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Hello friends, and welcome back to Viewfinder, our ongoing series in which we chronicle interesting projects you are working on that incorporate Impossible film. This entry focuses on “A Snapshot Of A Campus” by Gregory Geiger…

I was approached by Jane Androski, a curator working with the Higgins School of Humanities at Clark University to develop a collaborative photo project for their symposium on Diversity & Inclusion. The idea, in its nascent form, was to capture an aspect of our community and to reflect it back through an exhibit—which would serve as a backdrop for their events later that semester. She was familiar with my Farewell Series portraits and wondered whether we could take a similar approach.

At the time, I was reading Christopher Bonanos book, Instant: The Story of Polaroid and a particular quote from Edwin Land surfaced immediately in response to her idea (paraphrased):

A new kind of relationship is brought into being when members of a group are photographing and being photographed and sharing photographs. It turns out that buried within all of us, there is a latent interest in each other; there is tenderness, curiosity, excitement, affection, and companionability; a good-humored delight in each other.

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Hello friends, and welcome back to 8 Exposures, our popular instant film Q&A series. This week, we are happy to bring you Miami-based photographer Phillip Pessar…

1) What kind of Polaroid camera(s) do you use?

I have over 40 Polaroid cameras that I have found at the thrift store but I find myself going back to the same four over and over again: A Polaroid Pronto!, a Colorpack II for pack film, a Spectra 2 and the first Polaroid I ever bought at the thrift store in December 2009, a 636 Close-Up.

2) Why do you like instant photography?

I love the surreal look, especially with The Impossible Project films, and of course, I love that I get immediate results. I used to shoot a lot of 35mm film and although the results weren’t immediate I would have them in an hour after finishing the roll. Unfortunately, as fewer people shoot film local drugstores and big box stores are discontinuing processing and the few that still do process film do so little of it that the results are horrible. It now takes about 2 weeks to get 35mm back from a place that does decent work and I’m much too impatient to wait so long to see my photos. With instant film I have my photographs right away and not in two weeks and I love the results.

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Welcome back to 8 Exposures, our popular instant film Q&A series. This week, we are very happy to bring you German photographer Ghee Dondlinger…

1) What kind of Polaroid camera(s) do you use?

I own two SX-70 models, one of which is a sonar, which is the model I prefer as at allows me to use auto focus; and I also own a Supercolor 635 CL model which I use primarily in low-light conditions.

2) Why do you like instant photography?

I like lo-fi photography in general for its unpredictability and the way the images turn out less than perfect. Instant film in particular I enjoy because they add their own specific sense of ‘unreal’ to the resulting image, a somewhat painterly quality. And for the challenge to make every exposure count. Also, in this digital age, it’s nice that there still are a few things which you can actually touch and hold.

3) What is your earliest memory of instant film?

I think my first conscious exposure to instant film was a book published in 1984 by singer/songwriter David Sylvian. Entitled ‘Perspectives’, it featured collages made from Polaroid photographs. My first hands-on experience with instant film was when I moved to Berlin and one of my flatmates owned a Polaroid camera, which was much used by everyone living in or visiting the flat.

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Welcome back to 8 Exposures, our ongoing instant film Q&A series. This week, we are happy to bring you Georgia photographer Lee Summers…

1) What kind of Polaroid camera(s) do you use?

My first love, the SX-70 original. An SLR 680 SE that saved me in the dark days of Time Zero discontinuation. And the beautiful, translucent Spectra Onyx for when I want to roll wide.

2) Why do you like instant photography?

It’s like the difference between a tamagotchi and a real pet. It’s one of a kind and unpredictable. Tangible. It’s a conversation starter. It’s been said so often before but this is real magic right here and we need more of that in this world. Plus, when my hard drive eventually dies and I lose all of my digital photos, I’ll still have my Polaroids. And someday, someone else will have them and wonder why I’ve kept so many blurry photos.

3) What is your earliest memory of instant film?

For some reason, I can’t recall ever growing up with a Polaroid camera in the family, though my parents have albums of them that run counter to my memory. The turning point in my adult life was when I was given a donated original SX-70 by a manager at a thrift store I used to work at in the early 2000s. I fell in love with the mechanics and design and since Time Zero was still readily available at the time, I was instantly hooked.

Photo by Bruno Haas

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Welcome back to Sunday Brunch, our series in which we share lovely photos taken with Impossible film. We decided to mix up the brunch menu a bit by inviting Impossible friends and photographers to guest curate our Sunday Brunch selections.

Our good friend and fantastic photographer Sol Allen came up with the menu for this week’s “Guest Chef” entry. Please enjoy these savory photos selected by Sol!

Photos come to us from Bruno Haas, Jerome Cimolai, David Sankey, Flore de Sermet and Lisa Duran, and were taken with the following film types: PX 70 Color Protection, PX 100 UV+, PX 680 Gold Frame and PX 600 Black Frame film.

Here are Sol’s thoughts about each photo…

Bruno Haas

I’m a complete sucker for reflections. Love the blue to yellow to blue shift as well. That red lil’ car? C’mon, too perfect! :)

Jerome Cimolai

A super creative, and well displayed triptych. Feel super bad for them about the accident, though!

David Sankey

I think this is perfect. The slight wonkiness, the couple of birds and of course, the delicious creams of the PX 100. Decadent.

Flore de Sermet

Charming, secret and inviting. So lush, I can only hope there are more photos from this.

Lisa Duran

Love vistas. I have found myself searching for wide open views for the last couple of years. Whenever there is a beautiful landscape in front of me, I instantly get drawn in.

Thanks so much to Sol for taking time to assemble this tasty bunch! Keep shooting, and be sure to submit...Read All

With its rigid white and black plastic body and its iconic rainbow stripe, the classic SX-70 OneStep is one of the most recognizable cameras Polaroid ever produced. It was first released in 1977 as a more affordable alternative to the folding SX-70s and has been a fan favorite ever since.

The SX-70 OneStep has a single-element plastic lens with fixed aperture (103mm, f14.6), 4 ft minimum focus distance, an exposure dial and a socket for flashbars. The OneStep can be used with the Impossible Flashbar by Mint or disposable flash bars, and works with any of our film for SX-70s, which can be found HERE.

Just in time for the holidays, we have a very limited quantity of SX-70 OneSteps available in our special White Christmas Rainbow SX-70 Kit. Act now and make your holiday merry and bright!

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Hello, friends. Welcome back to 8 Exposures, our popular instant film Q&A series. This week, we’re happy to bring you long-time Impossible supporter and wonderful photographer, Italy’s own Andrea Palei…

1) What kind of Polaroid camera(s) do you use?

I started shooting instant film with the “Polaroid 1000 red button” of my dad. I am passionate and I bought an original SX-70 (my favourite camera), from there I became insane, and I started collecting as many instant cameras as possible. I often use original SX-70 and SLR 680. And sometimes the Spectra and Colorpack II.

2) Why do you like instant photography?

It’s magical. The thing I love most about the instant photography is the unpredictability of the outcome, and the possibility to “touch” the photo and see it “born” slowly under my eyes. Those are things that fascinate me again like the first time.

3) What is your earliest memory of instant film?

The very first memory: I was a child and my father was taking polaroids at the beach and birthday parties.

Photo by Anthony De Lucci

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Welcome back to Sunday Brunch, our series in which we share lovely photos taken with Impossible film. This week, we have a special treat for you. From now until the end of the year, we will be mixing up the brunch menu by inviting Impossible friends and photographers to guest curate our Sunday Brunch selections.

Our good friend and spectacular photographer Chloe Aftel came up with the menu for our first “Guest Chef” entry. Please enjoy these savory photos selected by Chloe!

Photos come to us from Antonio De Lucci, Bernard Arce, Carine Wallauer, Marcin Jastrzebski and Samuel Blenkin and were taken using the following film types: PX 70 Color Protection, PX 680 Color Protection, PX 100 UV+, PX 70 Cool and PX 680 Cool.

Thanks so much to Chloe for taking time to assemble this tasty bunch! Keep shooting, and be sure to submit to the Impossible Gallery and the Impossible Flickr Group! Your Impossible moment may end up in a future edition of Sunday Brunch!

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Hello, friends, and welcome back to 8 Exposures, our popular instant film Q&A series. This week, we are happy to bring you Rhode Island artist and photographer Gregory Geiger…

1) What kind of Polaroid camera(s) do you use?

Other than a few button pushes when I was very young, I started my own instant film aventure with a Polaroid Joy Cam. I got frustrated with the strange form-factor, even though I loved the ease of multiple exposures. After that my constant companion, for about two years, was an i-Zone camera. I loved the ease of use and the size of the camera, but when I got frustrated with the ultra tiny images, I transitioned to a Polaroid One. I used that grey box cam until I ran out of the original Polaroid film. I finally gave that camera away, which was a sad day indeed.

When Impossible Project started making film, I was a little bit hesitant. I wasn’t sure if it was going to be the real thing or how long it was going to last, so I picked up a Green One Step Express from the NYC store. I fell in love with the First Flush film, fell in love with the Impossible Project itself, and three months later got the SX-70 Alpha One that I am madly in love with and literally carry with me everywhere.

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Hello again, friends, and welcome back to 8 Exposures, our popular instant film Q&A series. This week, we are happy to bring you marketing director and photographer Tim Logan…

1) What kind of Polaroid camera(s) do you use?

Most of the time I use an SX-70 or SX-70 sonar. I have a variety of other Polaroid cameras and backs as well, though, and will often use one of those. It’s not uncommon to see me out with a Polaroid Spectra, Polaroid 250 or my Graflex Crown Graphic with a Polaroid 545 or 550 back. I enjoy shooting as many instant film formats as I can get my hands on so I tend to have a lot of different cameras with me at any given time.

2) Why do you like instant photography?

As strange as it may sound, one of the biggest reasons I enjoy instant photography is because of what it has taught me – Patience. Whether you are shooting with Impossible’s films or some the remaining expired Polaroid stock you really need to be much more mindful of how you work. It’s become very easy to shoot in excess because of digital technology, but, because I don’t want to waste a single frame of instant film I’ve really learned to slow down and take more into consideration before I release the shutter. Ultimately, I think that lesson has made me a better photographer regardless of the format I’m shooting.

Photo by James McManus

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Happy Sunday, friends! Welcome back to Impossible’s Sunday Brunch, our weekly series in which we showcase 5 sharp images that caught our eye over the course of the week. Lately we’ve been singing the praises of our color film, so this week’s issue is dedicated to the beauty of our monochrome films. Please enjoy these stunning black and white Impossible photos…

Photos come to us from James McManus, Andreina Schoeberlein, Nicholas Misciagna, Laurene and Domink Werdoux and were taken with the following film types: PX 100 UV+, PX 100 Cool and PX 600 UV+ Black Frame.

Keep shooting, friends, and be sure to submit to the Impossible Gallery and the Impossible Flickr Group! Your Impossible moment may end up in a future edition of Sunday Brunch!

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Greetings from Impossible! Welcome back to 8 Exposures, our ongoing instant film Q&A series. This week, we’re happy to bring you Nebraska college professor and photographer Meghan Davidson…

1) What kind of Polaroid camera(s) do you use?

Most often, I shoot with my SX-70. I love the depth of field that camera allows and the way you can really select the focus. I also love shooting with the Spectra for self-portraits and double exposures, and I have a Polaroid 250 that I need to spend more quality time with. And, I’m really hoping to get my hands on an SLR 680 some day.

2) Why do you like instant photography?

I have a special affection for film, especially instant film. I love when I put a pack in my Polaroid and close the film door, that the camera immediately comes to life, clicking and whirring and shooting out the dark slide. Instant film feels so timeless, so classic to me. There’s simply a magical quality about shooting with it. Because of the limited number of frames, each click of the shutter is special.

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Welcome back to Dr. Love’s Tips, where Impossible USA’s Camera Resource Manager Frank Love provides you with helpful advice on how to get the best out of your Polaroid cameras and Impossible film. This issue: Decoding the numbers on the back of the photo!

What do those numbers on the back of my images mean?

Those numbers are the ‘Frame Code. This code is how you can decipher which film this frame is, and when it was manufactured.

This 10 digit code breaks down into 5 pieces, which each set of 2 digits giving you a specific piece of information. Please refer to our picture for a detailed breakdown.

Effectively, the first 4 digits are not unlike a date (08/11=Aug. ‘11, etc.). The machine number is more for internal records and doesn’t really tell you the shooter anything about the film. The film type code is probably one of the more useful ones, as this will help you with whether this is a PX100 shot or PX 600 shot. Lastly the last two digits are simply the day of the month of the production batch.

Photo by Jessica Hibbard

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Happy Sunday, all you morning people! Welcome back to Impossible’s Sunday Brunch, our weekly series in which we showcase 5 hot and fresh images that caught our eye over the course of the week. This week’s issue is dedicated to the coffee-connoisseur and mocha-minded alike. Please enjoy these java-themed Impossible pictures.

Photos come to us from Jessica Hibbard Elenstar, Ben Syverson, Rabbitier, Toby Hancock and Thomas Boesgaard and were taken with the following film types: PX 100 UV+, PX 680 Gold Frame, PX 70 V4B test film and PX 680 V4C test film.

Keep shooting, friends, and be sure to submit to the Impossible Gallery and the Impossible Flickr Group! Your Impossible moment may end up in a future edition of Sunday Brunch!

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Welcome back to 8 Exposures, our instant film Q&A series. This week, we’re happy to bring you Texas photog Troy Bradford…

1) What kind of Polaroid camera(s) do you use?

I have three working SX-70s, one 250 pack film camera, one modified 250 pack film camera with a Rodenstock 127mm lens added, one 100 pack film camera, two Spectra cameras, one 600 One Step Closeup and a 104 pack film camera converted to a pinhole camera.

2) Why do you like instant photography?

As most people will say, I like the fact that you get to hold the image immediately. In addition to that, I also like the fact that you get to watch the image come to life. The thrill of this process takes me back to my days in high school when I had my own darkroom and was able to watch film images develop before my eyes in the chemical bath. So that takes care of touch and sight, but I also like the smell of the peel-apart films. It is not like the smell is a pleasant one, it is just the fact that you can relate this smell to a developing picture…Now if you separate out just Impossible film and ask the same question, I would say that holding an Impossible image is like instantly holding a small piece of artwork.

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Welcome back to 8 Exposures, our instant film Q&A series. This week, we bring you German wonder Thomas Böttcher…

1) What kind of Polaroid camera(s) do you use?

I have got three SX-70s (all without autofocus), a Spectra, several 600 cameras, two Landcameras: 320 and 330, and one 4×5 Polaback for my Sinar F 2. My favorite camera however is my SX-70 because it allows more room for creative work. I especially appreciate the aspect of the selective focus and the vintage charm of these cameras.

2) Why do you like instant photography?

Most people like instant photography because each photo is unique and can be looked at in a relatively short time. These are certainly also important aspects of instant photography for me, but I value even more the unique charm of the instant photography. It lives partly through its technical deficiency, its not being one hundred per cent perfect. A lot of photos today are defined exclusively through their technical perfection, so that the message of a picture often recedes into the background.

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Hello friends, and welcome back to Viewfinder, our series chronicling interesting projects that people are working on that incorporate Impossible film. This week, we present to you a project from Rhode Island photographer Gregory G. Geiger…

About 9 months ago, I was moving to New England and I wanted to do something that would capture those last few moments with my friends in California, before I moved across the country.

The idea was to take a single Black & White Impossible Portrait of each of them and not look at the picture until I made it to Providence. I took each of these with PX 100 UV+ film and a single click of my SX-70, in my empty giant walk-in closet; I used my only remaining desk lamp, an old sheet for a back drop. As each shot was taken I dropped them in an empty film box. I took that box, taped it shut, and packed the whole set in a random final knick-knack box that was loaded into the back of my car and put on a shipping truck the next day.

My car took a month for them to ship to my new place in Providence. When I finally got the stuff out of the trunk a few days later, I finally got to see the pictures I took.

I love that some of the shots are my friends putting on a brave face, or a forced smile, or even the still face with the sadness of that...Read All

Photo by Emilie Lefellic

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Hello again, Impossible fanatics. Welcome back to Impossible’s Sunday Brunch, our weekly series in which we showcase 5 tasty images that caught our eye over the course of the week.

This week’s images were taken by Emilie Lefellic, Vitalis Neufeld, Miguel Wan, Rommel Pecson and Ann Suckow McGarry…

…using the following film types: PX 70 Cool, PX 100 UV+ and PX 600 Black Frame

Keep shooting, friends! Your Impossible moment may end up in a future edition of Sunday Brunch!

Photo by Matteo Varsi

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Welcome back to Sunday Brunch, our weekly series in which we showcase 5 tasty images that caught our eye over the course of the week.

For this week’s selections, we paid another visit to the Impossible Sample Gallery, where users the world over can submit their own images captured on Impossible film. As last week’s Sunday Brunch revolved around colorful images these shots celebrate the cool monochrome magic that is possible with our Silver Shade films.

Images come from Matteo Varsi, Giulio Speranza, Kouis, Katy Maziarz and David Dalglish, and were taken with the following Impossible film types: PX 100 UV+, PX 100 Cool, PX 600 UV+ and PX 600 Cool.

Keep shooting, friends. And be sure to submit to the Impossible Sample Gallery! Your Impossible moment may end up in a future edition of Sunday Brunch!

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In the late 1970s, Polaroid began to manufacture plastic-bodied non-folding cameras for their SX-70 film, as an alternative to the more expensive folding SX-70s. Numerous iterations of these “OneSteps” appeared through the early 80s, with slight design variations and features. “The Button” is one of those iterations.

Like the other rigid plastic SX-70 OneStep models, The Button had a single-element plastic lens, fixed focus, electronic shutter, programmed auto exposure and a socket for flashbars or electronic flash attachments. What makes The Button unique is its two-toned grey coloring and stylized “The Button” typeface.

The Button works with any of Impossible’s SX-70 films which can be purchased HERE

To see a user manual for SX-70 box-type cameras like The Button, click HERE and HERE

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As many consumers had difficulty focusing with their original SX-70s, Polaroid released an autofocus model of their folding SX-70 in 1978. The SX-70 Time Zero Auto-Focus utilized a new and very advanced sonar technology. When the shutter button is pressed halfway, a series of ultrasonic chirps is emitted from an electrostatic transducer located under a plate over the lens. These chirps travel to the subject and bounce back to the camera’s receiver, alerting the camera to the subject’s distance, and the lens is turned on a motor to focus accordingly.

The Polaroid SX-70 Time Zero Auto-Focus features a 4-element 116mm glass lens, manual or autofocus capabilities, with a minimum focal length of 10.4 inches, electronic shutter…

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Welcome back to 8 Exposures, our instant film Q&A series. This week, we bring you California-based Laura Alice Watt…

Q1) What kind of Polaroid camera(s) do you use?

A: The workhorse is my trusty SLR 680, looking a bit worse for wear these days as it’s usually my travel Polaroid. It’s kept company by a tan SX-70 (such an elegant creation!), a Spectra and an Automatic 250, plus packfilm camera backs for the Hasselblad and, most recently, Crown Graphic. Plenty of fine cams to choose from!

Q2) Why do you like instant photography?

A: There’s of course the relatively-instant gratification (compared to regular film, not digital) of seeing them develop, and the sheer tangibility of a pola, that it’s both an image and an object; for me, the biggest allure is the way these cameras and films “see.” Light glows differently through instant film than through any other kind, there’s just nothing else like it—all those Pola-Droid apps are sad, sad imitations at best—real instant film provides a unique and characteristic view of the world, a way of seeing the subject that directly enhances and contributes to its beauty or intrigue. And I like that sense of interaction, not only between photographer and subject but also through the distinctive medium of the film—and of course the serendipity.

Q3) What is your earliest memory of instant film?

A: I’m perhaps a bit unusual among instant photographers, in that I don’t have any nostalgic memories of polaroids from the past; both of...Read All

As many consumers had difficulty focusing with their original SX-70s, Polaroid released an autofocus model of their folding SX-70 in 1978. The SX-70 Sonar OneStep utilized a new and very advanced sonar technology. When the shutter button is pressed halfway, a series of ultrasonic chirps is emitted from an electrostatic transducer located under a plate over the lens. These chirps travel to the subject and bounce back to the camera’s receiver, alerting the camera to the subject’s distance, and the lens is turned on a motor to focus accordingly.

The Polaroid SX-70 Sonar OneStep features a 4-element 116mm glass lens, manual or autofocus capabilities, with a minimum focal length of 10.4 inches, electronic shutter, programmed automatic exposure and a socket for flashbars or electronic flashes. Another nice feature is a socket for an electrically-actuated remote shutter release.

(More after the jump!)

Much like Polaroid’s “The Button”, the OneStep SE is identical in features to the original non-folding SX-70 “Rainbow” OneStep. The only difference is the color scheme. Instead of a white body, the OneStep SE is a shiny black, and the shutter release button is sky blue.

The OneStep SE’s rigid plastic body and fixed focus single element 103mm f/14.6 plastic lens made it a more affordable option than the folding SX-70 models.

The OneStep SE features an electronic shutter, programmed auto exposure and a socket for flashbars or electronic flash units.

The OneStep SE works with any of the Impossible Project SX-70 films, including PX 70 Color Shade film and PX 100 Silver Shade UV+ film

The Polaroid SX-70 Original camera is the holy grail of instant cameras, and in some respects, cameras in general. It was first introduced in 1972 after years of development and research, and was the very first camera designed for use with integral format film.

The SX-70 Original is a single-lens reflex camera, with chrome-plated plastic body and genuine tan leather accents. It collapses flat when shut, allowing for easy portability. The earliest SX-70 models do not have a focus scale, instead bearing only the notches surrounding the lens, as seen in the above photo. They also had a plain ground glass focusing screen with no split-image rangefinder as was common in later models.

The SX-70 sports a 4-element 116mm f/8 glass lens, electronic shutter and programmed automatic exposure, a socket for flashbars or electronic flash units and a port for a remote shutter release. One of the best things about the SX-70 is…

(More after the jump!)

The Polaroid Presto! camera was first introduced in 1978, a slight variation on the non-folding SX-70 One Step camera. Its rigid plastic body and fixed focus single element 103mm f/14.6 plastic lens made it a more affordable option than the folding SX-70 models.

The Presto! has a tan and black body with the trademark Polaroid rainbow stripe, an electronic shutter, programmed auto exposure and a socket for flashbars or electronic flash units.

The Presto! works with any of the Impossible Project SX-70 films, including PX 70 Color Shade film and PX 100 Silver Shade UV+ film

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Hello again from 8 Exposures! This week, we’re highlighting Maryland Event Planner and photo genius Jessica Hibbard Elenstar!

1) Q: What kind of Polaroid camera(s) do you use?

A: My collection is always expanding, but my favorites are SX-70s, Spectra ProCams, and Super Shooters. I always have at least two of each in case one breaks, and multiple cameras also come in handy for shooting different film types at the same time.

2) Q: Why do you like instant photography?

A: I’m drawn to the beauty of vintage cameras, the warmth of film, and the uniquely imperfect nature of each image. Even “bad” polaroids are good, and a nice reminder for a control freak like myself to be open to surprises.

3) Q: What is your earliest memory of instant film?

A: My grandmother’s Spectra camera. I still remember her opening the crinkly silver package of film. She insisted on taking a picture of the entire family at the dinner table when we were all together, so there are many vintage shots of me as a kid with food in my mouth.

(More after the jump!)

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We’re happy to bring you another entry in our popular instant film question-and-answer series 8 Exposures! This week, we proudly feature UK-based photographer and digital artist Jake Messenger…

1) Q: What kind of Polaroid camera(s) do you use?

A: Many! My favourites are my dad’s old original SX-70, and the SX-70 Sonar which belonged to his business partner. I also use a hefty 600SE; the quality you can get from it is fantastic, but it is a beast to lug about. My lighter pack-film option is a Land Automatic 250. I have a few other cameras knocking about – a Super Shooter, a 600 P, an SX-70 3000. On my shelf there are a couple of beauties for show: I love the 800 roll-film camera. Oh, and I have a pack-film back for my Holga!

2) Q: Why do you like instant photography?

A: I love the ‘thingness’ of instant: how you compose your picture, take it, and within a few minutes you have the physical object in your hand. While I love all kinds of image-making, the immediacy of instant is just magical. I love the fact that the film is its own darkroom, that once the image is there, that’s it – there are no processing decisions to be made.

(More after the jump!)

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On Thursday, December 15th, Impossible’s NYC Space hosted an opening event for an exhibition featuring instant artworks by Claire Oring and Foster Huntington. The exhibition celebrates the collaboration between Impossible and Urban Outfitters, long a supporter of Impossible’s mission.

The turnout was fantastic, with guests admiring the photographs on display and enjoying drinks. We also shot plenty of photos ourselves, both digital and Impossible images taken with the new PX 100 UV+ film!

The Urban Outfitters x Impossible Project exhibition will be on display through January 11th, 2012. Please come by the NYC Space to see the art, and be sure to visit your local Urban Outfitters store, where you can now find Impossible film and select camera kits for sale!

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Hello, Impossibles! We’re back with another warm and fuzzy entry in our 8 Exposures series. This week, we highlighted NY-based Graphic and Web Designer Dan Meade…

1) Q: What kind of Polaroid camera(s) do you use?

A: All of them! No, really…I have this thing where I have to try everything. I probably have at least one of every style and format of Polaroid camera, from Spectra and peel-apart cameras to 500 and even I-Zone!

I really enjoy my SLR cameras (several SX-70s and an SLR680) most, but I’ve also built a few home-made cameras including instant pinhole cameras and a custom rubber-coated “Holga-roid.” I also just got a Crown Graphic, which is just fascinating when used with instant film.

2) Q: Why do you like instant photography?

A: I was initially drawn to instant photography for the nostalgia.

However, I quickly became hooked on the “instant gratification” and the unpredictable nature of instant photos.

(More after the jump!)

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Hello friends, and welcome back to 8 Exposures! This week, we spoke with German photographic wizard Oliver Zelinski…

1) Q: What kind of polaroid camera(s) do you use?

A: There is a Barilla pinhole and some old plate cameras with Polaroid backs, a Macro 3, a couple of 636s, an EE100, an Image Spectra, two SX-70 Alpha, a 340, two EE44 and something in the cellar

2) Q: Why do you like instant photography?

A: Because of its own limitation and in connection the results + the smell on x-posed in polanoid.

3) Q: What is your earliest memory of instant film?

A: I remember my mum dissing grandpa’s Sun 660 and those unstable pictures with the boring frame.

4) Q: What’s your favorite Impossible Film type?

A: PX 100 FF and PX 680 beta.

5) Q: What are your favorite subjects to photograph?

A: Mr Giulio Stucchi but generally I am trying not to see the subjects as such but let them speak out. Then you can listen, looking at the picture…

(More after the jump!)