The New York Times has posted an obituary for Mitch Leigh, composer of Man of La Mancha. A sweet man, by all accounts, who enjoyed his work in the advertising-jingle world plenty, and then had one immense shining Broadway hit that will endure as long as Broadway shows are around. “The Impossible Dream” is still a show-stopper every time.

Of course, we here at Polaroidland know him for a somewhat briefer masterpiece. Specifically, the best TV commercial of its era:

Most of the old DDB players are gone now. Phyllis Robinson, who wrote the words to Leigh’s insanely catchy music, died on the last day of 2010. Here’s something extremely nice that my colleague Kera Bolonik wrote about her then.

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There seems to be no end to the parade of Polaroid kitsch out there, and these two products in particular make me laugh every time.

This one slices cheese.


And this one is for… well, let’s just say after you eat the cheese.

Screen Shot 2014-03-17 at 8.42.10 PMI have a very tolerant spouse, but when I showed her the toilet-paper one, she delicately said, “Not everything in our life has to be Polaroid.” Gotta admit, she’s probably right about this one.

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Does the logo for Nationwide Insurance remind you of anything?


When this logo was launched in in 1999, the Website Business First described it thus: “The focus of the brand campaign will be an unusual new logo … a picture frame with the word ‘Nationwide’ on the bottom. Nationwide says the frame will be a ‘living logo’ that can feature customer images or anything else the company wants to highlight.” I wonder whether Polaroid—admittedly, in pretty bad shape by then, but still a billion-dollar company with a sizable team of lawyers and an interest in its own trade dress—had anything to say about it.

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ReuterSX70John Reuter, of the 20×24 Studio, has just published a small, nicely printed book of his SX-70 work from the late 1970s. The photos are unique pieces, made by separating the component layers of the film packet, then painting and otherwise messing with them from within. A lot of people made pretty nice manipulated Polaroids, but most of their results are static; these are not. You can spiral down into them as you spend a long time looking. I bought it the other day, and keep dipping back in. Highly recommended. You can get your copy here.

This is also an excuse to say something good about Blurb, the DIY platform on which he published it. Good paper, good printing, nicely done.

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terps-ballYou may know about the “common reader” programs that many large universities now conduct among first-year students: Over the summer, everyone is assigned a single book, so that there’s a talking point for all during Orientation. Last week came the news that INSTANT: THE STORY OF POLAROID is going to be the University of Maryland’s common-reading title this fall. Seven thousand students and faculty, all geeking out on Edwin Land and his nexus of art and technology and business and pop culture. I was speechless when the news came in, and have proceeded from there to flabbergasted, honored, delighted, humbled, and giddy. I am also, apparently, headed to College Park for an event or two in September.

You think I should tell them I went to Johns Hopkins? I’ll probably get beat up by a bunch of rival lacrosse players.

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End of a great run.

End of a great run.

The news leaked out of Japan a couple of months ago, but the official announcement appeared online just last week, and can be seen here (non-Japanese-speakers, click Google Translate).  Fujifilm is discontinuing FP-3000B, its last black-and-white instant film. Final orders for the U.S. will apparently be shipped in the spring, and the last Japanese deliveries will be in September.

It’s not a surprise. Peel-apart pack film is complicated to make, and it requires a lot of specialized materials that, I am sure, it is hard for Fujifilm to justify in this diminished market. (The large-format version was dropped two or three years ago, and the supply has dried up.) The black-and-white film constituted perhaps 20 percent of peel-apart sales, so the color (FP-100C) will continue on for now, serving Polaroid aficionados and the lingering ID-camera market in the third world. If we keep shooting it in substantial volume, maybe we’ll get another couple of years before it goes away too. If we’re lucky, a few more. (The 4×5 color instant film was dropped this year as well, which does not inspire confidence.)

As much as I like shooting the color–that Fuji red is just amazing–it’s the black-and-white that I love best, partly because of what it once represented. An ASA 3000 film for consumers was almost unthinkable when Polaroid introduced it in 1959. (The fastest film you could usually buy back then was Tri-X, rated ASA 400.) It was first issued in roll form,  called Polaroid Type 47, and it had been created largely by Meroë Morse, the remarkable chemist Land had hired from Smith College and entrusted with a big swath of the business. The same emulsion appeared in 1963 on pack film, under the name Type 107, and got an update about a decade later, removing the need for a film-coating swab. Pretty closely cloned by Fuji, it outlasted Polaroid itself. That’s a great run.

I still think Fujifilm is wrong about this, of course–I believe that the demand for products like this has bottomed out and will modestly tick up in the next few years, unless of course they have all been discontinued. The 11,000 signers of this petition agree. But it’s apparently an irrevocable decision; the supply chain has been rolled up, and there’s no going back. (I’m told that Fuji believes the large team of people required to make this film are better deployed in other, growing parts of the business, and that’s hard logic to argue with.) Perhaps someone could pick up production from Fuji, but that too seems unlikely; The Impossible Project was able to go on its crazy mission because the demand for integral (SX-70 and 600) film was very large. Peel-apart, being a niche product by comparison, presents steeper challenges.

What is especially frustrating is that this leaves us with no black-and-white instant film at all, apart from Impossible’s, which is much improved but still problematic: limited tonal range, splotchy results. The last best hope is the product under development at New55, but it will be in 4×5 format, and thus not really appropriate for fast casual shooting. It will also be expensive at the start: A single sheet is likely to cost about as much as a ten-shot pack of Fuji. So until New55 gets into the marketplace, this really is the end of a medium, if not quite a whole format.

Like a lot of people in the past few weeks, I just bought a case of FP-3000B, plus a mini-fridge, and hope to ration it out for as long as I can. As a rule, pack film lasts longer than integral film, and black-and-white ages better than color. Five years’ cool storage, with good reliable results, is not totally out of line. (Unfortunately, instant film cannot be frozen for very long-term storage as conventional film can.)  So I am set through 2019, the sixtieth anniversary of its introduction. That’ll have to do.

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