![]() ![]() ![]() We could not figure out what was going on. Every once in a while I would get ghosted images on the Polaroid. We were shooting this job for the United States Tennis Association. I completely forgot about this until I saw the Polaroid today. You can see my assistant laying on the ground clowning around. This is from a commercial shoot where we got to spend a week destroying things. I think I’ll have to dig up the film and scan it again and give it another shot. Here’s a case where the Polaroid color was ideal to me but when I printed the film I couldn’t get it to match. The reality was that we shot this in November in Cape Cod at seven in the morning and they are all freezing their butts off. Everyone looks nice and warm waiting for me while I check my exposure. Many times I would print my film to look like the Polaroid. Type 59 was the best color Polaroid film-the color was fantastic. During the wedding I kept a small tub of water under my chair and after I peeled each Polaroid, I gave the print to my wife and then stuck the negative in the tub to keep it safe until I could properly rinse and dry it later. ![]() The beauty of Type 55 film was that it made both a print and negative. This is what happens if you don’t coat Type 55 prints and leave them on a shelf for 5 years. It turned out to be his temporary wedding album for about 6 months while the wedding photographer took her sweet time with her prints.Īnother shot from Matt’s wedding. I shot about 50 sheets and made 11×14 prints of half of them and put them in a portfolio for him the week after the wedding. During the ceremony he kept hearing the massive shutter of the D going “klunk” and almost started laughing. But I did bring a few boxes of Type 55 and the Graflex D to shoot a few shots for him. He asked me to shoot his wedding and I said that would not be a good idea-wedding guys are a whole other specialty that I know nothing about. I’ve only shot a wedding once and it was for a great friend of mine, Matt Celli. There’s a lot of shots in my portfolio from this camera. For a while this was one of my main commercial shooting cameras. After the first shot I was hooked on this camera. Andy Anderson handed me the D with a 190mm f1.9 lens (still won’t tell me where he got that lens). This is from the first shot I ever took with a Graflex D. He asks me almost every day to shoot more. He kept all of them and put them on his nightstand next to his bed. He was intrigued by the Polaroids as I peeled each one. I think it’s the first time my son ever really saw me use a film camera. This one I actually shot a couple days ago. Here’s some from my find today that I’m glad I still have: Stuff goes on Facebook, Flickr, iPhoto-you upload and share and then it is forgotten about and most likely never seen again. Now almost everything is lost into the digital abyss. ![]() Back in the day, you would have stacks of prints to rifle through. I still print once in a while but they usually go into a portfolio and frame. It was so nice to hold these in my hands today. Along with Polaroid dying, so did the common print. Here’s a batch I found today while doing some organizing. It’s hard to duplicate that look with digital or even with the Fujiroids-it can be done but it’s a whole other process that takes place with agonizing ones and zeros instead of shoot, pull, wait, peel, amazement.Įvery so often I come across boxes of exposed Polaroids around my studio. The Polaroid has that “look” that is so organic and beautiful. Lots of guys used Type 55 specifically to check focus on the razor sharp negative that it produced. The sheet film Polaroids are very sharp-something not usually associated with Polaroids. Especially the 8×10 Polaroid you can scan and make a 24 x 30 print, no problem. Mostly I used it for composing and proofing but sometimes as the final product. It was the norm for us to go through 20-30 boxes on a shoot. It used to be that I went through boxes and boxes of this stuff. I shoot it less and less these days-my stock of Type 55 is getting low. ![]()
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