-one-photo-book-stranded-on-a-desert-island choice of this book is based upon the fact that; 1) the photos display a wide-ranging approach, aka: vision wise, employed in the making of pictures, 2) most of the pictures could be labeled as straight photography, 3) there is not a single word of art-speak anywhere to be read, and, 4) I could view the pictures in this book in a 1-picture-day manner until the end of time and never, ever come close to being bored.

The book is highly recommended and for those who might need (picture making wise) a kick in the butt, a knock upside the head, or a broom to clear out the cobwebs.

6313-17 / people ~ some people I know about whom you may care less

medium format camera - (embiggenable)

SX 70 camera - (embiggenable)

iPhone camera - (embiggenable)

µ4/3 camera with pinhole “lens”- (embiggenable)

µ4/3 camera - (embiggenable)

THE PICTURE MAKING IDEA OF PORTRAITS HAS been on my mind cuz there is a gallery group exhibition requesting submissions for consideration. Consequently, I have been rooting around in my photo iibrary for pictures which would be construed as portraits. That is, considered to be so per the submission guide lines:

A great portrait reveals something of the depth, history, and emotional state of the subject, at least as captured in a single moment in time. Although many portraits zero in on the face, many fine images don't show the face at all, instead using light, gesture, context, and other nuances of expression to create an informative portrait.

For this exhibit we seek portraits, self- or otherwise, that go beyond the surface to explore a deeper vision of the subject and, hopefully, draw an emotional response from the viewer.

To be certain, I have a number of issues with the idea that a portrait can reveal “something of the depth, history, and emotional state of the subject”, or that a portrait can “go beyond the surface to explore a deeper vision of the subject”. That’s cuz I am a firm believer in the idea the medium of photography has a problem with imbuing a photograph with definitive meaning, i.e. Photographs, which cannot themselves explain anything, are inexhaustible invitations to deduction, speculation, and fantasy~ Susan Sontag.

That written, a photograph which illustrates a reasonably accurate likeness of a person, when viewed by someone who possesses experiential knowledge and interaction with the depicted subject, may prick memories of and associations with that subject-Barthes’ punctum. But, iMo and experience, a viewer with no immediate connection to the depicted subject, not so much.

Re: the emotional state of the subject / an emotional response from the viewer. Without a doubt, photograph, in many examples, can convey a general sense of the emotional state of the subject. However, without some supporting evidence, visual or otherwise, that general sense will have little or no “depth”, the why? factor. And, also without a doubt, a photograph which conveys a sense of the subject’s emotional state may incite a simpatico response in the viewer thereof.

All of the above written, in my commercial picture making life, I was considered to be a top-tier people picture maker. My people pictures were on countless magazine covers and in magazine feature articles, in annual reports, and accent-on-people-like my Ray-Ban on models work-advertising / marketing campaigns.

I studiously avoided traditional studio portrait work other than for family and a few friends. The “portrait” pictures I enjoyed the making of the most were-and still is-my spontaneous, casual pictures of family, friends, and acquaintances. Usually made with no specific intent other than just fooling around in all kinds of situations while using all kinds of cameras and techniques.

In any event, I have yet to decide if I will be submitting work for the aforementioned exhibition. My time might be better spent putting together a nicely printed folio of my personal portrait work for submission to galleries in pursuit of a solo exhibition.

# 6311-12 / commonplaces • people ~ all hallows' eve

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TOP: A HOUSE IN DOLGEVILLE, NY AS STUMBLED UPON during a self-impused detour drive just outside of the southern foothills of the Adirondacks along the Mohawk River Valley, aka: The Leatherstocking Region.

Bottom: Me in my Halloween costume-the porn photographer-c.1980.

Happy All Hallow’s Eve to one and all.

# 6305- 6310 / polaroids - people, places, things ~ more fun than a person can handle

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CURRENTLY, I HAVE 19 CAMERAS IN MY LIFE (including the iPhone). Format wise they range from 8x10, 4x5, 120 format, 35mm format, and a widelux pano (all film cameras), plus 5 µ4/3 (digital) cameras + iPhone + 4 SX 70 cameras . My primary picture making device is the iPhone with the occasional use of one of my µ4/3 cameras (with a tele lens for sports / action pictures).

I can honestly attest that I have thoroughly enjoyed making pictures-commercial and personal-with each and every camera. That written, I can also attest that I never “loved” or fetish-ized any format or camera brand. To my way of thinking, they were all very nice tools which answered various picture making demands. In just about every case, switching brands would have never impacted my picture making results. …with one notable exception…

…that is the camera I would choose if I were forced to choose one camera to use for the rest of my life-the SX 70 Polaroid camera-with, of course, a lifetime supply of Time Zero film.

The enjoyment that came with the use of that camera knew no bounds, but, it was not just about the camera. Although…it must noted, who could not like the sleek folding design and the wonderful (and loud) slap of the mirror and the whirl of the motor as it ejected the print?…The camera itself was just a part the the picture making universe you entered when using it cuz the Time Zero film it used was something of a trip down the trip-the-shutter-and-who-knows-what-you will-get lane. And, of course, what you got was almost immediately available, and here’s the clincher, in the form of a print.

In addition to the unique look of the SX 70 / Time Zero prints, there was also the ability to play etch-a-sketch on the surface of the Time Zero print. I had a self-created kit of burnishing tools for use in pushing the Time Zero emulsion around as it developed. Countless hours were spent on this technique.

I used my SX 70s for both commercial-mainly editorial-and personal work. It was always a wonder to me how Polaroid went out of business cuz, as the photo gods must know, I thought that I used enough Time Zero film to keep the company going all by myself. I have 3 large poly bins loaded with what must be a couple thousand Time Zero prints. And, guess what, they are, literally, just tossed into the bins cuz, short of an encounter with a fire or a shredder, they are practically indestructible.

So, OK. Fine. I’ll admit it. I loved that camera(s) and the picture making universe it created and inhabited.

# 5682-86 / miscellania ~ an assortment of "serious" cameras

a serious camera? ~ (embiggenable) KODAK Tower / 8x10 view camera

a serious camera? ~ (embiggenable) iPhone

a serious camera? ~ (embiggenable) µ4/3

a serious camera? ~ (embiggenable) Nikon F3

a serious camera? ~ (embiggenable) Polaroid SX-70

IF YOU WANT TO GET ME ALL WORKED UP, just point me to a link on the interweb which contains the phrase "serious camera". Especially so if it is used in a sentence along the lines of the iPhone is not a serious camera".

That written, do not be misled into thinking that this entry is made in defense of the iPhone cuz it is not. Rather, it is about the rather dumb idea that there is such a thing as a "serious camera".

The idea of denigrating certain types of cameras (and the people who use them) got a significant boost with the introduction of the first KODAK. "Serious" picture makers of that era considered the KODAK to be nothing more than a "snap-er's" device which according to a "serious" camera maker's manual stated that "...the photographer whose knowledge has been confined to pressing the button can never hope to make good pictures."

Adding to that thought, Stiegltz opined, "... thanks to the efforts of these persons [the] hand camera and bad work become synonymous." FYI, the "these people" Stieglitz was referring to were "...every Tom, Dick and Harry...[who] without trouble, learn how to get something or other on a sensitive plate." Steichen, on the other had, referred to them as "ye jabbering button-pushers".

In my picture making career, I experienced the not-a-serious-camera prejudice back in the mid-60s when I was handed a Graflex Crown Graphic as the camera for use by a US Army photographer. This dispite the fact that I was stationed in Japan, a country awash in 35mm SLRs. But, of course, those were not "serious cameras". FYI, my ongoing whining and caterwauling eventually led to the acquisition of not 1, but 2, Nikon Fs for my picture making use.

In any event, dispite the fact that the It's-not-a-serious-camera BS willnever die and as you may have deduced, in my picture making world, there are no "serious cameras". There are only good pictures ("serious" pictures?), no matter the picture making device used to make them.

ADDENDUM OK,OK. I wrote that this entry was not conceived as a defense of the iPhone. I still stand by that statement but I would be remiss to not provide a link to the iPhone Photography Awards (2020). Lots of "serious" picture makers making "serious" pictures with a "serious" camera. Be sure to check out each category (at the bottom of the page).

the new snapshot # 255 / SX-70 # 9-10 ~ a full plate

Notre Dame football ~ my Saturday obsession (embiggenable) • iPhone

(embiggenable) • SX-70 camera / Time Zero film

(embiggenable) • SX-70 camera / Time Zero film

I COULD SPEND THE NEXT MONTH POSTING Polaroids ... but I won't. Instead, I have added a REAL POLAROIDS gallery to my WORK page wherein I have uploaded some not previously posted Polaroids and will continue to upload more Polaroids as I edit my way through the thousands (literally) of Polaroids I have.

As a result of my recent dive into my vast Polaroid collection of prints, it has struck me as somewhat incredible that I never done a serious edit of those pictures. Consequently, in a significant omission to my POD photobooks library, there is not a single book-there probably should be at least 3-of Polaroid pictures. A fact which makes me feel somewhat akin to an idiot.

The scary / intimidating thing about this situation is that it's gonna take some serious time and effort to right that ship. Like I need that now what with an upcoming heart proceedure (ablation), the holiday season, Hugo's high school hockey season and, not to mention, my desire to keep the iPhone (smartphone) Photography Gallery project moving forward.

The first thought which comes to mind is .... anyone want to volunter for the presitgious position of intern?