Getting into Instant Photography

December 3, 2012 § 6 Comments

So you’re interested in learning more about this whole instant photography thing?  I know the feeling.  I can go on and on about why I love it, but I’d rather take this time to tell about some of the options that are available.

- A variety of cameras that shoot instant film -

– A variety of cameras that shoot instant film –

As you may or may not know, there are two companies manufacturing analog instant film that market their products world-wide;  FujiFilm in Japan and The Impossible Project in the Netherlands.

Fuji makes a couple of  types of instant: integral film for their Instax camera line (the Instax mini & Instax wide) and peel-apart film for Polaroid pack film cameras.  The Instax system is a great entry-level start into the world of instant.   If you’re looking to capture candid images at a club, a party, hanging out with friends, this is a ideal choice.  It fires a flash every time and takes good images.  Food for thought: If you really get into instant, you might find that that this camera system is restricted when compared against others in the field.  However, it’s all in how you use it.  I’ve seen some incredible work produced from professionals who shoot with Instax cameras.

Photo: Daniel Rodrigue - Fuji Instax Mini

Photo: Daniel Rodrigue – Fuji Instax Mini

Photo: Daniel Rodrigue - Fuji Instax 210

Photo: Daniel Rodrigue – Fuji Instax 210

Photo: Mark Goode - Fuji Instax 210

Photo: Mark Goode – Fuji Instax 210

Photo: Mark Goode - Fuji Instax 210

Photo: Mark Goode – Fuji Instax 210

Fuji’s peel-apart film, FP-100C (color) & FP-3000B (B&W), is used in 100 series Polaroids, cameras which use a NPC Polaroid back or ones that have been converted to use pack film (Polaroid 110A & Polaroid 110B’s come to mind).  Pack-film Polaroid cameras are a lot of fun to use.  You can find them for $10-50 (on average) for the cameras with automatic exposure and for the models with manual exposure settings you’ll spend $300+ (Polaroid 180, 185, 190, 195, 600SE, Fuji FP-1). When looking for one, inspect to make sure there are no light leaks in the bellows. Use a flashlight to shine around in the camera when the back is open and look on the outside of the bellows for leaks.  Check to make sure the rollers move freely and are fairly clean (wipe them down with a damp paper towel to remove any gunk you might find). Also, the required battery needed to run the meter is a little hard to find.  Most people I’ve found covert the camera to use either AA or AAA batteries.  It’s really simple.  This a great tutorial on how to do it.  Just be mindful of whether you need to convert to 3V or 4.5V which is easily determined by looking at the underside of the battery compartment door.  But don’t let this technical mumbo-jumbo fool you.  Once you get your camera in operating condition, the fun you’ll have with it is endless.

Fuji’s peel-apart film has a very clean look to it.   The colors are pleasantly saturated, and the detail & clarity is very good.

Fuji FP-100C - Polaroid Automatic 100

Fuji FP-100C – Polaroid Automatic 100

Fuji FP-100C - Polaroid Automatic 100

Fuji FP-100C – Polaroid Automatic 100

Fuji FP-100C - Polaroid Automatic 100

Fuji FP-100C – Polaroid Automatic 100

Fuji FP-100C - Polaroid Automatic 100

Fuji FP-100C – Polaroid Automatic 100

Photo: Daniel Rodrigue - Polaroid 180 - Fuji FP-3000B

Photo: Daniel Rodrigue – Polaroid 180 – Fuji FP-3000B

Each exposure, when peeled, has a positive print and a negative.   Further adding to the enjoyment of it, when shooting color film, the FP-100C negative can be salvaged to scan by bleaching the negative. 

As I mentioned earlier, you can use any camera that has a NPC Polaroid back with peel-apart as well.   I use a RB67 + a NPC Polaroid back and get great results.   Note the black unexposed portion of the frame when shooting with a RB67.

Mamiya RB67 + NPC Polaroid Back - Fuji FP-100C

Mamiya RB67 + NPC Polaroid Back – Fuji FP-100C

Mamiya RB67 + NPC Polaroid Back - Fuji FP-100B

Mamiya RB67 + NPC Polaroid Back – Fuji FP-100B

You might be thinking .. What about all of those other Polaroids cameras?  Do they still make film for those??  Luckily, since The Impossible Project stepped into the game, they do! They’ve re-invented integral film for literally hundreds of thousands of Polaroids that are still out there.  Any of the Polaroid 600 series, Spectra/Image or SX-70 cameras can still be used.  Beyond that, they’ve brought 8×10 instant film back into the marketplace.

A good Polaroid to start off with that shoots integral film would be any of the Polaroid One Steps/600 series cameras.  You know the ones; boxy, most flipped open and have a flash.  Nearly every office in the 80’s & 90’s had one for employee photos.   They are fairly easy to use and shoot color (PX-680) or B&W (PX-600) film.  There are a large variety of 600 series cameras available.  If you’re purchasing on Ebay or Craiglist, you’ll find One Steps from $10-$100+ on average depending on the model and if it’s a collectible.  The camera has two focusing distances (2-4ft and 4ft – infinity) and takes good images.

Photo: Patrick Clarke - Polaroid One 600 - Impossible Project PZ600

Photo: Patrick Clarke – Polaroid One 600 – Impossible Project PX-600

Photo: Laidric Stevenson - Polaroid Sun 660 - Impossible Project PX-680 CP

Photo: Laidric Stevenson – Polaroid Sun 660 – Impossible Project PX-680 CP

Photo: Annie Donovan - Polaroid One 600 - Impossible Project PX-70 NIGO

Photo: Annie Donovan – Polaroid One 600 – Impossible Project PX-70 NIGO

Photo: John Morrison - Polaroid One Step - Impossible Project PX-680 COOL

Photo: John Morrison – Polaroid One Step – Impossible Project PX-680 COOL

Polaroid Spectra cameras are another great option and are pretty durable cameras too.  If you’re going to be roughing it while out and about, this particular camera is perfect for the job.  I’ve been using these for a while and they produce really nice results.  Most of the Spectra cameras I’ve picked up have been $10-20.  They use color (PZ680) or B&W (PZ600) Impossible Project film, use inaudible sound waves to aid in auto-focusing and are pretty user friendly.  I took one to a Texas Rangers game at the Ballpark in Arlington this past summer.  If you’re interested in reading a little more about the camera & how it works, you can find that here.

Photo: Synthia Goode - Polaroid Spectra - Impossible Project PZ-600

Photo: Synthia Goode – Polaroid Spectra – Impossible Project PZ-600

Polaroid Spectra AF - Impossible Project PZ-680

Polaroid Spectra AF – Impossible Project PZ-680

Polaroid Spectra AF - Impossible Project PZ-680

Polaroid Spectra AF – Impossible Project PZ-680

This brings me to Polaroid SX-70’s.  These are some of my favorite Polaroid cameras to use.   They are really fun to operate.  Unlike all of the other cameras as fore mentioned, because this particular camera is a SLR, what you see in the viewfinder is what you get.  The Sonar SX-70, like the Spectra, also uses inaudible sound waves to measure the subject’s distance from the camera. If you get lucky, you can find these for around $20.  But most of the various SX-70 models go anywhere from $40-100 depending on its condition and whether it’s been serviced/refurbished etc.  Using SX-70’s with Impossible film can be a little challenging, however once you get over the learning curve and get a handle on how to best utilize their films with this camera, it produces some awesome results.  

Polaroid SX-70 Sonar - Impossible Project PZ-600 + ND4 Filter

Polaroid SX-70 Sonar – Impossible Project PZ-600 + ND4 Filter

Polaroid SX-70 Sonar - Impossible Project PX-70 COOL

Polaroid SX-70 Sonar – Impossible Project PX-70 COOL

Polaroid SX-70 Sonar - Impossible Project PX-70 NIGO Edition

Polaroid SX-70 Sonar – Impossible Project PX-70 NIGO Edition

Polaroid SX-70 Sonar - Impossible Project PX-70 CP

Polaroid SX-70 Sonar – Impossible Project PX-70 CP

Polaroid SX-70 Sonar - Impossible Project PX-70 CP

Polaroid SX-70 Sonar – Impossible Project PX-70 CP

Polaroid SX-70 Sonar - Impossible Project PX-70 COOL

Polaroid SX-70 Sonar – Impossible Project PX-70 COOL

Last, but certainly not least, is the Polaroid SLR680/SLR690.  These are top of the line Polaroids that shoot 600 speed film (PX-680 or PX-600).   I’ve seen these online anywhere from $75-$200+, again, depending on the typical used-camera variables.  They are modeled after the SX-70. Their rollers spread the film a little more even, it has more focusing zones than the Sonar SX-70 and they come equipped with a flash that can be toggled on/off.

When looking for a used camera, of course look for signs of damage, but even more so, check the lens to make sure it’s clean.  Inspect the rollers; they should move somewhat freely.  If you bring an empty film pack with you, you can check to make sure the camera’s ejection mechanism is working (this is not needed on Polaroids which use peel-apart film).  Simply slide a darkslide into the empty pack, put it into the camera and if everything functioning properly, when you close the film door, the darkslide should eject out.  Some cameras might sound slow or sluggish if they haven’t been used in a while.  Actuate the shutter a handful of times. It will help move the gears and get the juices flowing.  If you’re in the D/FW area, I have a few empty packs laying around.  I’ll mail you one if you’re in need.

A big thanks to Daniel RodrigueMark GoodePatrick ClarkeAnnie DonovanLaidric StevensonJohn Morrison & Synthia Goode for letting me use their images to fill out this blog post.  It is appreciated!

If you’d like to know more, send a message my way.  I’d be happy to help you in any way that I can.  Email me at info@instantfilmsociety.com

-Justin

www.goodephotography.biz

www.instantfilmsociety.com

Bleaching FP-100C

May 5, 2012 § 8 Comments

Salvage a negative from FP-100C shot on your Polaroid

Salvage a negative from FP-100C shot on your Polaroid

For those of you unaware, FujiFilm’s FP-100C is peel apart film used in Polaroid cameras and other cameras equipped with a Polaroid back.    I’ve been shooting the stuff for a few years on a Mamiya RB-67 and Polaroid pack film cameras (seen above).  Other than Impossible Project films, Fuji’s peel-apart films are the only other dominate option for instant analogue photography.

I just recently found out how to salvage the negatives from FP-100C.   For years I’ve just peeled off the exposed prints and disposed of the “other part”.  I have been missing out!  Not any more however 😉

My wife and I took a trip to our friend’s ranch a few weeks ago and she shot a lot of FP-100C while we were there.  We saved all of her negatives and stored them in a box once they had all dried.  Side note: I’ve found if you stash the negative away in a dark dry place, you can still salvage it.    If it’s left out in the open sun to dry, exposure will run its course and the negative will be overexposed/washed out.   Anyhow, she took an image of me plinking away with a bb gun on their back porch.   It’s a little dark on the print but I’ll be able to pull out some shadow detail once the negative has been scanned (that’s one of the cool things about this).

FP-100C Print

FP-100C Print

To salvage the negative it’s quite simple actually.    You’ll need:

– 8×10-ish piece of glass

– small paint brush

– container to hold bleach

– rubber gloves

– clips to dry the negative

All you have to do is …

Peel paper off around edges of negative

Peel paper off around edges of negative

Prop the glass up in the sink and run some cold water over it

Prop the glass up in the sink and run some cold water over it

Turn water off and immediately place the negative face down (black side up).  Press it down so it seals itself to the glass.

Turn water off and immediately place the negative face down (black side up). Press down on it so it seals itself to the glass.

Pour a little bit of bleach onto the back of the negative

Pour a little bit of bleach onto the back of the negative

Brush off the black backing of the negative with the paint brush.    Frequently dip the brush back into the container of bleach.

Without getting bleach underneath the negative, brush off the black backing of the negative. Frequently dip the brush back into the container of bleach.

Run cold water over the negative to wash away backing.   Be careful not to get water underneath the negative at this time.

Run cold water over the negative to wash away backing. Be careful not to get water underneath the negative at this time.

Position water to go underneath the negative and pull it off the piece of glass using rubber gloves.

Pull the negative off of the glass using rubber gloves.

Wash the developer goop off of the emulsion.  DO NOT APPLY a lot of pressure otherwise you will wash away part of the emulsion.

Wash the developer goop off of the negative. Be careful to not apply a lot of pressure otherwise you might rub off part of the emulsion.

Clip the negative up to dry and you're all set!

Clip the negative up to dry and you’re all set!

Scanned negative from FP-100C

Scanned negative from FP-100C – white blotches are from where the black backing was not bleached off.

Here are a few other examples:

Bleached Fuji FP-100C Negative Scan

Bleached Fuji FP-100C Negative Scan

Bleached Fuji FP-100C Negative Scan

Bleached Fuji FP-100C Negative Scan

Bleached Fuji FP-100C Negative Scan - Discoloration is from bleach leaking onto the front during the wash

Bleached Fuji FP-100C Negative Scan – Green discoloration is from bleach leaking onto the front during the wash.  The left corner area is an undeveloped patch.

Bleached Fuji FP-100C Negative Scan - Yellow discoloration is from bleach leaking onto the front during the wash

Bleached Fuji FP-100C Negative Scan – Yellow discoloration is from bleach leaking onto the front during the wash

Thanks for taking the time!

-Justin

Got an old pack film camera sitting around?   You can buy FP-100C here.  Aaaaand just because I love these peeps I gotta mention them again … Impossible Project is selling some of the last sepia toned polaroid peel apart film available.   Buy it here.

Where Am I?

You are currently browsing entries tagged with pack film at Justin Goode.