TWTGE the+Polaroid+Issue2

8/13/2019 TWTGE the+Polaroid+Issue2

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TWTGE the polaroid issueEdited and curated by Luca Tommaso Cordoni

Revised and corrected by Lorenza Panelli,

Matteo Cordoni

Contributors for this issue:Silvia Ianniciello, Impossible Project

Photographer: Silvia Ianniciello,Luca Tommaso Cordoni, Annette Pehrsson,Rhiannon Adam, Lia Saile, Piotr Debski,Brigette Palmer, Marija Cerniavskaite, IrmaRose Pettitt, Amanda Pulley, MartinaGiammaria, Lydia T., Andrea Simonato, MichelaHeim, Mai Downs, Kate Pulley, Arianna Lerussi,Elena Vaninetti, David Dittrich, Anna Morosini,Valeriya Stepura, Cristina Altieri, Shelbie Dia-mond, Carmen Palermo, Alan Marcheselli.

Cover: “SX-70_007” by Luca Tommaso Cordoni

Contact: [email protected]

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TWTGE polaroid issue is edit by The WorldThrough Green Eyes, All right reserved. Nopart of this publication may be reproduced inany way, without permission. All Images arecopyright © of their respective owners.Free copy. Not for sale.



About

The World Through Green Eyes is a blogzine based on the relationship between human and natu-re, we work on the base of :

Trees Wood Green Wild Girls and Pretty Bunny

This blogzine was created to give space for new Photographer, to let know their name to the worldand to demonstrate their love for the land.The World Through Green Eyes is for everyone who loves photography and Mother Nature, for

everyone who loves to be wild.

Submission

If you want to submit a photo, please use the Flickr grouphttp://www. ickr.com/groups/theworldtroughgreeneyes/or send an email to [email protected] with “Submission” as object, don’t forget to put in your fullname and a link to your website.

Three photos per day will be posted and every month an interview.



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POLAROID,

a brief introduction

The rst information that we need to know isthat Polaroid, unfortunately, has abandonedproduction of lms and machines from severalyears. The British company has decided toclose the market for instant photography, but wedon’t have to demoralize ourselves! It’s for thatreason that I‘ll refer also to the ea markets orto private sale’s sites, as a resource for the pur-chase of your favorite camera! Moreover, with-out forgetting the quality of the Fuji products,the instant photography has retourned back inlife also thanks to the Impossible Project, withthe production of new lms.

Let’s start: Wich camera use to begin this won-derful adventure?

If you want to stay in the economy range, buthave good results at the same time, the camer-as that I recommended are the Polaroid folding

pack . These cameras are so fascinating withtheir vintage look. Except for Zeiss range nderand glass lenses ones, the other folding packsare cheap in ea martkets or on Ebay.The bright side of the folding pack is that cam-eras are compatible, as well as the old Polar-oid type 100 lm [669, 664, 665, 667, ID-UV,125i, chocolate, blu, sepia] , also with the FujiFP100c, FP100b, FP3000, actually in regularproduction, certainly less expansive than the old

polaroids, which are sold at high price ‘causeof their rarity, even if they are expired for manyyears. If you’re a creative photographer, you’llbe pleased to know that with type 100 lms is

by Silvia Ianniciello

The instant photography is a wonderful world, fascinating but very complicated. Often, when we’re adventuring in polaroid we end up doing a lot of confu- sion! It is better to bring some order in the enormous amount of informationabout equipment, lms and more.



possible to make emulsion lift, image transferand also get negatives.

If you’re a ‘80s fans, you can not have a Pola-roid 600 type . These cameras are very easy touse, thanks to the xed focus and the automatic

ash; they’re also pretty cheap if you look in eamarkets. Futhermore these cameras were thereal lucky product of the english company andyou can nd so many funny version of them.The Polaroid 600 are compatible with the clas -sic Integral Instant Film, like the Colour Polaroid600 - now rare - or the new PX600 UV+ SilverShade or the PX680 Color Shade FF by TheImpossible Project.

Fuji fp100c © Silvia Ianniciello

PX680 Color Shade FF © Silvia Ianniciello

The Polaroid Spectra are cheap too and theyguarantee excellent results. These camerasare equipped but automatic and easy to use.They are compatible with the Polaroid ImageColor lms and the recent PZ600 UV+ mono-

chrome by The Impossible Project [in this daysare out the new PZ680 Color Shade ].The particularity of these lms is the rectan -gular size, a bit larger than the classic squaretype of the 600 lms.

Polaroid Land Camera 320

Polaroid Supercolor 600



If you want to spend more, you can buy themythical Polaroid SX-70 . This is the rst folding

SLR Camera, one of the jewels of the englishcompany. The SX-70 give soft and dreamyimages with all the advantages that a SLRguarantees, like to be able to get a preview ofphotography just looking through the view nder,with a internal system of mirrors that re ectswhat the lens catch. The lms that are compa -tible with this type of camera are the old ArtisticTZ and the Fade to Black by Polaroid, they havebecame increasingly rare to nd; with the SX-70you can use also the PX100 Silver Shade andthe PX70 Color Shade Push! lm by the Impos -sible Project. Moreover, simply applying a ND

lter, the SX-70 also can also give bright colorsof the type 600 lm type, mentioned above.

Polaorid Spectra System

PZ 600 Silver Shade © Impossible

The peculiarity of Integral Instant Film - espe-cially all the ones by Impossible Project - is theability to be manipulated: techniques that openthe door to experimentation and creativity.

Polaroid SX-70

Impossible PX 70 Color Shade © Luca Tommaso Cordoni

In my opinion, the best instant camera is thePolaroid 600 SE a professional camera with aback for type 100 lm, Mamiya optics and tele -meter. Obviously is an expensive camera, but

justi ed by the high quality of the product.



Polaroid 600 SE

Polaroid, recently, has presented a new instantcamera: the Polaroid 300 . Indeed, it is a photo-copy of the most successful and cheapest Fuji

Instax Mini. The special feature is the size ofthe photographs, large as a credit card. The in-tegral instant lms are the Fuji Instax Mini Filmand the Polaroid 300 lm.The Fuji has produced another instant camerathat, in my opinion, it is worthwhile to mention:the Fuji Instax. Although the design is lesscaptivating than a vintage Polaroid, the picturesquality is very high, with bright colors and sharpde nition. The lms have an interesting “wide”

size, good for instant panoramic shots.

Polaroid 300

Fuji Instax

Then there are the instant flm backs for themost famous toycameras as the Holga , theDiana + and the Lomo LC-A . The back for theHolga is compatible with the peel-apart lmswhile those dedicated to Diana + and the LomoLC-A are compatible with Fuji Instax Mini Film.The result are instant photos that have the typi-cal toycam’s lo- mood, such as the color dege -neration and vignetting.

Holgaroid

Fuji FP100B © Silvia Ianniciello

Fuji Instax Film © Annette Pehrsson



- The Land List www.rwhirled.com/landlist all models and lms by Polaroid

- Istant Option www.instantoptions.com all the information about cameras and lms

- Polaroiders http://polaroiders.ning.com Italian instant artist comunity

- Polaroid Art Italy www.polaroidartitaly.it/

- Impossible Project www.the-impossible-project.com/

- Polaroid http://store.polaroid.com/

- Fuji www.fuji lm.it/

- Lomography www.lomography.com/

Lomo LC-A Instant Back

Fuji Instax Mini © Lomography

Finally, if you want to deepen, I recommend to visit these sites:

Diana F+ Instant Back

Fuji Instax Mini © Lomography



www.holgamydear.wordpress.com



A talk with...RHIANNON ADAM



Hi Rhiannon, please introduce yourself.

Hi, I’m Rhiannon - former boat kid, MichaelJackson fan, and Polaroid photographer. I liveand work in East London, and analogue photo-graphy is my religion.

What is your relationship with nature?

Much of my work takes its in uence from nature- obviously living in London is about as far awayfrom nature as you can get, but it does makeyou appreciate it more. I grew up amidst a lotof open space. Firstly, in Ireland, we lived in themiddle of the Cork countryside, and later on theboat we travelled across vast oceans, withoutseeing another human being for weeks at atime. In my work I try to regain that intimacywith emptiness. We are so small and insigni -cant, and my photographs focus on the peculiar

habits of humans in nature, and the power na-ture has. Hence my fascination with tiny guresin large open spaces... Taking a Polaroid ofan open space allows me to take a part of thatemptiness with me wherever I go. I need that inthe city.

What is wild for you? The crashing waves at the foot of a cliff, and

a solitary lighthouse perched on the edge ofeverything.

20 years from now, how do you think theWorld will look?

Depressing. I think the way that technology isgoing will mean that there will be less ‘sharedexperience’. Look at music, we have moreand more choice, but yet we stick to things weknow. There is less chance for us to discoversomething completely different. Websites knowour buying patterns, and recommend things youwill like. The same with books - Amazon tellsyou what it thinks you will like and no longer do

you browse in a bookshop and pick somethingup that you have never heard of, or knownothing about.The world is becoming less and less ‘physical’.We buy digital les - photographs are too oftendigital les, made of 0s and 1s. So are musictracks, and books for your kindle, and lms todownload.Where is the smell of a new book, or the feel ofa CD booklet in your hands. The joy of the tan-gible is slowly being eroded and we rely moreand more on computers. These days we don’teven interact with people who are right in frontof us- we are too busy tweeting, or looking atFacebook. Human interaction has gone digital.I hope in 20 years there will be a revolution,and people will learn to appreciate the joy of thehandmade, the unique, the fun of ri ing througha record shop, or book shop and picking thingsfor themselves. I hope the smart technology

that currently dictates so much of our lives willfade... but I think that may be wishful thinking.

What is Photography? Many will argue with me, but I think photo-graphy is the process of freezing a momentin time as it was, objectively. It is a snippet oftruth. This is why I am anti-PhotoShop. Photo-Shop creates and encourages lies. The other

day I was having a conversation with a friendwho told me that when advertising her eventsonline, she sometimes changes the facial ex-pression of people at previous events to makethem look like they are having a better time thanthey actually were. To me, this is an insult to theidea of photography itself. We use photographson websites and in adverts because we belie-ve that a photograph adds credence. If pho-tography itself is a lie, then why don’t we justdraw pictures, or paint an ideal truth? Polaroidis my way around this- everyone knows what itstands for, everyone knows that you can’t edit apicture afterwords - to most people a Polaroid isstill a piece of truth.

Rhiannon Adam is a young talented photographer from London, who lovesand lives in analogic era. A wild girl, grew up in Ireland and on the ocean withher family. Her way of taking Polaroids is simple but full of detail, in a worldwhere nature dominates man. Besides his photography Rhiannon is an intelli- gent girl, full and adult, who like to talk about herself, and as she says, analogue photography is her religion.



How did you get into photography?

It’s funny, but for many years of my life I haveno photographic evidence. Even with all thetraveling we did as a family sailing around theworld, it was everyday to us. It wasn’t special,and we didn’t have a lot of money, so we didn’treally take any pictures. we don’t even haveone good photograph of our boat after all theyears we lived on it!When I left my parents and moved to Englandto live with my aunt, I really began thinkingabout the lack of photos I had, and that is whenI started to be interested in it. I invested in agood 35mm Canon with a 38-300mm lens aged13, and I started taking pictures of my Dad whe-never I got to see him, which was rare. I beganobsessively recording everything to make up forthe years of memories that I felt I was missing.Later, at Francis Holland School, I began de-veloping my own black and white pictures, andstarted experimenting with various darkroomtechniques. After several years I was given thedarkroom key- a badge of honour - and ran aphotography society. My addiction developedfrom there....

How did your passion for Polaroid begin?

Again, it all happened while I was still at school. At 15 I did work experience in a large televisiondepartment, and I became very good friendswith a director there. As a parting gift at theend of my time, he gave me a Polaroid cameraand as much free lm as I wanted. They had acontinuity cupboard and used to use Polaroid totake shots before and after takes to make sureties were in the same place, makeup was thesame, etc. It was used as a professional tool,and I was lucky enough to get the lm for free.That was all 600 lm, but once i was hooked Iwent on Ebay and snapped up as many diffe-rent cameras and lm types as I could nd!I love Polaroids because they can never be re-created. Each one is a one-off, like a painting. APolaroid image really does, to use their naff slo-gan- ‘capture the moment’. There is no proces-sing, no one else is involved in its production.It’s only the photographer who decides what isin shot- there is no editing, no post-production.It is what it is.I think it’s the test of a good eye. If you canshoot an image ‘raw’ without relying on special

effects, and if your composition works, then youcan photograph anything. Each one is expen-sive, so you are forced to choose your subject.These special remits of Polaroid have beingthrown by the wayside since the advent of Pho-toshop and the ubiquity of digital.When I look at a Polaroid I can tell whether itwas shot on a hot day, a cold day, and whe-ther it was windy. A Polaroid is a product of thetime it was taken. The image the picture con-

jures is not limited to the scene visible in thephotograph itself. A Polaroid is an experience.If you’re really lucky there’ll be a smear in thecorner, or a dirty ngerprint.

How do you have taken the end of PolaroidInstant Film production?

It was like my life was over. My passion killed.It was like being a junkie who wasn’t allowedaccess to their drug of choice!I had no idea what I was going to do next, andfelt like the whole focus of my creative energieshad been pulled out from underneath me. I tur-ned quickly to Ebay, and realised that life wasgoing to get much more expensive to fund thehabit!I couldn’t believe how it was the consumer digi-

tal camera that really killed Polaroid, essentially,1 and 2MP cameras that killed off 60 years ofinnovation. It seemed like such a waste

You’re part of the artists of THE IMPOSSI- BLE COLLECTION, how was this collabora- tion born?

Back in 2005 I joined an online community ofPolaroid fanatics, www.polanoid.net as “rodeo”.Little did I know that the owners of the sitewould later become The Impossible Project.Because I have been a very active member al-most since the start of the site, The ImpossibleProject / Polanoid guys saw a lot of my work,and liked what they saw, so I suppose that’swhy I was asked to do it! It was very excitingtesting those rst lms…

What do you think of Impossible lms?

Hit and miss. I shoot a lot outside, so the lmsaren’t the best for the type of work I do becauseof their sensitivity to light... and also, part of thereason I love instant photography is because







you create a souvenir of a place as much asyou are taking a photograph, and as yet thesenew lms do not age very well, and decay...Ineed a lm that will stay as fresh as the day itwas shot. Slowly the lm is getting there, and itis improving all the time. Unlike Polaroid, whohad 60 years to perfect their craft, The Impos -sible Project had a year to create their rst lm.So much respect to them for getting anythingout at all!

Which do you prefer?

I still prefer original Polaroid lms, there isnothing like the clarity and colour of SX-70 lm.There will come a time when I don’t have achoice though. Each month that passes me-ans the old Polaroid lm is one month closer tobeing too old to use.Shooting now is very different to shooting whenthe lm was in-date, I need to adapt my stylecontinuously. I suppose it keeps me on my toes,and keeps things exciting.The reason I still like original Polaroid though ismostly due to the ease of use. When the new

lm is easier to handle, I am sure I will crossover.

Tell me 3 reasons for possess a Polaroid.

Only three? Gosh, where do I start?

A Polaroid allows you to take a souvenir of theplace that you are standing in, and it absorbspart of the ‘essence’ of that place. If you are bythe sea, the salty sea air somehow attachesitself to the surface of the picture. Each one isattached to the place where it was born, so itis more than just a picture, it captures traces ofthe place that aren’t just photographic. It maybe a ngerprint, a grain of sand, a scratch. It’smore than just a photograph.

No more printing your images – it is the nishedproduct! No more shouting at photo-labs, norunning out of printer ink! No hard drive crashesand you lose everything!

Use a Polaroid to teach yourself about croppingand framing – there are no second chances. Nopossibility to edit. Each pack contains ten shots(or 8 if it’s Impossible lm) so you have to edityourself. It helps you to create a stronger photo-

graphic identity and style without thinking aboutpost-processing, or complicated settings. It’s avery pure way of shooting that will help in everyother creative aspect of your life.

Also, everyone should try it once- get it beforeit’s too lts too late. We need as many people tobuy lm as we can get, else it will die and be

just a memory of a romantic time when photo-graphs weren’t made of pixels.Sorry, maybe that’s 4 reasons…! Basically –why wouldn’t you?

I love your project “the wrestler” http://the- lonewrestler.com/, who’s the wrestler, andhow this project born?

I found a wrestling mask on London’s BrickLane and loved it. It started out as a joke. I dida project at art school many years ago aboutreinventing objects. I “reinvented” a fork, givingit a life – I made an animation, and I placedan advert in Time Out magazine for a knife toshare its life with and used the voices from theprospective dates for my animated lm. Thisproject, mixed up with a bit of Amelie and hergnomes somehow seemed to t with the wre -stler. We travel a lot and it was a way of tying

up all of our travels with a narrative about awrestler looking for love. In some ways it is au-tobiographical, as I arrived in the UK lonely, andanonymous, and ‘the lone wrestler’ is a kind ofolder version of how I felt back then…

As for who the wrestler is, that would be telling.Get in touch with him/her to suggest the nextplace to visit on his/her quest for love and youmay get a clue! Where do you get inspiration?

My pictures are “found” pictures - I nd mo -ments, I nd places. I try to avoid the set up,and tend to nd inspiration from the worldaround me as it stands. Not the extraordinary,but the ordinary - the patterns in everyday life. Ialso take inspiration from biographical details ofmy life, hence the strong connection to solitudeand the sea...I particularly love derelict places, and spacesthat contain human traces. I like nature whenit is vast, and it makes us look like tiny ants. Allmy work is really about desolation, about empti-ness and nostalgia.







Amanda Pulley in our last interview wants toknow what do you hope people will get outof viewing your photography?

A connection with a universal past. I supposeI want my images to suggest a time when lifewas less complicated, a feeling of peace, pensi-veness. Who are your favourite photographers?

Stephen Shore, Alec Soth, Martin Parr, Eliza-beth Heyert, Gursky, Edward Burtysky, SarahMoon and Sally Mann. There are too many tomention really! I like people who think beforethey shoot.

What kind of camera do you use?

Many! I’m not limited to a single camera, thoughin my heart a folding SX-70 camera is the veryessence of Polaroid.I love my TOYO 4x5, my 600SE, my SLR680and my 180 or 195. But the square formatintegral and those bluey greens of SX-70 willalways be my true love. Shooting in Polaroid, do you think that di-

gital technology is destroying it or creatingnostalgia and bringing it back?

Without digital, Polaroid wouldn’t have died.Digital photography is killing Polaroid, and eventhough there are apps like Hipstamatic and In-stagram, the peope that use them don’t go andbuy the lm afterwards. The people that usethose apps don’t necessarily appreciate realPolaroid, they like the idea of being to seam-lessly load their images onto Facebook and thelike. It’s a different thing.It’s just a way of making bad photos look betterby applying an algorithm to them.The internet, however, which I think also countsas “digital technology” does help the cause. Iremember when Polaroid was on its way outpetitions ew around the internet trying to saveit – I’m sure the number of signatures helpedThe Impossible Project secure funding provingthere was still interest. Without Polanoid, andEbay my passion may have died, and I wouldn’thave lm to shoot.So there are good elements to the digital worldas well as bad ones!

Do you have some project in progress?

Always! I am working on a series of books, andan exhibition that will take place on RedchurchSt in June/July. I also have a series called ‘Pa-vement People’ which is about tourists who visitamazing places, without really visiting them –i.e. people on coach tours, and organized trips,who don’t like to be outside of their comfortzone.

Where people can nd you and your works?

My website(s), www-save-polaroid.com, www.rhiannonadam.com, Polanoid (rodeo), andFlickr (rhiannonadam). I also exhibit where Ican, usually in London as that’s where I live!

What would you like to ask our next Inter- viewee?

What is your opinion on digital manipulation?Do you think it adds to photography, or distractsfrom what photography is really about? Haveyou ever owned a Polaroid camera and what doyou think of it?

www.rhiannonadam.com









A DREAM COME TRUE

© Impossible



This opening photo was the rst image that re -minds me the rebirth of Polaroid Factory thanksto the Impossible Project. The story started onOctober 11th 2001, when Polaroid Corporationfailed for bankruptcy.In 2007 it stopped making Polaroid camerasand, a year later, after 71 years from the birth,they interrupted the production of this magicinstant lm, which marked an era in the world ofphotography. After that, Florian Kaps and AndrèBosman decided not to accept the extinction ofanalog instant photography and with the colla-boration of Marwan Saba launched an impos-sible project with a concrete aim: keeping themagic of analog Istant Photography alive by theinvention and production of new instant lm ma -terials for Vintage Polaroid cameras. ThereforeImpossible saved the last Polaroid productionplant in Enschede (NL), acquiring the machine -ry from Polaroid. After some problems to be sol-ved, like the 7 problem points of development& research for nding new solutions for upgran -ding the Integral Film Pack components. Toresolve this problem, Impossible engaged themost experienced team of integral lm expertsworldwide, and in October 2009 the Impossiblelaboratory have made working black and white

lms and considering how to commercialize the

product in the following year. Finally, after vemonths, with the delight of nostalgic polaroidersthe Impossible Project PX100 Silver Shadecould be bought.The new instant era began!

IMPOSSIBLE FILM:

PX 100 Silver Shade

Film Speed: ISO / ASA 150 / DIN 23Format: 3.5 x 4.3 in. (8.9 x 10.8 cm)Image Area: 3.031 x 3.125 in. (7.7 x 7.9 cm)Finish: GlossyExposures per Unit: 8 exposures per packDevelopment Time: 3 minutes approximately

PX 600 Silver Shade

Film Speed: ISO / ASA 600 / DIN 29Format: 3.5 x 4.3 in. (8.9 x 10.8 cm)Image Area: 3.031 x 3.125 in. (7.7 x 7.9 cm)Finish: GlossyExposures per Unit: 8 exposures per packDevelopment Time: 3 minutes approximately

PZ 600 Silver Shade

Film Speed: ISO / ASA 600 / DIN 29Format: 4 x 4.1 in. (10.2 x 10.3 cm)Image Area: 3.5 x 2.9 in. (9.0 x 7.3 cm)Finish: GlossyExposures per Unit: 8 exposures per packDevelopment Time: 3 minutes approximately

PX 70 Color Shade FF/Push!

Film Speed: ISO / ASA 125 / DIN 23Format: 3,5 x 4,3 in. (8,9 x 10,8 cm)Image Area: 3 x 3,1 in. (7,7 x 7,9 cm)Finish: GlossyExposures per Unit: 8 exposures per packDevelopment Time: 4-10 minutes approxima -tely.

PX 680 First Flush

Film Speed: ISO 600/DIN 29Format: 3.5 x 4.2 in. (8.8 x 10.7 cm)Image Area: 3.1 x 3.1 in. (7.9 x 7.9 cm)Finish: GlossyExposures per Unit: 8 exposures per pack

Development: 10 minutes approximately at70°F (21°C)

PZ 680 Color Shade

Film Speed: ISO 600/DIN 29Format: 4 x 4.1 in. (10.2 x 10.3 cm)Image Area: 3.5 x 2.9 in. (9.0 x 7.3 cm)Finish: GlossyExposures per Unit: 8 exposures per packDevelopment: 10 minutes approximately at70°F (21°C)

This lms present some developing problems oflight exposure and warmth. PX100 had crystalkiller and PX 680 First Flush has sometimeswhite spots. To solve all of these problems plea-se consult the Impossible our lm section http://www.the-impossible-project.com/our lm/But don’t worry… they’re still working for us!

www.the-impossible-project.com





PX 70 Color Shade by Lia Saile © Impossible PX 600 Silver Shade by Lia Saile © Impossible

PX 680 Color Shade FF by Piotr Debski © Impossible PX 600 Silver Shade UV+ by Lia Saile © Impossible



PX 70 Color Shade FF © Impossible PX 100 Silver Shade by Lia Saile © Impossible

PZ 600 Silver Shade © Impossible









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The network of Italian Artists

photos by Carmen Palermo e Alan Marcheselli



Polaroiders is an Italian social network born in June 2010 for all the fans andnostalgics of Polaroid. From the beginning they have great success andthey’re immediately struggle in this year with four books (Vintage is Vintage,Polaroiders Anno Zero, BO50, Nanowriters meet Polaroiders), exhibitions,workshops and a lot of collaborations in Italy and abroad, including Impossi- ble. We talk about it with Carmen Palermo and Alan Marcheselli, the founders.

Hi Carmen, Hello Alan. Please introduceyourself.

Alan: Hi I’m Alan Marcheselli, co-founder ofPolaroiders.it.

Carmen: Hi! I’m Carmen, the other co-founder.

When and how was polaroiders.it born ?

A: Polaroiders was born the 21st of June2010 by our experience in others photograpergroups, there where a lot of Social networkdedicate to Photography but no one was ttingour idea, so we were speaking via Skype and Ipropose Carmen to create a Social network de-dicated to our love, the instant Photography andin our will we try to create a home for old andnew generation of Italian Instant photographersand artists.

When did you purchased/received your rst polaroid? (Which model was it?)

A: I buy my rst Polaroid when I was 19 and itwas a SPIRIT 600 CL.

C: My rst polaroid was a Polaroid 1000 RedButton: my father bought it when I was born andlast year I decided to “exhume” it. What were you doing at the end of PolaroidInstant Film production (and how did youhandle it)?

A: My father showed me the news on the new-spaper and than I ran on the web to know moreabout it; it was a real hearthake! After that I cal -led all the shops I knew and I began collectingall of the 600 lm packs I could. (I used the lastpack few days ago).

C: I heard about that news from the web, butat that time I didn’t use polaroid yet. I realizedwhat that news was meaning last year when Idecided to use my father’s polaroid.

And at the news of Impossible Project, Howdid you react?

A: I must say I was really sceptic, I alreadyknew that the original polaroid receipt was lostand the Impossible project at the beginningof its life seems to me a really IMPOSSIBLEproject, but I began to follow them.

C: In this case I had different points of view:

I never used a polaroid before last year andwhen I decided to start making polaroid thepolaroid lm stocks were nishing, The Impossi -ble Project really gave me the dream of instantphotography.

What do you think of their lms? After theinitial problems, have they improved a lot ordo they have to work up a bit more?

A: The rst PX100FF was quite a surprise, itdidn’t t any of my expectation. It was a veryparticular lm with some problem to solve, butlet me say that I began falling in love with thisnew istant era, it was such a new discoveryevery day and it was easy to feel part of theprocess. Following up the question, yes, theyhave improved a lot, and yes they still have towork up. The road towards perfection is long,but they are running and we are having fun.

C: The PX100FF was really hard to use but thelm gave its own effects that sometimes, now,

we’re looking for and we can’t have anymore.Sure they improved a lot in this year and surelythey have to work. It is thrilling looking at theirimprovements and trying new lms with newbehavior and effects.

Usually in my interviews I ask what is photography. I’d like to ask to you, What is Pola-

roid?

A: Someone sing, someone write, a lot spendthe day in front of television or lying on the sofaafter their job; Polaroid or better Instant





Photograpy is the way I choose to expressmyself.

C: I agree with Alan, instant photography is thebetter way I have to communicate rst of all withmy inner self .

Do you have some favourite Polaroiders inyour community?

A: Sure, a lot :)

C: Exactly! A lot! I’m fashinated by the wayseach of them can model differently the same

lm and how they communicate different fee -lings.

Some anticipation, future projects on polaroiders.it?

A: We are planning for the nearest future a tripin Austria to go visiting all together the PolaroidExhibition in Wien, in the meantime, with thesupport of the Impossible shop Wien, we will

organize a workshop about the new PX680. And for the most far future, we are now havingsome contact to organize in 2012 the Italian In-stant Festival, 30 days dedicated to the instantphotography.

I leave to you the last question, a free spaceto say what do you want to say, somethingthat I haven’t asked you, or to advertise.

A: I thank you for this interview, and thanks toeveryone who have taken the time to read it.Just last thing: instant photography is all new,we are all pioneer of a new analogic era, I thinkthis is fantastic.

C: I’d like to say thanks, sure at you and yourreaders, and especially to all members of po-laroiders.it that help polaroiders.it to grow upevery day more.

www.polaroiders.it

www.polaroiders.wordpress.com







www.aworldinreverse.blogspot.com



We Love… is a free space to submit all you love, still on the base of

Trees

Wood

Green

Wild Girls

and Pretty Bunny

of our blogzine The World Through Green Eyes.

so what do you waiting for? You can post text, video, photo, link and whatever you love!

http://welovetwtge.tumblr.com



Impossible battery return project © Impossible



For know more about the Impossible battery return project, please visit:

www.the-impossible-project.com/projects/battery

© Impossible





THANKS

A special thanks to Silvia for the introduction and toMarlene of Impossible for the usage of image materials.I would also like to thank Rhiannon, Carmen and Alanfor their time, thanks also to Lorenza and Matteo forhelp me with translation and impagination. Finally, abig thanks to all the Photographers for submitting theirwonderful instant photos!

Hope you like it,

Lu





Brigette Palmer www.fickr.com/photos/callyourmomm

Lorenza Panelli www.fickr.com/photos/53332557@N08

Annette Pehrsson www.annettepehrsson.se

Irma Rose Pettitt www.irmarosepettitt.co.uk

Polaroiders www.polaroiders.it

Polaroid Art Italy www.polaroidartitaly.it

Amanda Pulley www.fickr.com/photos/amandapulley

Kate Pulley www.fickr.com/photos/kateandthepulley

Andrea Simonato www.andreasimonato.com

Valeriya Stepura http://lerastepura.blogspot.com

Lydia T. www.fickr.com/photos/browneyedworld

Elena Vaninetti www.fickr.com/photos/16884011@N04

We Love… http://welovetwtge.tumblr.com

A World in Reverse http://aworldinreverse.blogspot.com

The World Through Green Eyes http://twtge.tumblr.com









© The World Through Green Eyes



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