Retro-Timing

I always hated instant cameras.

I suppose I was not yet ready to accept my own mortality in the same way modernism couldn’t accept the death of God. To compensate for one’s impermanence we look for immortality in the world surrounding us or in immutable ideas; much like before we relied on the idea of an immortal soul.

Thus, having an instant photograph, which often got damaged, ultimately loosing quality with age and with no possible reproduction or replacement seemed a poor choice at the time. Particularly having available to us a -generally- more resilient film, with higher quality, from which we could make several –even infinite! - copies in different sizes. A kind of immortality. The Polaroid cameras available in the 90’s were also of quite poor plastic making and of questionable taste in design. Finally, in 2008, the unavoidable fate of this miscreation was met, and Polaroid closed their last instant film factory. When the last film cartridges were to be sold, Polaroid instant cameras would cease to take pictures.

But then I discover the Polaroid SX-70 Land camera from the 70’s thanks to the short film / ad directed by the very own Charles and Ray Eames, with music by non-other than Elmer Bernstein. The camera was a state of the art of technology and design of the time. An astounding upgrade from early Polaroid cameras.

As it turned out, after Polaroid close their instant film factory, some enthusiasts made possible the Impossible. That last factory, located in the Netherlands, was partially reopened to produce new film by this group of people, with the name The Impossible Project. In 2010 they started producing their film, which is not quite the same as the old Polaroid: after several “blends”, the latest stable product will take half an hour to be processed. Not quite the original idea behind instant film.

Fully opened SX-70 front.

Restored cameras from the Impossible Project are also available from time to time in their on-line shop. I was lucky to find a second hand SX-70 Sonar in Bern by less than half their price. One must be careful when acquiring this camera from someone or somewhere, as it is very delicate due to age. Many internet resources help recognize a good condition for a camera without need of becoming too obsessed. I was fortunate enough to currently be in Switzerland, where people are extremely careful with cameras, clocks and virtually everything.

The SX-70 Sonar folded; size compared to a book.

The original SX-70 is a very fine-looking metal box with leather finishing. Those were the times! The lens is a 4 element 116mm f/8. Not particularly bright. The Sonar version was the first auto-focus single-lens reflex camera (other models used it before), released in 1978. The AF comes as an extra piece made of plastic on top of the original box. But do not expect this ultrasonic auto-focus to be anything close to the AF of the Canon 5D mark III. Many times it is necessary to rely on manual. The Sonar model is also an interesting example showing two very different philosophies put together, representing the transition from the post-war industry to what was to come. A late 60’ish mechanical body design, versus 80’ish cheap plastic design typical of the new electronic era.

Original instructions.

What can be anyway the interest on such toy if not just as an antiquity? I am for sure not appealed by the retro looking pictures –as this is much easier to fake with software. Neither I am compelled by memories of childhood as I never had an instant camera near me. More likely, after absorbing much of Zen impermanence, among other reflections on aesthetics, I came to appreciate above all , the moment; that what is ephemeral.

We are acquiring now great control on our shots with the latest camera models. Even older cameras can be operated with little room for mistake. But with Impossible film we are having surprise shots. The ejected picture remains dark blue for a while. It has to be taken care of, aside of sunlight and kept in a warm place, usually a pocket. The chemical process starts, and yellow stars and rhizomes begin forming on the surface revealing, little by little, the final image. Quality and age of the chemicals in the film, ultimate mastering of the camera, wind and temperature come together to guarantee unpredictable results. After 30 minutes we would be long gone from where we took a shot that turned out to be overexposed, moved or just not correctly processed.

Circus caravan, Morlon, Switzerland.

I like close-ups and the chemical blend of colors.

Annecy, France, facing the sun.

Summarizing; against the quotidian hi-rez, multi-copy, all-controlling high-tech, what we have is:

• A unique ephemeral chemical process to enjoy watching what is be-coming. 
• Focus on the subject. This film is expensive and some thought has to be put on where to expend every shot.
• A unique picture; not meaning economic value unless we are famous or dead artists, as this would make it subject of preservation –just the opposite of what we are looking for. 
• A potential aesthetic exploration. Many examples can already be seen through the web as the camera is rapidly gaining cult following.
• The joy of handle it!

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References:

1. When was your camera made? Exactly?

http://www.rwhirled.com/landlist/sx70sn.htm
Those are the results for my camera:

 SX-70 Serial Number Calculator Results

The SX-70 serial number calculator has determined the following statistics about your camera:

The complete serial number you entered is 5C946868264.
Your camera has the Alpha 1 shutter design with the Alpha "K" focus wheel.
Your camera is probably an SX-70 Sonar OneStep.
The serial number itself is: 68682
Your camera was made on March 22, 1979 during the A shift. 

2. Original manuals, scanned:

http://www.butkus.org/chinon/polaroid_cameras/sx-70/sx-70.htm
http://landcameras.com/blog/how-to-take-sx-70-pictures/

3. Original link to the documentary/ advert:

http://www.youtube.com/watch?v=5jaiq_ZZ_eM