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The Polaroid SX-70 Land Camera: A Unique Tool for Creating Artistic Imagery
By
Joshua Ray Caldwell
A culminating document submitted in partial fulfillment of the requirements for the degree of
Master of Science in Photography
Brooks Institute of Photography
November 2008
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© 2008
Joshua Ray Caldwell
ALL RIGHTS RESERVED
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ABSTRACT
The Polaroid SX-70 Land camera can still be used as a unique tool for
creating artistic imagery, despite the fact that the camera and film are no longer
produced. Many photographers and artists in the past have used the SX-70, and many
continue to use it today as a creative tool. Since film for the camera is no longer
available, the camera must be converted using various methods to allow it to work
with an available Polaroid film. Polaroid 600 film is similar in many ways to the
original film produced for the camera but will not work in the SX-70 camera unless
adjustments are made. The conversion techniques discussed in this thesis are
effective. They have been tested and proven in this thesis and have been used to
create a finished series of fifteen images. Each technique has its own unique benefits
and drawbacks but allows the SX-70 to still be used as a creative tool for producing
artistic imagery.
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The Polaroid SX-70 Land Camera: A Unique Tool for Creating Artistic Imagery
TABLE OF CONTENTS
List of Figures iii
List of Plates v
Acknowledgments vii
Preface viii
Chapter 1: Introduction 1
Chapter 2: Review of Literature 4
Edwin Land 4
Polaroid 7
Instant Photography 9
The SX-70 Land Camera 14
The SX-70 as an Artistic Tool 23
Walker Evans 23
André Kertész 28
David Levinthal 33
Elizabeth Soule 38
Grant Hamilton 43
Chapter 3: Methods 50
Nub Removal 51
Guard Bypass 52
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2-Stop ND Filter 54
Photocell ND Filter 58
Film Pack Filter 60
Photocell Override 64
Electronic Modification 68
Chapter 4: Results 75
Lost in Reverie 77
2-Stop ND Filter: Advantages and Disadvantages 81
Photocell ND Filter: Advantages and Disadvantages 86
Film Pack Filter: Advantages and Disadvantages 90
Photocell Override: Advantages and Disadvantages 95
Electronic Modification: Advantages and Disadvantages 100
Chapter 5: Discussion / Conclusion 102
Works Cited 108
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LIST OF FIGURES
2.1 Headlight without polarizing filter 8
2.2 Headlight with polarizing filter 9
2.3 1947 Optical Society demonstration 11
2.4 Land with a Polaroid 95 Land camera 12
2.5 SX-70 design prototype, 1965 15
2.6 The Original SX-70 Land camera 16
2.7 Light Path in the SX-70 17
2.8 Parts of the SX-70 19
2.9 SX-70 film process 21
2.10 Land on the cover of Life, Oct. 1972 22
3.1 Nub removal method 52
3.2 Guard bypass method 53
3.3 Lens ND template 55
3.4 Lens filter size 56
3.5 Adhesive filter mount ring 57
3.6 SX-70 with and without filter 58
3.7 Mount ring and filters for photocell 59
3.8 Pack filter template 61
3.9 2 stop ND gel sheet 62
3.10 Cut out pack filter with dimensions 62
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3.11 Mounted pack filter 63
3.12 PVC elbow light reflector 66
3.13 Override the photocell setup 67
3.14 Capacitors used in conversion 69
3.15 TORX screws on the SX-70 70
3.16 The SX-70 circuit board 71
3.17 Unsolder points for conversion 72
3.18 Capacitor unsolder points 73
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LIST OF PLATES
2.1 Walker Evans, Sign Detail, Martha’s Vineyard, MA, Oct. 1, 1974 25
2.2 Walker Evans, Sign Detail, Destin, FL, Aug. 12, 1974 26
2.3 Walker Evans, Crushed Can, 1973-74 27
2.4 André Kertész, May 6, 1979 30
2.5 André Kertész, Aug. 29 1982 31
2.6 André Kertész, July 3, 1979 32
2.7 David Levinthal, from Modern Romance, 1984-86 35
2.8 David Levinthal, from Modern Romance, 1984-86 36
2.9 David Levinthal, from Modern Romance, 1984-86 37
2.10 Elizabeth Soule, Owl on Page, 2007 40
2.11 Elizabeth Soule, Ostrich, 2007 41
2.12 Elizabeth Soule, Rabbit, 2008 42
2.13 Grant Hamilton, Winnebago, 2008 45
2.14 Grant Hamilton, Smile, 2008 46
2.15 Grant Hamilton, New Mexico, 2007 47
4.1 Carrier 78
4.2 Wanderlust 79
4.3 The Captain 80
4.4 Childhood 83
4.5 Daydream 84
4.6 Mother 85
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4.7 Bonneville 87
4.8 Rooftops 88
4.9 Manicured Garden 89
4.10 Trapped 92
4.11 Beautiful Waste 93
4.12 Minimalist 94
4.13 Father 97
4.14 Battersea 98
4.15 Swimming 99
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ACKNOWLEDGMENTS
The author would like to thank:
Danielle, Sadie and Samuel Caldwell
Jo Ellen Eng, Ryan Bowden and Robert Bradshaw
Morris and Dorothy Caldwell and family
Daniel and Peggy Campbell and family
David Tyner and Michelle Connor
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PREFACE
While working on my BFA degree in 2003 in Salt Lake City, UT, I first
discovered the folding Polaroid SX-70 camera at a thrift store. I remember digging it
out from amongst a pile of other old cameras, left there, unwanted by the previous
owners. I remember thinking how odd and unique it was, having never seen a
Polaroid camera like it before. I unfolded it and folded it over and over, trying to
figure out exactly how and if it still worked. Regrettably, I did not purchase it because
I had no interest in shooting with a Polaroid camera at the time and did not think I
would ever have a use for it.
A few years later, I became interested in shooting Polaroid film after buying a
later model, plastic, instant Polaroid camera from a swap meet for $1. When I
realized the joy of shooting with a Polaroid camera and after I had done a bit of
research, I then realized exactly what the SX-70 had to offer. I instantly regretted not
having purchased the one I had found at the thrift store those few years prior. As I
continued to shoot with my $1 Polaroid camera, the regret deepened. I began
searching every thrift store and antique shop I came upon in hopes of rectifying my
earlier mistake and somehow lessening the pain. Eventually I gave up hope and went
on line to purchase one. I bought one for $75 dollars - $70 dollars more than the one I
had passed up. When it arrived in the mail, I could not put it down. The camera was
beautiful in design and function, and it folded down to a flat, portable, self-contained
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and protected position. It was even more beautiful than I remembered the one from
the thrift store being.
I began looking for film for my SX-70 and learned that Polaroid had
discontinued the production of SX-70 film a short time before. I knew that other
photographers were shooting with the camera, so I researched how this was possible.
I found that there were several options for converting the SX-70 to be able to accept
another type of Polaroid film still in production. By applying the techniques for
converting the camera that I had found, I was able to shoot with my SX-70 camera.
The images I could create with the SX-70 and Polaroid film were unique and
beautiful and offered me a unique tool for creating artistic imagery.
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Chapter 1: Introduction
Polaroid has been an important part of the photographic world for over sixty
years. Since the release of instant cameras in 1948, Polaroid has mainly marketed its
cameras and film to the mass consumer market, or as Edwin Land, founder of
Polaroid put it, “‘the mothers of America’” (qtd. in Wensberg 92). Originally many
professionals “regarded the new process of instant photography benignly as a novelty,
a scientific curiosity” (Wensberg 97). They felt that this new invention was no more
than a child’s toy, and, “if it was so easy, how could it be worthwhile?” (Olshaker
64).
For various reasons, many professional photographers and artists eventually
became attracted to the Polaroid process for use in creating artistic imagery, using
Polaroid images for test photographs or merely for creative purposes. Polaroid films
offered photographers and artists a unique tool for creating artistic images that had
not previously been available to them. Many of these attractive aspects were due to
the unique makeup of the chemistry involved in the instant process and the ease and
quick response time from shooting to viewing the finished image.
In 1972, Polaroid released its most important invention to date: the Polaroid
SX-70 Land camera system. The SX-70 offered all the previous benefits of instant
photography but was easier than ever to use. The SX-70 featured a smaller, more
compact design than previous instant cameras and could be folded flat when not in
use (Eames and Eames). The film was simpler to load and shoot, and created no mess,
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unlike earlier instant films. Like Polaroid cameras and film before it, the SX-70 was
widely used among amateurs, but it also found its way into the hands of professionals.
Until recently, film for the SX-70 camera was widely available. Due to loss of
sales to digital technology, Polaroid began to discontinue instant film and in 2005
announced that it would stop producing SX-70 film altogether. Since digital
technology had won the majority of the mass consumer market by this time anyway,
mainly those interested in using the SX-70 camera for its creative aspects were
affected. Many photographers and artists refused to retire their creative tool. They
found ways to convert the SX-70 camera to enable it to use another, similar type of
similar Polaroid film that was still available.
The SX-70 camera is a unique tool for creating artistic imagery. Despite the
fact that the camera has been out of production for many years and film for the
camera is no longer available, the SX-70 camera can still be used as a creative tool.
The purpose of this thesis is to discuss the techniques required to convert the camera
so that it may be used to create artistic imagery using available Polaroid film. This
thesis will discuss seven of these conversion methods. Two of them involve loading
the film, and five involve shooting. The conversion methods will all be explained, and
the five involved in image making will be tested by creating a series of artistic
images, three images for each of the five conversion methods, for a total of fifteen
images. These images will be analyzed, and the pros and cons of each technique will
be discussed, since each technique offers its own benefits and drawbacks. By
understanding how each of these conversion techniques works and the pros and cons
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of each, photographers and artists interested in using the SX-70 camera to create
artistic imagery will be better able to do so.
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Chapter 2: Review of Literature
Edwin Land
Mainly known as a scientist and inventor, the founder and genius behind
Polaroid, Edwin Land, was in constant pursuit of creating a better world with his
inventions. “Science is for him a process of uncovering individual human potential”
(Olshaker 131). Land’s own human potential can be recognized in his life story, the
events of which would eventually lead him to create instant photography. His
“innovative contribution” is regarded as one of the most important photographic
inventions since the beginning of photography (Newhall 281). Yet it might not have
been accomplished had things happened differently.
Edwin Herbert Land was born in Bridgeport, Connecticut on May 7, 1909, to
Harry and Martha Land. It was apparent early on that Land was a genius and that he
possessed great potential.
When Land was a child, a handsome mantel clock, of which his father
was inordinately proud and which chimed the hours, the halves, and
the quarters, captured his attention. One evening when his parents
were out, the boy climbed to the mantelpiece on a living room chair,
took the clock down, and, using a fine screwdriver, disassembled it,
laying the parts out carefully and methodically on a newspaper spread
out on the oriental carpet. He worked quickly to complete the autopsy
and reassemble the corpus, but he was still on his knees among the
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pieces when his parents returned. His usually indulgent father showed
his anger by punishing the boy and collecting the parts of the
timepiece in a box and sending them to a clockmaker…His father told
him he could set up a lab in the basement as long as clocks and other
household necessities remained out of bounds. (Wensberg 21)
From an early age, Land was passionate about science and how and why
things worked. “As a boy, Land became fascinated with toys that fed his curiosity
about science. These included kaleidoscopes and stereoscopes” (McElheny, Insisting
18). At a summer camp in upstate New York, he was introduced to Iceland spar (also
known as calcite) by one camp leader who demonstrated the light polarizing effects
the crystal had on glare (McElheny, Edwin par. 7). Land’s curiosity in science – and,
specifically, light-polarization – continued, and at seventeen, he entered Harvard
University.
Upon entering Harvard, Land began “searching for a field that would make
his name known to the world of science” (Wensberg 26). He contemplated many
fields and the potential of each. He said, “‘I find the first event is an urge to make a
significant intellectual contribution that can be tangibly embodied in a product or
process’” (qtd. in Wensberg 26). After much consideration, self-exploration and
research, Land decided to make the science of polarized light his field of study
(Wensberg 26).
During a break in his first year at Harvard, Land visited New York City where
he had an experience that would change everything.
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While walking alone down Broadway, he was at once overpowered by
the spectacle of the theater marquees, giant illuminated billboards, and
fashionable automobiles, and disconcerted by the oppressive glare
from the countless light sources. At this specific moment it occurred to
the 17-year-old freshman that there must be a way to preserve the
majestic illumination of a place like the Great White Way, while at the
same time eliminating the glare that made each light source compete
with every other one. There was also, he correctly figured, the very
real danger to both pedestrians and motorists of being momentarily
blinded by the glaring headlights of on-coming traffic. (Olshaker 13)
For the first time, Land could see the real world implications of light polarization and
a tangible “product” coming to life from his scientific study and experiments
(Olshaker 14; Wensberg 26). He envisioned every automobile coming off the
assembly line fitted with light polarizing filters to reduce the glare caused by
headlights. Land dropped out of Harvard to pursue his idea despite his parents’
disapproval and “planned to study and experiment in New York” (Wensberg 29).
Although Land would eventually return to Harvard several times, he would never
earn a degree. The young scientist had other plans for achieving his success.
Land moved to New York as planned and began his intense study of light
polarization. After several years of research and experiments in his apartment, Land
decided more room and equipment were needed to continue. Land and Helen
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Maislen, a new colleague who would eventually become his wife, would sneak into a
Columbia University laboratory window at night to experiment (Wensberg 34).
They climbed up a fire escape and went through a convenient window
that was usually left unlocked….He was attempting to orient
herapathite, iodide-quinine crystals, in a small glass cell. He had spent
a month grinding the needle-shaped crystals to microscopic fineness
with a small hand mill. He then mixed them with a solution of
nitrocellulose lacquer, a process that would have caused the Columbia
administration grave concern had they been aware of it. (34)
With the use of an electromagnet, Land “marshaled millions of tiny iodine needles
into perfect linear orientation…so that the light that shown through them was combed
into polarization” (34). From such experiments, Land was finally able to create a
working polarizer, something that had never been accomplished before.
Polaroid
Land moved back to Boston with his wife and new invention, and it was there
that he met George Wheelwright, III, a recent graduate and new instructor at Harvard
(Wensberg 36). Wheelwright became interested in Land’s experiments, and the two
of them formed the first company, “Land-Wheelwright Laboratories,” which would
later become Polaroid (39).
The young company was presented with various opportunities for their light
polarizer including a large order on November 30, 1934, from Kodak for the polarizer
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to be used for camera filters (Olshaker 18). Other opportunities would come and go,
but none ever brought Land and Polaroid the success they desired or the income to
keep them in business. Land always hoped from the beginning that Polaroid’s big
break would come from the automotive industry using Polaroid filters in vehicles to
reduce headlight glare (Figs. 2.1 and 2.2). However after years of investment and
energy spent on trying to sell the idea, it never yielded any success. The reason was
that “styling and horsepower sold cars; safety did not. People didn’t want to be
reminded that cars were dangerous” (Wensberg 64).
Fig. 2.1. Headlight without polarizing filter (McElheny, Insisting Fig. 1).
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Fig. 2.2. Headlight with polarizing filter (McElheny, Insisting Fig. 2).
The onset of World War II did bring many opportunities to Polaroid, however,
in the form of war contracts. One such war contract was for a plastic gun sight.
Polaroid successfully created a sight and “direct fire from General Patton’s Sherman
tanks became more accurate overnight” (Wensberg 73). Many of Land’s inventions
would help to win the war and essentially kept Polaroid in business. As the end of the
war approached and war contracts ended as well, Land knew something big needed to
happen soon.
Instant Photography
While on a vacation in New Mexico with his family in 1943, Land took a
photograph of his three year old daughter Jennifer. Upon snapping the photograph,
Jennifer innocently asked if she could see the picture (Taubman 82). After several
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attempts to explain why she could not see the picture, Land began thinking, Why
shouldn’t she be able to see the picture right now? (Callahan 48).
Within an hour the camera, the film and the physical chemistry
became so clear that with a great sense of excitement I hurried to the
place where a friend was staying, to describe to him in detail a dry
camera, which would give a picture immediately after exposure. In my
mind it was so real that I spent several hours on this description. (qtd.
in Callahan 48)
For Land, this next venture was a perfect fit. “Polaroid had skirted the field of
photography repeatedly since its inception as Land-Wheelwright Laboratories in
1932” (Wensberg 83). Land put several researchers from the company on the project
immediately to begin brainstorming about the functionality of the camera. The file
name for the new instant camera project, ironically, was “SX-70” (Wensberg 86). The
last of the remaining war contracts would end soon, and Land could hardly wait to
focus all his attention on this new and exciting project, which would finally give
Polaroid its big break.
Five years had passed since Land’s vision when Polaroid revealed its new
technology to the world. “At the 1947 convention of the Photographic Society of
America, held in Cincinnati, Edwin Land’s technical demonstration of instant
photography [Fig. 2.3] was the overwhelming hit of the show” (Olshaker 58). Soon
after this demonstration, Polaroid released its first instant camera, the Polaroid 95
Land camera (Fig. 2.4). The Polaroid 95 was an instant success, due in part to a
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“marketing plan that would hopefully give the aura of hard-to-get desirability and
exclusivity” (61). Land would employ this same strategy with many other Polaroid
camera releases to come, including the release of the SX-70 years later.
Fig. 2.3. 1947 Optical Society demonstration (Wensberg n.p.).
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Fig. 2.4. Land with a Polaroid 95 Land camera (Hitchcock 25).
Despite the immediate popularity of instant photography, it did face its share
of problems. Many people “regarded the new process of instant photography benignly
as a novelty, a scientific curiosity” (Wensberg 97). Most professional photographers
and artists felt that they would have no use for the medium as a tool for their trade.
Land disagreed, and his solution for the problem was simple. He sought out Ansel
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Adams, one of the most influential photographers of the time, to aid him in improving
Polaroid’s image among professionals.
Consequently, Ansel Adams had by 1948 become the first of several
artist consultants hired by Land. The assignment was to test cameras,
films and related photographic paraphernalia, using them in the field
and in the studio. How did the camera function? What could be done
to make it better? Would a film capture high-key highlights or would it
burn out, leaving no details to be seen? What improvements were
needed for the next generation? (Hitchcock 25)
Land and Polaroid managed to work through initial issues with instant
photography and continued to improve and release new types of film and cameras.
Land, however, was not completely satisfied with the camera system that had been
created. Technical challenges not foreseen at the conception of his idea, such as print
fading and curling, added additional steps to what was supposed to be an instant
process (Wensberg 130, 145). Color film was introduced in the early 1960s, and soon
after, Land began putting together ideas that would lead to the next stage in instant
photography and Polaroid’s biggest invention to date.
The file name for this new project was SX-70, “the same file code that had
designated the first photographic experiments in 1943” (Wensberg 151). With this
new camera system Land wanted to accomplish what he originally had imagined
instant photography to be. His original hopes, coupled with his experience with
instant photography, now offered new promise for what his invention could now
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finally become. Time magazine said in the June 26, 1972 issue, “The new camera
eliminates just about all the bugs that annoyed Polaroid owners, including Land, for
the past 24 years” (Taubman 81). The old file name SX-70 was now reopened but
with a new meaning. The code name SX-70 would now represent “the new camera
and film system being developed in the late 60’s (SX) and early 70’s” (Olshaker 201).
The code name for the project stuck, and it was decided that the camera system would
be called SX-70 upon its release to the public (201).
The SX-70 Land Camera
The SX-70, although loosely based upon the same concept as the previous
instant cameras and film, was a completely new invention (Olshaker 173). Everything
about the camera and the film was different. Since there never had been anything like
it, it had to be invented from scratch. The SX-70 camera was “the instant camera
Edwin Land wanted to create all along….Everything up until the SX-70 was a
compromise” (171).
When original development for the SX-70 was underway, Land created a
small list of items he wanted the new camera to feature. “His original instructions to
his engineers consisted of a small list typed triple-spaced on a single sheet of paper:
Compact, Integral, Single-Lens Reflex, Garbage-Free” (Olshaker 172). Land wanted
the camera to fit in a coat pocket, “so in a sense, you could say that Dr. Land’s tailor
determined the size or the SX-70” (173). Land was said to have given those in charge
of design a block of wood about the size of what he thought the camera should be
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(173). In fact, some of the initial design ideas were actually worked out with a block
of wood as early as 1965 (Fig. 2.5). The initial design seen here bears a great likeness
to the final SX-70, which when folded is about 7 x 4 x 1”, or “slightly larger than a
standard-sized paperback book” (170). When unfolded, it stands about five inches tall
and has rubber bellows, which keep the film protected from light. These bellows fold
down inside the camera when it is collapsed for storage. The camera body is made of
“chrome-plated plastic” and is covered on the top and bottom with real cowhide
leather (Kuhn par. 2). Figure 2.6 shows the original SX-70 camera in both open and
collapsed positions, as well as the combination of materials that make up the body.
Fig. 2.5. SX-70 design prototype, 1965 (Sealfon 11).
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Fig. 2.6.The Original SX-70 Land camera.
Land wanted the camera to be a single-lens-reflex. This means the camera
would compose, focus and expose the film through the same lens. Because of the
compact folding design of the camera, a system of mirrors was designed which, when
unfolded, were positioned perfectly. Figure 2.7 shows the path that light travels from
subject to eye and onto the film. This light path is described precisely in a 1972 film
produced for Polaroid by Charles and Ray Eames:
The four element lens collects the light which bounces off a permanent
mirror to a fine fresnel surface. It bundles the light and reflects it back
again to the same mirror. The light leaves the interior of the camera
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through two astigmatism correcting slits, bouncing off of an aspheric
plastic mirror, which focuses the image in space. It is this image that is
seen through the eyepiece, which is itself aspheric. When the picture is
taken, the fresnel moves, elevating the taking mirror so that the image
that had fallen onto the retina of the photographer’s eye is reflected
onto the film. (Eames and Eames)
Fig. 2.7. Light path in the SX-70 (Sealfon 210).
Optics for the lens of the SX-70 “used the cast-plastic technology developed
during World War II for Patton’s tank sight to fold light through the internal lenses
and mirrors in ingenious ways” (Wensberg 179). The four elements that make up the
lens of the camera were so precise that it took a total of three years of human and
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computer power to create it (Olshaker 180). The size of the camera and the folding
design made this even more difficult to achieve.
Each lens face has a different curvature. A small space in front of the
fourth, or innermost, element allows room for the movement of the
shutter blades. Only the front element moves during focusing. The
maximum lens aperture is approximately f/8, and the four elements
measure less than three quarters of an inch (1.9cm) from front to back
when the front element is extended forward to the close–up position,
only 10.4 inches (26.4cm) from the subject. Indeed, the camera can be
folded with the lens in its fully extended position. The range of focus
combined with a compact lens, not achieved before, was arrived at by
a precise blending of properties, such as the surface curvatures of the
lens elements, the chemical composition and thickness of each and the
size of the airspace between. (McElheny, Technologies 124-125)
The SX-70 hosted an array of advanced micro circuitry for its time, which
made it possible to keep the camera body small (Olshaker 179). Hundreds of resistors
and transistors within the compact shell of the camera precisely time and control each
sequence of events from exposure to film ejection (Eames and Eames). The film is
ejected with a powerful 12,000-rpm motor, which moves the film through the rollers
once exposure has taken place. The motor was based on the same design as an
electric-train engine, which engineers decided on after they “invaded a Boston hobby
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shop” (Taubman 81). This same motor moves the fresnel mirror up and down once
the shutter has been pushed (Fig. 2.8).
Fig. 2.8. Parts of the SX-70 (Olshaker n.p.).
The film for the SX-70 was also like nothing that had been created before.
The fact that it was instant was the only thing that it had in common with the other
film types Polaroid had created up to that point. Land wanted the film to be
“Integral,” meaning all that was needed for development was inside the picture. This
would mean that there would be no peeling off paper, no messy chemicals and, most
importantly, no waste to deal with, which had been a problem with past Polaroid film.
The problem with this was meant that the film would have to develop without
protection from light. Previous Polaroid film was manually pulled through rollers to
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spread the necessary chemicals over the film surface and was protected from light
until the right time, when the photographer revealed the developed image. With the
SX-70, there would be no protective sheet. The image could be seen as it developed
from a faint image to a full color image. This was achieved by finding the right
chemistry, and “hundreds of chemical coatings, or opacifiers were tried” (Olshaker
176).
The winning formula was demonstrated successfully in Land’s private
laboratory on November 4, 1969. Fifty Polaroid scientists crowded
around Land to watch a sample of film develop under the blinding
glare of two sun guns, equal in power to direct sunlight on the summit
of Mount Everest. As the photograph began to develop and the
opacifier layer gradually turned crystal clear, a momentous cheer is
reported to have gone up from the assembled scientists. (177)
The process in which the film develops is “based on the migration of dye-
developer molecules from the various negative layers to the positive” (177). Figure
2.9 shows the many layers that make up an SX-70 print, which is 1/100” thick. The
resulting roughly 3 x 3” image appears, sandwiched beneath a plastic protective layer
and black backing, which makes up two thirds of the overall film thickness (Eames
and Eames). The metallic based dyes give the image a sheen and depth that are given
further depth and dimension by the plastic protective covering over the film.
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Fig. 2.9. SX-70 film process (Wensberg n.p.).
Even the battery for the SX-70 had to be created from scratch. It was
important to Land not only that the camera’s function be simple but also that it
removed any possibility of failure. To his thinking, “nothing makes a camera
enthusiast lose that enthusiasm as instantly as a Land picture develops as being all set
to take a picture, having three or four packs of film ready, and having the battery conk
out in the middle of the Grand Canyon” (Olshaker 196). To address this issue,
engineers created a four cell, 6-volt battery that was “made like ribbon and cut to
size” and placed in the bottom of each film pack (Eames and Eames). The result, a
camera that always has fresh batteries for operation neatly tucked in each new pack of
film.
After 600 million dollars of research and development and thousands of hours
of labor, the Polaroid SX-70 camera system was released in 1972. Land told Time
magazine shortly before its release, “I think this camera can have the same impact as
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the telephone on the way people live” (qtd. in Taubman 81). The October 1972 issue
of Life (Fig. 2.10) featured a photograph of Land on the cover taking pictures of
children with his new invention. The headline reads, “A Genius and His Magic
Camera.” Land was a genius, and he finally had created the camera that he envisioned
so many years before.
Fig. 2.10. Land on the cover of Life, Oct. 1972.
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The SX-70 as an Artistic Tool
From the beginning of his involvement in photography, Edwin Land saw great
potential for his instant photographic cameras and film. “Land believed in the innate,
creative potential of instant photography and that there were many people with an
artistic bent who would love to use it” (Hitchcock 25). In a 1972 Life interview, Land
said,
Some people feel that the Polaroid camera is strictly an amateur
product that does nothing to develop the artistic expression of
photography. What I contend is that far from taking creativity away
from people, we provide an opportunity for creativity that other
photography doesn’t allow. (qtd. in Callahan 48)
Not long after the release of the SX-70, many amateurs and professionals alike were
using the camera and film to create artistic imagery.
Walker Evans
Walker Evans began using the Polaroid SX-70 camera in 1973, “during the
last two years of his life…in a peculiarly impulsive and uncontrolled way” (Tormey
10). He had been fairly ill around this time, and “all outward signs suggested that his
remarkable career with the camera was a thing of the past” (Rosenheim 5). Evans
took numerous portraits with the SX-70. Other subjects included close-up abstract
photographs of city street markings on pavement and old signs (Plates 2.1 and 2.2).
He would also photograph debris and garbage (Plate 2.3) that he found in gutters and
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along the road. Unlike many of the cameras Evans had used during his long career,
including a “glass-plate view camera,” the SX-70 was fairly basic (5). Evans even
referred to the camera as a toy:
I’ve now taken up that little SX-70 camera for fun and become very
excited about that little gadget which I thought was just a toy at first. [I
was using it] to extend my vision and let that open up new stylistic
paths that I haven’t been down yet. That’s one of the peculiar things
about it that I unexpectedly discovered. A practiced photographer has
an entirely new extension in that camera. You photograph things that
you wouldn’t think of photographing before. I don’t even yet know
why, but I find I am quite rejuvenated by it …It’s the first time, I
think, that you can put a machine in an artist’s hands and have him
rely entirely on his vision and his taste and his mind. (qtd. in
McElheny, Insisting 341)
With the SX-70, the artist created thousands of images of “things simply as
they were, without pretension” (Rosenheim 6). Evans died in April 1974, but for the
last years of his life “Polaroid breathed life into the body of a man who had long been
denied the daily visceral pleasure of producing meaningful art” (8).
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Plate 2.1. Walker Evans, Sign Detail, Martha’s Vineyard, MA, Oct. 1, 1974 (Rosenheim 106).
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Plate 2.2. Walker Evans Sign Detail, Destin, FL, Aug. 12, 1974 (Rosenheim 113).
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Plate 2.3. Walker Evans, Crushed Can, 1973-74 (Rosenheim 159).
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André Kertész
André Kertész began using an SX-70 camera and film in the late 1970s. “The
camera was a gift, from musician, photographer, and collector Graham Nash of the
famed Crosby, Stills, Nash & Young” (Gurbo 18). Nash was one of many friends
who paid Kertész visits from time to time since old age kept the photographer from
getting out much (18).
Kertész had become famous earlier in Paris and then New York for his 35mm
black-and-white photographs from the streets. Kertész, then in his eighties, had
recently lost his wife Elizabeth to lung cancer (Gurbo 12). He was depressed by this,
and “it appeared that his energy and creative reserves were gone forever;” he “was
admittedly a broken man” (qtd. in Gurbo 16, 12). The loss of his wife and friend of
fifty-eight years drove him to stop taking photographs altogether (Lifson 21).
His recovery began when he was compelled to buy a small glass bust
that he had discovered in the window of Brentano’s bookstore on 8th
street and University Place. Initially he resisted the urge to acquire the
elegant figure but found he was haunted by it. (qtd. in Gurbo 17)
He eventually purchased it because it reminded him of his late wife Elizabeth (Lifson
23).
Kertész began creating still lifes with the bust and other objects in his New
York City apartment window. He then began photographing the still lifes, first with a
35mm camera and eventually with the Polaroid SX-70. In Plate 2.4, a Polaroid from
May 6,1979, the bust is seen with a reflection of the artist and the SX-70 camera in
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the background. In Plate 2.5, a sample of the various objects other than the bust that
Kertész chose to photograph is seen. Later in this series of Polaroids, a second bust
appears (Plate 2.6). In this image, the busts can be seen posed together on the window
sill, with the New City York skyline in the background.
Kertész liked the ease of shooting with the SX-70 camera, which “allowed
him to work quickly and autonomously” (Gurbo 18). He was drawn to the
“immediacy and intimacy of the Polaroid process,” and the small scale of the images
produced by the SX-70 was reminiscent of work he had done in the past (19).
Working with the Polaroid SX-70 ultimately freed Kertész from his depression.
The images he created with the Polaroid camera were as luminous and
inspirational as many of his earlier works, but this time the process
proved even more transcendental. This time he was transformed: a sad
old man waiting to die had become one who could not wait for the
next click of the camera. (24-25)
Kertész died in 1985 at ninety-one years of age, creating photographs until the end
“working with both a 35mm camera and the Polaroid SX-70” (25).
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Plate 2.4. André Kertész, May 6, 1979 (Gurbo 48).
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Plate 2.5. André Kertész, Aug. 29 1982 (Gurbo 121).
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Plate 2.6. André Kertész, July 3, 1979 (Gurbo 35).
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David Levinthal
In 1984, David Levinthal began working again artistically after a nine year
stint in a business-related profession (Parry 1). He made the transition from art to
business mainly because of “wordless pressure” he felt he was receiving from family
members (1). Feeling the call back to his creative side, Levinthal seemed to long for
the creative drive that he had felt earlier in his life. He wrote in a journal entry, “‘As I
get older the pain becomes more intense; . . . time seems more important, . . . seems
to be running out’” (qtd. in Parry 1). Some aspect of his life drove him to address his
appetite and longing for creativity.
It started without his exactly willing it. One night he took a mat knife
and started cutting into shoeboxes, cardboard, and foam core. Joining
the pieces at the corners with tape, he began to arrange them to suggest
a miniature office, hotel room, pool hall, foyer, or a narrow corridor
viewed through a doorway. He was intrigued by what emerged without
much conscious direction and by how little he needed to produce an
effect. (Parry 2)
Before long, Levinthal had created a number of sets and began photographing
them, originally with black-and-white film. He then began photographing them with a
Polaroid SX-70 camera and film (Parry 24). In an interview with Polaroid about his
work, Levinthal said, “The rich, saturated colors that are so unique to Polaroid films
create a sense of depth in the work” (Levinthal par. 3). In Plate 2.7, the unique
saturated color Polaroid film offered is apparent in the rich reddish glow around the
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embracing couple under the streetlight. The SX-70 camera itself was attractive to
Levinthal for this series.
The SX-70 system ejected from the camera little pictures, each of
which was unique. In the early eighties, SX-70, for many, was still
something of a hobbyist's instrument. That he used a virtual toy to
reproduce his dramas felt completely natural. (Parry 24-25)
Levinthal used the ability of the SX-70 to focus closely on the sets he had
created. In some situations, he would also use a Polaroid close-up lens attachment,
which would bring him in even closer, so close that the “expelled image knocked
over the figures“ (Parry 25, 32). He titled the series of Polaroids Modern Romance
and worked on it from 1984 to 1986. The series reflected memories the artist
recollected of the 1940s and 50s, as well as “issues from his past” and life growing up
during those times (2). Dark streets and alleyways, automobiles, late night diners,
motels and motel rooms are common themes in the series (Plate 2.8). Also apparent in
the series is Levinthal’s obsession “with the secrecy of small spaces” (4) (Plate 2.9).
The images in this series are mysterious. This mysteriousness is enhanced by
the use of heavy shadows and the shallow depth of field achieved by working with
the SX-70 up close. Levinthal's work here is a testament to the artistic possibilities
that the SX-70 camera and film could achieve. He continued to create amazing bodies
of work after Modern Romance using toys and various types of Polaroid film.
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Plate 2.7. David Levinthal, from Modern Romance, 1984-86 (Parry 63).
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Plate 2.8. David Levinthal, from Modern Romance, 1984-86 (Parry 44).
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Plate 2.9. David Levinthal, from Modern Romance, 1984-86 (Parry 108).
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Elizabeth Soule
Elizabeth Soule, a Portland-based artist, started working with the SX-70 in
2007 and continues to work with the camera today to produce artistic imagery. The
artist “likes the simplicity of the camera and its few controls” (Soule par. 3). Unlike
digital photography, with which she is “too quick to push the shutter,” shooting with a
Polaroid requires her to slow down and take time to compose (par. 1).
Like Levinthal in the early 1980s, Soule chose small toys as her photographic
subjects. In a series titled The Little Zoo, she places small animal figures in minimal,
often brightly colored backgrounds or patterns that enshroud the figure. Soule began
the series “out of a frustration for not being able to devote time to the darkroom and
the need to make pictures” (Soule par. 7). She had received an animal figurine from a
friend as a gift and began photographing it, and later “started to take trips to the toy
shop, buying animals by the dozens (par. 7). Some of the artist’s images hint at the
small scale of the figure (Plate 2.10). In others, the figure interacts with the
environment (Plate 2.11). In many of the images, the figure merely exists in the
colorful environment, not necessarily interacting with it (Plate 2.12). Soule says about
working with Polaroid film:
I love the instant gratification of a Polaroid, the vivid and slightly off
color palette, and that there is no cropping, what you saw in the
viewfinder is close to what your picture is [sic]. (par. 1)
Like Levinthal’s work, vivid colors offered by Polaroid film and shallow
depth of field are key components to the overall feel of the work. The foregrounds
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and backgrounds fall out of focus, while the subject remains sharp and in focus,
drawing the viewer’s eye in.
Because film is no longer produced for the SX-70, Soule uses Polaroid 600
film, which is similar in many ways to SX-70 film. To enable her SX-70 camera to
work with this different film, Soule has used one of several conversion methods
available to enable her to continue creating artistic imagery with the SX-70.
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Plate 2.10. Elizabeth Soule, Owl on Page, 2007 (used by permission).
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Plate 2.11. Elizabeth Soule, Ostrich, 2007 (used by permission).
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Plate 2.12. Elizabeth Soule, Rabbit, 2008 (used by permission).
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Grant Hamilton
Another contemporary artist who uses the Polaroid SX-70 for their work is
Grant Hamilton. Hamilton, an Iowa City-based artist uses an SX-70 to create colorful
abstract geometric images (Hamilton, “Speartalks” par. 14). His subject matter is
often the unseen or the “mundane” captured from the sides of old signage, buildings,
vehicles and various other objects (par. 14) (Plate 2.13). Similar in many ways to
Walker Evans’ Polaroids of signs and roadways, Hamilton gets in close to his
subjects in order to abstract a specific portion of the whole.
By getting in close, imperfections of the subject can be seen, and scratched or
peeling paint links subjects to a greater whole. Plate 2.14, for example, was captured
from a painted refrigerator door. Hamilton likes the “technical challenge of trying to
perfectly align the elements of the photo and also the scavenger hunt for subjects”
(Hamilton, “Speartalks” par. 14). Many of his subjects are outside his front door, but
some come from other parts of the world that he visits.
I think for some people it does give too much context but, for many of
the photos, there is a story behind it, or it was shot in some exotic
location. It’s funny to tell people that some of my photos came from
Italy or Vietnam. (par. 16)
The colors from Hamilton’s subjects beautifully saturate with the Polaroid
film that he uses and the resulting image is an array of colorful curves, points, lines
and angles (Plate 2.15). The borders of the Polaroid “add some context and charm to
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the finished photo,” which contain the geometric shapes like a small puzzle
(Hamilton, “Interview” par. 7).
Like Soule, Hamilton also works with a converted SX-70 camera. By
converting his camera to use Polaroid 600 film, Hamilton is able to use the SX-70 as
a tool for creating his artistic geometric images.
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Plate 2.13. Grant Hamilton, Winnebago, 2008 (used by permission).
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Plate 2.14. Grant Hamilton, Smile, 2008 (used by permission).
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Plate 2.15. Grant Hamilton, New Mexico, 2007 (used by permission).
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These artists and many others have found in the SX-70 and Polaroid film a
creative means that would not have been available to them had Edwin Land not been
so driven to create it. Enhancing “the creative potential of the individual” with instant
photography was his ultimate goal (Olshaker 9). “By removing both technical and
temporal barriers, Land feels that the picture-taker is put in a truer and more direct
relationship with his subject” (9). With the creation of instant photography and then
the SX-70, Land provided not only amateurs but professional photographers and
artists with a unique tool for creativity which had not been available to them before.
In recent years, the onset of digital technology has lessened the demand for
instant cameras and film in the amateur market. This digital revolution will most
likely mean the eventual end of instant photography entirely. Unfortunately, the
artists and professionals who still use Polaroid film and cameras for creative purposes
will suffer the most.
In 2005, Polaroid announced that it would stop producing SX-70 film. This
announcement threatened to place the SX-70 on a dusty shelf full of memories. Upon
this announcement, many photographers and artists able to see the creative potential
of the SX-70 camera began finding ways to convert the camera to use another type of
Polaroid film still available. Polaroid 600 film is, for the meantime, still in
production. Polaroid 600 film is similar to SX-70 film but will not work in the SX-70
camera for several reasons discussed below. But by addressing these reasons with
various conversion techniques available, 600 film will work in the SX-70 camera.
Artists like Elizabeth Soule and Grant Hamilton previously discussed have used such
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conversions. These and other techniques available enable the SX-70 camera to still be
used a tool for creating artistic imagery.
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Chapter 3: Methods
The SX-70 camera is a valuable instrument for creating artistic imagery. In
order to use the SX-70 camera today, since specific film for the camera has been
discontinued, conversions to the camera need to take place. These conversions allow
the camera to use another type of film that is still available. By applying these
conversions, photographers and artists will be able to use the unique aspects of the
SX-70 camera and Polaroid film to create artistic imagery.
Polaroid 600 film is similar to SX-70 film in many ways but will not work in
the SX-70 camera for two reasons. First, 600 film has four nubs on the bottom of each
film pack which prevent it from being loaded into the wrong camera. These nubs
catch on a guard that is inside the SX-70 camera to prevent it from being loaded with
non-SX-70 film. The second difference is in the film speed. The original film speed
or ISO of the film produced for the SX-70 camera was 150. The film speed or ISO of
Polaroid 600 film is 640, slightly more than two stops, or four times faster, than the
original film. If Polaroid 600 film is loaded into the SX-70 camera with no
conversions to make up for this difference, the resulting image will be roughly two
stops overexposed.
There are seven conversion methods discussed below that allow Polaroid 600
film to be used in the SX-70 camera. Two of these involve loading the film in the
camera, and five involve making up for the 2-stop film speed difference. The two
methods that involve loading the film are 1) nub removal and 2) guard bypass. The
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five that involve making up the film speed difference – and that were used to create a
series of test images – are 1) 2-stop Neutral Density (ND) filter, 2) photocell ND
filter, 3) film pack filter, 4) photocell override and 5) electronic modification. Each
of these five conversions was used to create three images, for a total of fifteen
images. The resulting images are analyzed, and the benefits and drawbacks of the
conversion method employed, discussed.
Nub Removal
1. Remove the film pack from the box.
2. Turn the film pack bottom side up.
3. Cut off the four plastic nubs from bottom.
4. Load the film normally into the film slot.
The first conversion method, nub removal, involves removing the four plastic
nubs on the bottom of the Polaroid 600 film pack, which prevent it from being loaded
into the SX-70 camera (Fig. 3.1). To do this conversion, remove the film pack from
the box. Place the film pack bottom side up to reveal the four plastic nubs. With a
razor, knife or sharp edge, trim the nubs off so that the edge of the film pack is
smooth (Hanft par. 13). If needed, additional trimming can be done to smooth the
edge to prevent it from catching on the guard inside the camera. Once the nubs are
removed, the film pack will slide easily into the SX-70 camera body.
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Fig. 3.1. Nub removal method.
Guard Bypass
1. Remove the film pack from the box.
2. Place film instruction sheet (included with film) over the plastic nubs.
3. Leave roughly 1/2" of the sheet in front of leading edge of film pack.
4. Load the film into the film slot.
5. Once film is beyond the guard in the camera, slide out the instruction sheet.
6. Push the film pack the rest of the way in.
The second conversion method, guard bypass, involves placing a flat surface over
the four plastic nubs to bypass the guard, which normally catches on the nubs to
prevent the wrong type of film from being loaded (Fig.3.2). To do this conversion,
remove the film from the packaging. Each film pack comes with an instruction sheet
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for the film, folded is slightly smaller than the size of the film pack. Place the
instruction sheet over the plastic nubs on the bottom of the film pack, with about a
1/2" of the sheet extending beyond the leading edge of the film pack. Slide the film
into the film slot on the SX-70 camera body with the instructions entering first. Once
the film pack has passed the guard in the camera (roughly halfway), slide the
instructions out from under the film pack. The film pack should now slide easily the
remainder of the way into the camera.
Fig.3.2. Guard bypass method.
The instruction sheet is a great option for this conversion because it comes
with every film pack so should always be available. Another option is to use an old
film pack dark slide, a piece of card cut to fit or an old Polaroid image (Hanft par.
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14). If an old Polaroid image is used, make sure it is an unwanted image, as the
process can scratch the image surface.
2-Stop ND Filter
1. Create a template of the circumference of the inner portion of the lens.
2. Tape the template to a 2-stop ND lens gel filter.
3. Cut the filter out using a small grinder.
4. Fit the filter in the inner portion of the lens.
5. Mount the filter with a piece of adhesive or tape.
This conversion method is the least complicated of the methods for making up
for the difference in film speeds between the Polaroid 600 film and the original film
for the SX-70 camera. It requires placing a 2-stop ND filter over the lens of the SX-
70 camera. “These filters are color balanced to reduce the light by absorbing equal
amounts of all parts of the light reflecting from the scene (Rand and Litschel 177).
Since the lens on an SX-70 camera is so small and has no threading to enable
a filter to be mounted on the front, a filter must be made to fit. Hanft discusses a way
to take apart a standard 28mm ND filter, and with some glue, it can be mounted on
the lens (par. 10). A cleaner, reversible solution is to cut a filter from an ND lens gel.
ND lens gels are made from a thin, hard, optically clear material that can be
purchased from a camera store. These gels normally come in square sheets, for
example 3 x 3”, and should not be confused with photographic lighting gels, which
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are made from a thin acrylic material and come in large sheets or rolls for placing
over photographic lighting.
To do this conversion, a template of the filter size needs to be created. This
template can then be used to cut the correct filter size out of the ND lens gel (Fig.
3.3). After measuring the diameter of the inner portion of the lens, use a compass to
draw a circle of the desired circumference on a piece of thin cardstock or paper. Once
the template is created, check its fit on the camera lens and trim if necessary. The
template should be cut so that it fits inside the area just smaller than the edge portion
of the lens (Fig. 3.4).
Fig.3.3. Lens ND template.
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Fig. 3.4. Lens filter size.
Once the template fits in the area discussed above, the filter needs to be cut.
Safety goggles are a good idea when cutting the filter since small pieces of the
material can be projected upward. Also, take care not to scratch the surface of the gel
when cutting it out. With a piece of double stick tape, position the template on a
portion of the gel. Using the corner of the gel will allow for additional filters to be cut
later or provide backup if an error occurs during cutting. A 3 x 3” gel can usually
supply four or five filters. Since the material of the gel is fairly brittle, cutting the
filter with a blade is not an option. Instead use a small grinder or sander disc to shape
the filter. A Dremel tool is perfect since it is ideal for small precise jobs and usually
comes with a plethora of small discs that can be used to cut the filter. With the
grinder, shape the filter from the gel around the template. The double stick tape
should prevent the template from sliding around during cutting. Once this is done,
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remove the template from the surface of the gel. Assure that the gel fits in the desired
spot shown in Figure 3.4 above and trim if necessary.
To attach the filter to the lens of the SX-70, a small adhesive mount ring needs
to be created that will hold the filter in place (Fig. 3.5). This will also allow the filter
to be removed later if desired. The adhesive mount ring can be created with a piece of
tape or any one-sided adhesive. For the present study, a piece of vinyl from a sign
shop was used. Glue is not advised since it most likely will not come off easily if
desired later on. Cut the adhesive so that it barely overlaps the edge of the lens and
the edge of the filter. Position the filter on the adhesive mount ring and then into
position over the lens (Fig. 3.6).
Fig. 3.5. Adhesive filter mount ring.
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Fig. 3.6. SX-70 with and without filter.
With the 2-stop ND filter in place, exposure of the Polaroid 600 film with the
SX-70 camera should be close. The film will still be slightly overexposed but can be
adjusted for with the light/dark control on the camera. (see Fig. 2.8). By moving the
light/dark control half a line or one line into the dark setting, a proper exposure
should be possible.
Photocell ND Filter
1. Remove the photocell retaining ring on the front of the SX-70.
2. Remove the 1-stop ND filter over the photocell.
3. Replace it with a similar, clear plastic filter.
4. Reattach the filter-retaining ring.
5. Repeat steps in previous conversion but using a 1-stop ND filter.
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To complete this conversion, remove the 1-stop ND filter that is over the
photocell (Hanft par. 4). The photocell of the SX-70 camera (see Fig.2.8) determines
the exposure of the film depending on the brightness of the scene (par. 4). Its
retaining ring can be removed with a small knife or sharp edge. Once it is out, tip the
camera slightly face down and the photocell ND filter will fall out.
Using the photocell ND filter as a template, cut a similar sized filter out of a
clear piece of plastic (Hanft, par. 6) (Fig. 3.7). It may be necessary to bevel the edges
of the clear filter to enable it to better fit below the retaining ring. Replace the new
clear filter over the photocell and attach the retaining ring.
Fig. 3.7. Mount ring and filters for photocell.
The camera will now sense that there is 1-stop more light coming into the
photocell, which it will compensate for by speeding up the shutter. Since 600 film is
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2-stops faster than original SX-70 film, 1-stop is still not accounted for. This next step
requires following the same steps as in the 2-Stop ND Filter conversion. Instead of
using a 2-stop ND filter lens gel, use a 1-stop ND filter lens gel.
The combination of removing the 1-stop ND filter from the photocell and
placing a 1-stop ND filter over the lens will account for 2-stops difference between
Polaroid 600 film and the original SX-70 film. Again, the film will still be slightly
overexposed but can be adjusted for with the light/dark control on the camera (see
Fig. 2.8). By moving the light/dark control half a line or one line into the dark setting,
a proper exposure should be possible.
Film Pack Filter
1. Print a template of the film pack filter with a printer.
2. Place a 2-stop ND gel over the template and tape it down.
3. Cut out the filter using the template.
4. Install the filter on top of the film pack above the dark slide before loading.
5. Load the film.
This conversion method requires making a 2-stop ND filter that will fit over
the entire Polaroid 600 film surface (Johnson par. 3). The first step requires creating
the filter. To do so, a template must be printed on a piece of paper that the filter will
be cut from (Fig. 3.8). It is best to position the template in the middle of the piece of
paper to allow room to tape it down.
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Fig. 3.8. Pack filter template.
Once the template is printed, position a sheet of 2-stop ND gel over the
template and fasten it with some tape (Fig.3.9). The gel used for this conversion
method is the acrylic type that comes in large sheets or rolls and is used for
photographic lighting. Using a ruler or straight edge, cut the filter out using a sharp
razor blade like an X-Acto knife (Fig. 3.10) Be careful to cut the filter as precisely as
possible so it will fit neatly in the film pack.
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Fig. 3.9. 2-stop ND gel sheet.
Fig. 3.10. Cutout pack filter with dimensions.
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Once the filter is cut, lightly dust the film pack filter to remove fingerprints
and dust as these could potentially show up on the finished image. With the square
opening of the film pack facing up, slide the film pack into place over the dark slide
(Fig. 3.11). The film pack filter should lay fairly flat. If necessary, make additional
cuts on the flaps to allow the film pack to fit more precisely. The flaps on the film
pack filter keep the filter in place as the dark slide and each exposure is ejected from
the camera.
Fig. 3.11. Mounted pack filter.
Now the film can be loaded in the camera. As in the previous two
conversions, the film will still be slightly overexposed but can be adjusted for with
the light/dark control on the camera. (see Fig. 2.8). By moving the light/dark control
half a line or one line into the dark setting, a proper exposure should be possible.
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Photocell Override
1. Acquire a 1” PVC, 90° elbow fitting.
2. Fit a mirror at a 45° angle inside the fitting to reflect light at a 90° angle.
3. Fit the PVC elbow on the end of a snoot.
3. Fit the snoot onto a light source with a rheostat.
4. Determine exposure.
5. Using an incident meter, take a light reading from inside the PVC fitting and adjust
to expose for Polaroid 600 film.
6. Reflect the light into the photocell of the SX-70.
7. Increase or decrease the intensity of the light source with the rheostat to change
exposure.
The photocell of the SX-70 is the light meter of the camera. It is responsible
for gathering the light reflected from a scene and determining exposure. The SX-70
film created for Polaroid by Charles and Ray Eames describes how the photocell
works:
As the lens shutter starts to open, so does the shutter in front of the
photocell. The ambient light passes through the photocell lens, past the
shutter blades and strikes the photocell mounted on the main circuit
board. The blades continue to open until light reaching the cell builds
up enough voltage to trigger the shutter solenoid. The blades rush to
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the close position and the motor is signaled to start the processing
cycle. (Eames and Eames)
The SX-70 has a “variable aperture from f/8 to f/74” and a “variable shutter
from 1/180 to 14 seconds” (Sealfon 211). Since the blades on both the lens and
photocell gradually slide open at the same time, the brighter the scene, the less light
the photocell lets in and the smaller the aperture opening becomes, down to f/74. The
darker the scene, the more light the photocell lets in and the larger the lens aperture
opening becomes, up to f/8. Besides minor adjustments that can be made with the
light/dark control, the camera determines both aperture and shutter speeds during
exposure.
Overriding the photocell simply involves tricking it into thinking that there is
more or less light being reflected from a scene, which would trigger the shutter
accordingly. In this case, since Polaroid 600 film is roughly two stops or four times
faster than original SX-70 film, the camera needs to be tricked into closing the shutter
two stops faster than it would if it were receiving light from the actual scene.
For this conversion, a controllable, continuous light source on a rheostat must
be employed. A rheostat allows for a light sources intensity to be controlled. (In this
study, a Photogenic 115 volt, 150 watt Minispot on a light stand was used as the light
source.) Attached to the light is a small snoot with a diameter of 1 1/4”. A snoot “is a
tube attached to the front of a lamp housing to narrow its beam” (London, et al. 262).
Attached to the end of the snoot is a 1”, white, 90° PVC elbow. PVC elbows are used
as connector pieces to change flow direction in water systems and can be purchased at
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any hardware store. The PVC diameter opening of the 1” elbow is 1 3/8”, just large
enough to accept the end of the snoot inside of it. Inside the elbow, a mirror is placed
at a 45° angle (Fig.3.12).
Fig. 3.12. PVC elbow light reflector.
The purpose of this set up is to create a light source that can be shown into the
photocell of the camera. Since the photocell is on the front of the camera near the lens
(see Fig. 2.8), the PVC elbow with mirror at a 45° angle and snoot allow the light
source to be out from in front of the lens to make shooting possible (Fig. 3.13).
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Fig. 3.13. Photocell override setup.
Now that the set up is complete, determine the exposure for the scene with an
incident light meter. Take an incident light meter reading inside the PVC fitting as
well, and adjust the intensity of the light with the rheostat to desired setting. Place the
PVC fitting with the reflective light in front of the photocell, keeping in mind not to
place it in view of the lens. Take an exposure. If the image is too dark, decrease the
intensity of the light, which will cause a longer exposure. If the image is too light,
increase the intensity of the light, which will cause a shorter exposure. Once an
exposure gives an acceptable image, the light/dark wheel can be used for minor
adjustments.
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Electronic Modification
1. Open the SX-70 camera.
2. Remove the four TORX head screws from the back of the lens board with a
T5 TORX screwdriver.
3. Pull the lens board away from the body of the camera, exposing the circuit board.
4. Unsolder the left side pins that hold the board down.
5. Unsolder the old capacitor.
6. Flex the circuit board away from the lens board enough to expose the capacitor and
remove it.
7. Insert a smaller value pF (picofarads) capacitor and solder it in place.
8. Re-assemble camera and test exposure.
The most complicated of all the conversion methods is electronic modification
because it requires taking the SX-70 camera apart. Once the camera is apart, the
capacitor responsible for the shutter and exposure must be unsoldered and replaced.
To govern exposure, a photocell receives light during exposure
through a small opening in the shutter blades and a specially designed
lens and counts photons until a number known to be sufficient has
been recorded by charging a capacitor. Then the circuitry sends a
signal to close the shutter. (McElheny, Technologies 126)
A capacitor is an electronic circuit device for temporary storage of electrical
energy. To convert the SX-70 camera to expose properly for Polaroid 600 film, a
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capacitor with a lesser value needs to replace the one that is currently in the camera
(Tyner par. 3). The capacitor in the original SX-70 camera is roughly 1000pF (par. 3).
The letters pF stand for picofarads, or one trillionth of a farad.
Since the capacitors that Polaroid put in the SX-70 cameras vary in value, it is
necessary to determine the value of the current capacitor. The value is coded on the
side of the capacitor, and by using the formula a x 10b, the value can be determined.
The value of the capacitor removed from the SX-70 camera used in this study was
921K. According to the formula, a=92 and b=1. Thus, this capacitor was determined
to be a 920pF capacitor. It was replaced with one with a value of 151K. According to
the formula, a=15 and b=1. Thus, this capacitor was determined to be a 150pF
capacitor (Fig. 3.14).
Fig. 3.14. Capacitors used in conversion.
Another value on the side of the capacitor is the voltage value. The capacitor
removed from the SX-70 camera used in this study was 200V. The voltage value of
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the capacitor replaced was 1000V. The voltage value of the new capacitor does not
matter as long as it is as large or larger than that of the original.
The first step to changing the capacitor is to expose the circuit board. To do
this, first open the camera. On the back of the lens board on either side of the camera
are 4 TORX screws (Fig. 3.15). Remove these screws with a TORX screwdriver
(Tyner par. 4). The screws on the test camera required a T5 TORX screwdriver but
this may vary from camera to camera. Be careful not to tear the rubber bellows or
drop the screws down into the camera. Once the screws have been removed, the lens
board will pull away from the body of the camera but will still be attached by the
power cable (Fig. 3.16).
Fig. 3.15. TORX screws on the SX-70.
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Fig. 3.16. The SX-70 circuit board.
On the back of the lens board is the circuit board (Fig. 3.16). Now that the
circuit board is exposed, several spots on the top left side of the board need to be
unsoldered (Fig. 3.17) to allow the board to lift up enough to reveal the capacitor on
the front (opposite side of visible) of the circuit board (Tyner par. 4). Be careful while
unsoldering these spots so the traces on the board do not lift off. Once the spots are
unsoldered, bend the pins back just enough to allow the board to move beyond them.
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Fig. 3.17. Unsolder points for conversion.
Now unsolder the two connecting points of the old capacitor (Fig. 3.18). Lift
the circuit board slightly from the lower left corner, and the capacitor will appear on
the opposite side (Tyner par. 4). Be careful not to flex the board more than needed, as
it could break. Remove the old capacitor. If the old capacitor is not loose, it may be
necessary to unsolder more and lightly pull on it at the same time with a pair of
tweezers. Trim the leads off of the new capacitor (Fig. 3.14) to the same lengths as on
the original capacitor. Flex the circuit board back, guide the capacitor in place and re-
solder the two connection points of the capacitor on the top side of the board.
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Fig. 3.18. Capacitor unsolder points.
Now that the capacitor is in place, bend the pins on the top left side back to
position and re-solder the connection points that were unsoldered to allow the board
to flex. Mount the lens board back in place and replace the four TORX screws.
Each Polaroid SX-70 camera capacitor requirement will be slightly different,
but a 150pF capacitor is a good starting point (Tyner par. 13). By changing the
capacitor in the SX-70 to a lesser value, the exposure circuit is shortened, thus
speeding up the shutter speed. The Polaroid 600 film will now properly expose. If the
resulting images taken with the converted SX-70 camera are too dark or
underexposed, a greater than 150pF value capacitor could be installed. If the resulting
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images are too bright or overexposed, a lesser than 150pF value capacitor can be
installed. If exposure is close however, the easiest solution is to use the light/dark
control to compensate.
The Polaroid SX-70 Land camera has been in the past and still is a unique tool
for creating artistic imagery. Since film for the camera is no longer available, using
one or more of these seven conversion methods makes it possible to continue to
create artistic imagery with the camera using the available Polaroid 600 film. By
using the nub removal and guard bypass methods, the film is able to be loaded into
the camera. By using the 2-stop ND filter, photocell ND filter, film pack filter,
photocell override or electronic modification methods, Polaroid 600 film is able to be
properly exposed in the camera. Since the last five methods affect proper exposure of
the film and image making, they have been applied and tested by creating a series of
artistic images.
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Chapter 4: Results
Lost in Reverie is a series of Polaroid images shot using various conversion
methods of the Polaroid SX-70 Land camera. The images are based on daydreams or
thoughts of mine. They span my entire life, from childhood memories up to the
present. Many of them deal with pleasant subject matter or influences. Some
represent unrealistic fears or thoughts that have plagued me from time to time in the
thirty-three years of my life thus far. Some are merely perceptions of the world
around me, how I see it or wish it were. Many of the images contain numerous ideas
and are symbolic. Each represent a unique piece that makes up the whole of who I
am, how I think and my creative thought process.
The Polaroid SX-70 camera and film was the perfect tool for this series. Each
image was created from a miniature set that had been crafted specifically for
photographing with the SX-70 camera, for “the fact that the SX-70 is at its best with
small, close scenes and that the picture actually develops in full view give[s] a sense
of intimacy between photographer and subject that has never before been possible”
(Olshaker 236). It is a closeness and intimacy that is further enhanced by the images
produced. Each is a unique interpretation of my thoughts, and the small size of the
resulting image emphasizes the intimacy of the subject matter. The white, almost
frame like border surrounding each image, creates a capsule for the thought to be
viewed. The unique color and saturation offered by Polaroid film enhances this
dreamlike subject matter even more.
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I felt the same intimacy shooting with the SX-70 camera system that was
expressed by the artists I discussed, past and present. The SX-70 camera has been and
continues to be a creative tool for creating fine art imagery.
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Plate 4.1. Carrier
Title: Carrier Lighting Diagram
Plate: 4.1
Film: Polaroid 600
Load Method: Nub Removal
Conversion: 2-Stop ND Filter
Light/Dark Control: 1/2-stop to dark
Meter Reading: 1/80 @ f/8
Set Lighting: Two large windows, 90° camera left
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Plate 4.2. Wanderlust
Title: Wanderlust Lighting Diagram
Plate: 4.2
Film: Polaroid 600
Load Method: Nub Removal
Conversion: 2-Stop ND Filter
Light/Dark Control: 1/2-stop to dark
Meter Reading: 1/25 @ f/8
Set Lighting: Diffused Minispot with snoot, 90° camera left, with Rosco #3202 gel;
Lowell Tota above set with Rosco #3202 gel, through P-22 diffusion panel
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Plate 4.3. The Captain
Title: The Captain Lighting Diagram
Plate: 4.3
Film: Polaroid 600
Load Method: Nub Removal
Conversion: 2-Stop ND Filter
Light/Dark Control: 1/2-stop to dark
Meter Reading: 1/13 @ f/8
Set Lighting: Diffused Minispot with snoot, 90° camera left, with Rosco #3202 gel;
light with Rosco #3304 gel behind subject; reflector right of subject
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2-Stop ND Filter: Advantages & Disadvantages
This conversion method was applied to create “Carrier” (Plate 4.1),
“Wanderlust” (Plate 4.2) and “The Captain” (Plate 4.3). This is the easiest of all the
conversion methods to enable the SX-70 camera to use Polaroid 600 film. It is as
simple as placing a 2-stop ND filter over the lens of the SX-70. The process described
in Chapter 3, is slightly more difficult because it involves creating a filter that will fit
the SX-70 camera more precisely, allowing it to fold down with the filter in place. A
bulkier filter crudely attached to the lens board will work but will also need to be
removed before folding the camera down.
Advantages: This conversion method is simple to complete and allows the
artist to begin shooting quickly with the SX-70. The method produces good exposures
with no apparent affect on image quality. All of the images only needed a slight
adjustment of 1/2-stop to dark with the light/dark control to achieve a proper
exposure.
Disadvantages: The main drawback of using this conversion method is that it
makes focusing a challenge in low light situations. The SX-70 camera is already a
difficult camera to focus because beyond the center of the viewfinder, it appears
slightly blurry due to the curvature of the mirror that reflects the scene. It is even
more difficult when trying to focus at close proximity with low light. When a 2-stop
ND filter is over the lens, this becomes almost impossible because it darkens the
viewfinder. To help with focusing, an additional light was sometimes shown on the
scenes photographed with this conversion method and then, after achieving focus,
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turned off. In “Wanderlust” (Plate 4.2) and “The Captain” (Plate 4.3), the subjects
were basically in the middle of the viewfinder, which made focusing slightly less
difficult. But in “Carrier” (Plate 4.1), however, the subject is in the lower right hand
corner. This added another element of difficulty, as the subject was not in the center
of the viewfinder.
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Plate 4.4. Childhood
Title: Childhood Lighting Diagram
Plate: 4.4
Film: Polaroid 600
Load Method: Nub Removal
Conversion: Photocell ND Filter
Light/Dark Control: 1/2-stop to dark
Meter Reading: 1/15 @ f/8
Set Lighting: Diffused Minispot with snoot, 90° camera left, with Rosco #3202 gel
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Plate 4.5. Daydream
Title: Daydream Lighting Diagram
Plate: 4.5
Film: Polaroid 600
Load Method: Nub Removal
Conversion: Photocell ND Filter
Light/Dark Control: 1/2-stop to dark
Meter Reading: 1/40 @ f/8
Set Lighting: Minispot with snoot, 90° camera right, with Rosco #3202 gel
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Plate 4.6. Mother
Title: Mother Lighting Diagram
Plate: 4.6
Film: Polaroid 600
Load Method: Nub Removal
Conversion: Photocell ND Filter
Light/Dark Control: 1/2-stop to dark
Meter Reading: 1/10 @ f/8
Set Lighting: Diffused Minispot with snoot, 90° camera left, with two Rosco #3202
gels
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Photocell ND Filter: Advantages & Disadvantages
This conversion method was applied to create “Childhood” (Plate 4.4),
“Daydream” (Plate 4.5) and “Mother” (Plate 4.6). This is also a fairly simple
conversion, though slightly more involved than merely placing a 2-stop ND filter
over the lens since the ND filter over the photocell has to be removed and replaced
with similar piece of clear plastic.
Advantages: Like the 2-stop ND filter, this is a fairly easy way to begin using
the SX-70. The resulting images are clear and well exposed. Each of the images made
with this conversion only needed an additional 1/2-stop to the dark with the light/dark
control to achieve a proper exposure with the Polaroid 600 film.
Disadvantages: Like the 2-stop ND filter conversion method, the photocell
ND filter method also involves adding a ND filter over the lens. Although not as
difficult as the 2-stop ND filter, the 1-stop ND filter over the lens in this conversion
does make focusing a challenge. Yet this was only an issue with “Daydream” (Plate
4.5) since the subject is not in the center of the viewfinder and is also very small.
Removing the ND over the photocell was fairly simple, but scratching of the
camera and retaining ring is possible. Once the filter is removed, creating one out of a
similar piece of plastic is fairly difficult. I first tried making one out a CD jewel case
but found it was too thick, and the retaining ring would not fit down inside the
camera. I then used a thinner piece of plastic. It would not fit down in the camera
either. To solve this, I had to bevel the edges of the clear filter so it would fit in
completely. Once the filter fit into place, the conversion method worked well.
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Plate 4.7. Bonneville
Title: Bonneville Lighting Diagram
Plate: 4.7
Film: Polaroid 600
Load Method: Nub Removal
Conversion: Film Pack Filter
Light/Dark Control: No adjustment
Subject Meter Reading: 1/2 @ f/8
Set Lighting: Minispot with snoot, 90° camera left, with Rosco #3204 gel; reflector
90° camera right
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Plate 4.8. Rooftops
Title: Rooftops Lighting Diagram
Plate: 4.8
Film: Polaroid 600
Load Method: Nub Removal
Conversion: Film Pack Filter
Light/Dark Control: No adjustment
Meter Reading: 14 sec @ f/8
Set Lighting: Window, camera left at dusk
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Plate 4.9. Manicured Garden
Title: Manicured Garden Lighting Diagram
Plate: 4.9
Film: Polaroid 600
Load Method: Nub Removal
Conversion: Film Pack Filter
Light/Dark Control: 1/2-stop to light
Meter Reading: 1/15 @ f/8
Set Lighting: Diffused Minispot with snoot, 90° camera left, with Rosco #3208 gel;
slide projector behind set shown onto P22 diffusion panel
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Film Pack Filter: Advantages & Disadvantages
This conversion method was applied to create “Bonneville” (Plate 4.7),
“Rooftops” (Plate 4.8) and “Manicured Garden” (Plate 4.9). This method involves
placing a 2-stop ND gel filter over the entire pack of film. The resulting images with
this conversion seemed to have good exposure
Advantages: The benefit of this conversion method is that the ND filter is not
over the lens but over the film. Darkening the viewfinder and – thus, focusing – is
now not an issue. Also, the original appearance and equipment is still intact since
nothing needs to be attached or removed from the SX-70 camera itself for this
conversion. The images seem well exposed. In fact, no adjustment with the light/dark
control was made on either “Bonneville” (Plate 4.7) or “Rooftops” (Plate 4.8).
“Manicured Garden” (Plate 4.9) was adjusted 1/2-stop to light on the light/dark
control to brighten some dark areas in the grass.
Disadvantages: The film pack filter for this conversion method is difficult and
time consuming to make. If the filter is not cut precisely, it will not fit in the film
pack correctly and can be ejected from the camera or leak light around the edges of
the filter onto the film. While shooting “Manicured Garden” (Plate 4.9), the film pack
was ejected from the camera along with the image. This can potentially jam the
camera, damage the image and leave the remaining film with no ND in place. To
solve this involves going into a dark room, removing the film pack with the
remaining film and loading the dark slide and film pack filter back into place. This is
not an easy task. Although it does not happen often, it is still a potential problem.
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Another drawback to this method is that the film pack filter needs to be
reinstalled each time a new pack of film is loaded. This step does not take very long
but can interrupt shooting especially when a speedy reload is desired.
The biggest drawback to this method is that the film pack filter needs to be
cleaned every time before loading. Fingerprints and dust can cling to the material, and
dust especially will show up in the resulting images as little dark spots. Using an anti
static dust cloth will usually remove most dust, but some always seems to remain.
Since both “Bonneville” (Plate 4.7) and “Rooftops” (Plate 4.8) are both fairly dark
images, these spots did not appear. “Manicured Garden” (Plate 4.9), however, has a
light sky, and some of these spots can be seen on the right side of the image.
Additionally, if the film pack filter bends or creases during loading, the crease, like
dust, will also show up in the images because it interrupts the light falling on the film.
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Plate 4.10. Trapped
Title: Trapped Lighting Diagram
Plate: 4.10
Film: Polaroid 600
Load Method: Nub Removal
Conversion: Photocell Override
Light/Dark Control: No adjustment
Meter Reading: 1/20 @ f/8 (Reflector 1/5 @ f/8)
Set Lighting: Minispot, 90° camera right, with two Rosco #3202 gels
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Plate 4.11. Beautiful Waste
Title: Beautiful Waste Lighting Diagram
Plate: 4.11
Film: Polaroid 600
Load Method: Nub Removal
Conversion: Photocell Override
Light/Dark Control: No adjustment
Meter Reading: 1/30 @ f/8 (Reflector 1/6 @ f/8)
Set Lighting: Minispot with snoot, 90° camera right, with Rosco #3202 gel
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Plate 4.12. Minimalist
Title: Minimalist Lighting Diagram
Plate: 4.12
Film: Polaroid 600
Load Method: Nub Removal
Conversion: Photocell Override
Light/Dark Control: 1 1/2-stop to dark
Meter Reading: 1/3200 @ f/8 (Reflector 1/2000 @ f/8)
Set Lighting: Full sun, 180° behind camera
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Photocell Override: Advantages & Disadvantages
This conversion method was applied to create “Trapped” (Plate 4.10),
“Beautiful Waste” (Plate 4.11) and “Minimalist” (Plate 4.12). This conversion
method involves shining a light source into the photocell of the SX-70 to trick it into
making a correct exposure for Polaroid 600 film.
Advantages: The biggest benefit of this conversion is that no ND filter is over
the lens of the camera, so the viewfinder remains bright for focusing. Also, the
exposure can be completely controlled by the light source without using the light/dark
control at all, so even more fine tuning of exposure is possible. “Trapped” (Plate
4.10) and “Beautiful Waste” (Plate 4.11) both used the adjustment of the light source
with the rheostat to obtain a perfect exposure. No additional light/dark adjustments
needed to be made.
Disadvantages: Unfortunately the drawbacks of this method outweigh the
benefits by quite a bit. The first drawback for this conversion is making the
equipment to enable the conversion to work. Fixing the mirror inside the PVC elbow
at a 45° angle was fairly difficult and time consuming.
The second drawback of this conversion is the need for a power source for the
light on a rheostat. Since “Trapped” (Plate 4.10) and “Beautiful Waste” (Plate 4.11)
were shot in a studio setting, this was not a problem. “Minimalist” (Plate 4.12),
however, was shot outside and required about fifty feet of extension cord to reach the
set up. Also for this image, I had to adjust the light/dark control to 1 1/2-stops to the
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dark, since the light source was at full power and the resulting image was still too
light.
The third drawback of this conversion was finding the correct exposure. I
initially thought that it would be fairly simple. I thought that the light source could be
metered just inside the PVC fitting and adjusted to compensate for the 2-stop
difference to expose the faster film in the camera accordingly. But there were several
things I did not take into consideration. First, because of the size differences of the
openings of the PVC elbow and photocell, the amount of light metered with the
incident meter and the light that actually reached to photocell were quite different.
Also, the camera is designed to take an average reading of the light in a scene and
expose accordingly. The white inside of the PVC elbow made the camera expose
faster than it would in a normal scene since the camera reads it as an entirely white
scene. I also was not aware of the broad range of apertures and shutter speeds that the
camera is capable of. A combination of these issues made it impossible to know the
exact intensity of the light source for a proper exposure.
The conversion method does work, but it is a trial and error process, and that
means test shots are needed to find the proper exposure. Since Polaroid 600 film is
expensive, this can be a costly process. For the present study, it took three to four test
shots to get the proper exposure for each of the three images shot with this
conversion.
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Plate 4.13. Father
Title: Father Lighting Diagram
Plate: 4.13
Film: Polaroid 600
Load Method: Guard Bypass
Conversion: Electronic Modification
Light/Dark Control: 1/2-stop to dark
Meter Reading: 1/10 @ f/8
Set Lighting: Diffused Minispot with snoot, 90° camera left with 2 Rosco #3202 gel
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Plate 4.14. Battersea
Title: Battersea Lighting Diagram
Plate: 4.14
Film: Polaroid 600
Load Method: Guard Bypass
Conversion: Electronic Modification
Light/Dark Control: 1-stop to dark
Meter Reading: 1/40 @ f/8
Set Lighting: Minispot with snoot, 90° camera right, with Rosco #3202 gel
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Plate 4.15. Swimming
Title: Swimming Lighting Diagram
Plate: 4.15
Film: Polaroid 600
Load Method: Guard Bypass
Conversion: Electronic Modification
Light/Dark Control: 1-stop to dark
Meter Reading: 1/20 @ f/8
Set Lighting: Diffused Minispot with snoot, camera left, with Rosco #3202 gel
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Electronic Modification, Advantages & Disadvantages
This conversion method was applied to create “Father” (Plate 4.13),
“Battersea” (Plate 4.14) and “Swimming” (Plate 4.15). The electronic modification
conversion method involves changing the camera’s capacitor, which is responsible
for the speed of the shutter.
Advantages: This conversion method involves no ND filters over the lens or
film, and no light source shining into the photocell. The viewfinder is bright, allowing
for easier composing and focusing of the scene. The exposures were also accurate.
“Father” (Plate 4.13) required 1/2 stop to the dark with the light/dark control, and
both “Battersea” (Plate 4.14) and “Swimming” (Plate 4.15) required 1-stop to the
dark.
Disadvantages: This is a fairly difficult conversion to complete and requires
patience. Since the circuit board of the SX-70 is over thirty years old, it can become
brittle and break when flexing it to remove and replace the capacitor. Also, some
soldering skills are needed to unsolder the points of the circuit board and the capacitor
that hold them in place. While soldering, melting the board or the traces on the board
is possible, which would most likely result in an unusable camera.
This conversion method also changes the camera from its original state and
cannot easily be undone like the other four conversion methods. Returning the camera
to its original state would most likely never be required or desired, but it is something
to consider before converting the camera with this method.
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The conversion methods just discussed are all effective in converting the
Polaroid SX-70 camera to use Polaroid 600 film. Each method has its own unique
advantages and disadvantages but also produces good results.
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Chapter 5: Discussion / Conclusion
The Polaroid photographs in Lost in Reverie were created using the 2-stop ND
filter, photocell ND filter, film pack filter, photocell override and electronic
modification conversion methods discussed in this thesis. Each of these methods was
proven effective in allowing the Polaroid SX-70 Land camera to use Polaroid 600
film, which is still available. Although producing successful results, each conversion
method exhibited unique advantages and disadvantages. Some of the disadvantages,
however, could be eliminated or improved upon with further design and testing.
The 2-stop ND filter conversion method involves placing a ND filter over the
lens of the SX-70. Improvements of this method might include a better design for the
filter and mount ring. Since focusing with the filter in place is the major drawback of
this method, creating a more easily removed filter could remedy this issue. When
shooting, the filter could be removed easily, the camera focused and the filter refitted
for exposure without disrupting or moving the lens out of focus. This would allow the
ease of shooting with the ND filter without the drawback of a dark viewfinder.
The photocell ND filter conversion method involves removing the 1-stop ND
filter over the photocell, replacing it with a clear piece of plastic and placing a 1-stop
ND filter over the lens of the camera. Further development of this conversion method
might include finding a clearer, thinner piece of plastic to replace the ND filter over
the photocell, which would allow for a cleaner conversion of the SX-70. In addition,
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as with the 2-stop ND filter conversion, a better design for mounting the ND filter to
the lens would allow for quick removal of the filter in tough focusing situations.
The film pack filter conversion method involves creating a 2-stop ND filter
from a gel filter and placing it over the entire pack of film. Further development of
this conversion method might involve exploring other types of material or other
brands of gels for creating the filter. This may eliminate the issues with dust, which
seems to be drawn to the gel material used in this study. New cutout designs of the
filter might also improve this conversion by better locking the filter into position and
eliminating the possibility of the filter being ejected during shooting. Taping the filter
in place might also be applied to insure the filter is not ejected from the camera.
The photocell override conversion involves shining an adjustable light source
into the photocell of the SX-70 camera to trick it into achieving a proper exposure of
the Polaroid 600 film. Further development of this conversion method might involve
re-working the design of the equipment created to shine the adjusted light source into
the photocell, thus making it more predictable. Further insight as to how the camera
determines the combination of aperture and shutter speeds for exposure might allow
for a more precise light source setting and resulting exposure. This would eliminate
the need for so many test shots to achieve proper exposure. Also, creating a smaller,
perhaps battery-operated light source that could attach to the camera might make the
process more mobile and practical.
The electronic modification conversion method involves changing the
capacitor responsible for the shutter in the SX-70 to a smaller pF value, which
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electronically increases the speed of the shutter. Further development of this
conversion method could involve using a slightly smaller capacitor than the 150pF
capacitor, which was used in this study. The result might be an even closer exposure
that would not require the use of the light/dark control to the extent that it was in this
study.
These improvements upon the conversion methods discussed would allow for
better predictability, less guesswork on exposure and, in turn, fewer test shots for
proper exposure. They would allow the SX-70 to be more easily converted to use
Polaroid 600 film to create artistic imagery.
Working with the conversion methods discussed in this thesis enabled me to
create artistic imagery with the Polaroid SX-70 Land camera. Each method produced
acceptable results, but in experimenting with all of the methods, I found myself
preferring one method over all the others.
The 2-stop ND filter and the photocell ND filter methods were a quick fix and
allowed me to quickly begin shooting with the SX-70 camera. These methods
however, did make it difficult to focus. While in the creative process of shooting the
series of Polaroids for this thesis, figuring out ways to assist in focusing because of
the dark viewfinder was distracting and constantly reminded me that the filter was in
place over the lens. This made these conversion methods unattractive to me.
Shooting with the photocell override method offered more control beyond the
light/dark control, which was a benefit since the SX-70 offers little control over the
automatic design of the camera. However this benefit did not make up for the
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numerous drawbacks of this process. The need for a power source and positioning the
light in front of the camera was time consuming and distracting and made shooting
with the SX-70 seem clumsy. Also, the guess work of finding the proper exposure
and the resulting waste of film made this conversion method even less effective. In a
studio situation where the light source could remain constant and the exposure
consistent, this method might be affective. However if the camera will be used in
many lighting situations, it offers no benefits because it is such an involved process.
Once the electronic modification of the SX-70 is complete, this conversion
method offers the greatest ease in shooting of all the conversions. All the drawbacks
of the other methods are not an issue since the electronics in the camera are now
resolving the issue of exposure. No filters or lights or darkened viewfinder come into
play. The negative aspect of this conversion is replacing the capacitor. This was very
difficult and requires patience and skill with a soldering iron. Since the SX-70 camera
is no longer in production, if a mistake is made in replacing the capacitor, the camera
will be useless. Replacing an SX-70 camera will most likely be time consuming and
costly. Replacing the capacitor also changes the camera from its original state. Since
film for the camera will almost assuredly never be produced again, this issue is not
really that substantial but nonetheless something to think about.
I found the film pack filter to be the best option for conversion of the SX-70
camera. The filter was fairly difficult to make since it needs to fit over the film
precisely, but once this was complete and a well-crafted filter is created, it works
well. I prefer this conversion method for several reasons. First, it does not change the
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camera from its original state like the electronic modification conversion method.
Second, the viewfinder is bright, and focusing is easy, unlike with both the 2-stop ND
filter and photocell ND filter methods. Third, the film pack filter method is
inexpensive. The cost of a ND gel filter sheet is under $10, and the sheet is large
enough to make roughly twenty filters.
This conversion method does have its drawbacks. Possible ejection of the
filter during shooting and the need to install the filter each time a new film pack is
loaded and dust were discussed earlier. However, these disadvantages did not seem as
negative as the drawbacks of the other conversion methods. Upon further thought,
some of the drawbacks of the process actually lead to ideas of further creativity using
the SX-70 camera and a film pack filter as a tool. One process would involve using
colored gels or different densities of gels built up or missing from areas covering the
film. Also, rather than trying to remove dust, dust could be added to the filter or
scratches or other build up on the gel that would transfer to the resulting image. The
film pack filter would essentially become a transparent canvas, that when exposed
through adds a whole new dimension to Polaroid photography and a unique way to
create artistic imagery with the SX-70 camera.
The SX-70 camera is a unique tool for creating artistic imagery. Despite the
fact that the camera and film are no longer in production, the camera can still be used.
All of the conversion methods discussed in this thesis enable the SX-70 camera to
expose Polaroid 600 film properly. Each method has benefits and drawbacks but
makes it possible to use the camera as a unique tool for creating artistic imagery.
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In an increasingly digital world, it is inevitable that all Polaroid film will
eventually go by the wayside. It is unfortunate, but this series of events was already
set in motion with the end of film for the SX-70 in 2005. Those who refused to retire
their SX-70 cameras have found ways to enable the camera to still be used. As Edwin
Land told Life magazine in 1972, “If you are able to state a problem, it can be solved”
(qtd. in Callahan 48). In true Land fashion, photographers and artists who see the
potential of the Polaroid SX-70 Land camera for creating artistic imagery can use the
conversion methods discussed in this thesis to do so.
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