No. 1228

Changes To Our Twitter Feed

Amy Heaton, | 476 days ago

Thank you for your support and engagement with our social media channels so far this year. After monitoring your feedback closely, we have decided that, as of January, 2015, ImpossibleUSA will be renamed Impossible_HQ, and our existing HQ feed will be deactivated.

The aim is to create a single twitter feed that communicates with our entire global community.

We also wanted to reassure you that each of Impossible’s social media pages are being managed by Impossible’s new Social Media Coordinator, Amy, and not a big, faceless team, and that she is always ready to respond to your enquiries, concerns or enthusiasms individually – big or small.

Amy is in close daily contact with our sales, customer service and new product development teams in Berlin, our film R&D and production managers at the factory in Enschede and the technicians at our camera refurbishment workshops in Enschede and in Brooklyn, New York, as well as with our global partner stores. If you have questions, she will do her utmost to make sure you get answers as quickly as possible.

So please, starting now, make sure you are tweeting to the handle Impossible_HQ and follow our twitter feed for all the latest global updates, along with engaging creative and technical discussions about instant photography.

If you have any questions about this change you can send Amy a direct message or e-mail amy.heaton@the-impossible-project.com for any additional support and advice you might need. Oh, and of course we are always open to your comments and suggestions too!

Looking forward to hearing from you all soon.

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No. 1227

Viewfinder: Jolanda Boekhout's 365-Project

Amy Heaton, | 489 days ago

Greens by Jolanda Boekhout

Jolanda Boekhout is a photographer from Rotterdam, The Netherlands and in 2013 she took the challenge to shoot a photo a day. As the year comes to a close we thought it the perfect moment to share the story of her 365-Project ‘My life in Polaroid’, which transforms simple everyday moments into artworks by simply choosing to take that little bit longer to appreciate them – and capturing them with her folding SX-70 and Impossible film.

“The project has its origin in October 2012 with participating in Oasis, a gathering of Shutter Sisters at Palm Springs. I travelled all the way from my hometown Rotterdam to California in the US to meet some beautiful sisters I had met online through the years in Tracey Clark’s online classes. I was familiar with Polaroid of course, who isn’t. One afternoon I got the chance to shoot with several vintage Polaroid cameras. I fell in love. Discovering that the Polaroid factory still existed and was continued by Impossible Project was exciting. The fact that the factory was situated in Enschede, The Netherlands (my home country), was even more exciting. I had to travel to the US to find that out!

My birthday was celebrated during my holiday in the US, without any presents. But what a surprise I got a few weeks later. My boyfriend had secretly found a folding SX-70 and a box camera for me. The first few weeks the cameras were lying idle on a shelf. I was scared to death to use them. Looking at them seemed enough for me. But the photographer in me kicked my butt and challenged me to do something with this beautiful gift. After a year of shooting a daily photo with my iPhone in 2012 I started wondering what my project for 2013 would be. The thought to start a 365-project shooting a Polaroid photo every day for a year entered my head. Some people told me I was mad. “Way too expensive to shoot a Polaroid a day.” My thoughts were ‘well… my boyfriend is a smoker and smoking costs more per day than my Polaroids’. And that’s what made the decision for me.

So before New Year I stocked my fridge with enough packs of film to keep me busy for the first eighty days in 2013. I promised myself to only shoot one photo a day and share the result on social media, even if my shot failed. As the title says, the goal of my project was to document my everyday life and whatever I felt special enough to want to remember. ‘My life in Polaroid’ started off as a real challenge. Some days I was hopelessly sad, because my expectations on creating beauty with my SX-70 seemed much too high. On several occasions I felt the urge to throw my camera out of the window. Didn’t know what I did wrong to get a failure out of the camera. Either the problem was the camera, the light, me forgetting to use the dark slide or the tripod. It was probably mostly me, not shooting mindful enough. After each failure I needed to hold myself back on the urge to try again. But ‘no, only one photo a day’. On successful days I got very excited and happy and cherished my photos. Again needing to hold myself back to have another shot.

During the year I got the hang of it. Getting to know the camera was hard. Not giving up rewarded me with so much beauty. I felt more and more happy about myself, my camera, the photo and the quality of the film. I started the project with my original folding SX-70 (date of birth 1974) and the Box. During the year I collected seven more folding SX-70’s (a model 2 and 3, some Alpha’s and one Image), refurbished them, gave them names and tried them out. My favorites turned out to be ‘Sweet Blue’ and ‘Poladot’. What I love about each of my cameras is that they all shoot differently and react different to light conditions. (Here is my ‘fleet’)

What I learned to love doing during the year is shooting inside, in low light, and in overcast weather. That gave me the most rewarding photos. For most of my camera’s I shoot with the exposure wheel turned a third to dark. My silver SX-70 tends to deliver photos that are too light. The model 2 and Alphas don’t need the extra spin to dark actually, but I love the photos to be a bit darker. The quality of the IP film really improved over the year. I started with shooting with the Colorshade SX-70 film that needed to be shielded from the light. The result was a really soft and often hazy photo. What improved the color in my photos was the new colorfilm that didn’t need shielding. My photos still turned out lighter than expected so I started using the darkslide again. That shielding helped to create better photos. And that is what I do ever since.

I can recommend a year of shooting with a Polaroid camera to everybody. It’s so much fun. Getting to know yourself, your camera and watch your own development is so valuable. After a year of shooting every day I couldn’t stop shooting with IP film and my vintage beauties. This year I’m doing a 52-project: ‘a year in Polaroid’. A 52-project is much more relaxing for me and again I love what I create. Now for next year it might be totally different. My goal is a 365-project in shooting selfies. Two challenges in one: shooting myself and shooting from a distance. Still need to sleep on this.

Explore more of Jolanda’s photography on her website, Flickr or connect with her on Facebook and Instagram

No. 1226

Instant Photographer Profiles #25 - Leanne Surfleet

Amy Heaton, | 490 days ago

Photo by Leanne Surfleet

Leanne Surfleet is a UK-based photographer who has been capturing self-portraits on analog film, Polaroid 600 and Peel Apart films since 2006. She now shoots Impossible film to create her intimate instant film imagery.

How long have you been shooting Polaroid/Impossible film?
Since the beginning! I was heartbroken when they announced they were discontinuing everything, until I heard about the Impossible Project!

Which cameras do you use? What do you like about them?
I mainly use my SX-70 Sonar for instant film as it just has something magical about it that I’ve never found with other cameras. I was mainly shooting on a Spectra for the last few years which has been great for self-portraiture and finding my own specific style. But I’d always wanted an SX-70 and finally treat myself to one a couple of years ago and it’s the best treat ever.

Where do you shoot most often? And on what film(s)?
I shoot mainly indoors when shooting self-portraits, and I like to use some of the older generation Impossible films as I like when they’re a little more experimental, so I’ve shot a lot of the PX70 / PZ680 Cool films which also look lovely when shooting outside. I mainly like to use Impossible Project films for portraiture as I feel I get the most out of the films when shooting people. After years of shooting instant film I know when to hold back and when something just has to be shot on Impossible film.

How would you describe your work? And who/what/where inspires you?
I’d describe my work as personal and diary-like, with it being mostly self-portraiture and of the things and people in my life. Sometimes lots of things inspire me such as light, colours, time of day, people, friends, books, other photographers and artists, women and just generally the mood I wake up in. Other times I can struggle with inspiration which I’m sure all creative people do from time to time, I try not to let it get to me too much as theres usually something just around the corner.

Tell us a little about the pictures in your set which are your most favorite and why?
The photographs I selected to show are some of my favourites that I’ve shot over the past couple of years. Most are self-portraits and show me how much I’ve changed since I started taking them, mostly how I’ve changed emotionally. My most favourite are the self-portraits with beams of light across my eyes or face, I love using light in this way. Other favourites are the portraits I take of other people, the SX-70 is perfect for it and combined with Impossible film it all feels like a dream.

Do you have any helpful creative techniques or advice you would like to share to other Impossible artists?
I think the best advice I could give is to just keep shooting with Impossible film, even if a certain pack just doesnt work out too well with your camera, theres always more film (I hope!) and more time for experimenting.

Do you have any upcoming exhibitions/publications?
I do! Theres a show coming up in December in London by World Wide Women, which is a collective of female artists and photographers which I’m a part of. The show is called ‘Ritual’ and a group of us are exhibiting works which fits with that theme. And some of my photographs in the show were shot on Impossible film!

Who are you favorite photographers, living or dead?
Nan Goldin, Francesca Woodman, William Eggleston, Lukasz Wierzbowski, Eylül Aslan, Aëla Labbé, Alison Scarpulla and so many more!

What are you hoping for from Impossible during the next year?
I would love if Impossible worked on a new peel apart film for Pack film cameras, that’d be a dream. But I’m hoping to try out the newest generation of SX-70 and Spectra films as I haven’t had a chance to yet.

Explore more of Leanne’s work with Impossible film on her website, Instagram & Flickr and connect with her on Facebook!

No. 1227

Impossible's Sunday Brunch

Amy Heaton, | 499 days ago

'home' by iamina

Welcome back to Sunday Brunch. Each Sunday, we share some photos with you taken on Impossible film that have been uploaded to our gallery and caught our eye over the course of the week. Thanks for your photos:

iamina,

andrew millar,

MKTrout,

Lisa Toboz

Lili plasticienne.

Don’t forget to share your pictures on the Impossible Gallery! Your Impossible moment may end up in a future edition of Sunday Brunch.

No. 1224

Exhibition: Land Art Road Trip @ Leila Heller Gallery NYC

Amy Heaton, | 503 days ago

The Land Art Road Trip is a traveling, month long mobile residency program that exposes young artists to the iconic land art and environments of the American Southwest. 

“I’m excited to have my work presented amongst many other young artists that I admire. I’m excited for everyone to see how each artist found inspiration for their work from an experience we all shared.” explains Impossible artist, Sarah Mendelsohn.

The project’s movement is deliberate and guided by the creative impulses of the group, emerging as a free-flowing experiential journey designed to feed artistic imaginations and curb the aesthetic stasis that threatens the art world today. Along the way the Land Art Road Trip stops for days or weeks at a time, often camped far from civilization and the corrupting influences of the art market, giving the artists time to reflect on the experience, develop inspired works of art, and think carefully about their practice. Gerson Zevi also develops cultural exchanges, artistic happenings, and all manner of interactions with the people, places, and communities that they encounter on this trip. The journey is an artistic expression shaped by the sensory experience of the Southwest, and painted across the vast canvas of the open road.

“The Land Art Road Trip brought together young artists of all different mediums from around the world to tour works from the Land Art movement, which are dispersed throughout the American South West. Gerson Zevi developed this mobile residency program as a way to bring both emerging and established artists to view these pieces to maintain their relevance and to also inspire their own work. Likewise, Impossible Project, sought to bring back and update a form of photography that was in danger of dying with the generation it was prominently used in. I thought it would be interesting to use polaroid photography, which like Land Art, was popular in the 60’s and 70’s, to photograph these works and then share them on social media – a way to modernize the art form.” Sarah adds.

The curator of the exhibition, Gerson Zevi is something new in the art world: an art gallery that uses the internet to make expertly curated and high-quality art accessible to all. As a New York City startup and a European-American partnership, Gerson Zevi sells high-quality and original works of art through small and expertly curated shows. Their art is sourced and presented by a group of gifted curators, whose academic and contemporary approach makes their shows both intellectually accessible and culturally informed. Gerson Zevi offers premium gallery services to all of their clients, and host compelling cultural and social events to engage their clients with each other and with the art that they sell. Their goal is to foster an informed and influential community of artists, curators, and collectors. More on their website.

“The Land Art Road Trip was really a life changing experience. I am grateful to have been given the opportunity to see parts of the United States I would have never been to otherwise. The beauty of these places and the uniqueness of the art works we visited are truly eye opening and thought provoking.” Sarah concludes.

If you’re NYC-based, ‘Time To Hit The Road’ opens tomorrow, December 18 2014, at the Leila Heller Gallery, 568 West 25th Street, New York. Follow Sarah Mendelsohn’s work on Twitter, Instagram and Facebook.