POLAROID FILM & CAMERAS

Before digital, Polaroid films were essential in professional photography. First, it was the tool you used for checking light setups in challenging environments before the real film was shot. Second, Polaroid 55 was a beautiful black & white film supplied with a negative that was loved by many. Third, we lost Polaroid film emulsion lifting techniques for creating unique prints. In conclusion, when digital showed up, Polaroid went on life support.

Then Polaroid got new owners, but the new guys had no interest in film production. In other words, it was merchandising the Polaroid name they were after and got. After the dust settled, several small enterprises emerged, pledging to keep Polaroid film alive. The only problem is Polaroid did not sell its original formulas to anyone. What they are producing is not the real stuff. In short, the Polaroid film we knew from the past is not the Polaroid film of today. But they keep trying. And we want them to stay alive and succeed, but some are not fulfilling their promises. So, be careful where you spend your Polaroid monies these days.

When Polaroid 55 was available, I used the Polaroid 545i 4×5 Sheet Film Holder. I hold onto the 545i today, hoping a similar film to Polaroid 55 will eventually return. Polaroid 55 was my favorite 4×5 black & white film ever. Even with the cost, the look and added convenience of not having to mix chemicals for development was such a bonus. We were spoiled 4×5 photographers when Polaroid 55 was being produced.

While I was growing up, Polaroid cameras were used by my family, besides Kodak and Diana 120 cameras.

My love for Polaroid cameras started when I used my mother’s Polaroid Swinger camera to take portraits of my siblings and pets, and it has never wavered.

However, there has always been a need for exposure consistency with these types of cameras. The Mint SLR670 line of cameras gives us more exposure control. Check their cameras out if you are looking for a reliable Polaroid SX-70 type camera.

Mercury Camera produced a 4×5 Polaroid Graflok back that houses a Polaroid CB-70 medical back modified to work with Polaroid SX70 and 600 films. I have one and use it in the studio whenever I want to play with Polaroid film. They have since updated to a new model that does not use the CB-70 medical back because they are hard to find.

Even though I have the Lomograflok Instax Graflok back, I still enjoy being able to shoot the larger Polaroid film in the studio when the occasion arises.

Most people know that today’s Polaroid isn’t the same one many of us grew up with. When the original company shut down, its proprietary formulas went with it. While we’re grateful to those who stepped in to revive instant film, they were missing the original Polaroid “recipes” from the start.

I’ve shot more than ten packs of the current SX-70 film (let’s call it Polaroid #2) using the Mint SLR670—a modified, high-performing version of the classic SX-70. Honestly, the results have been underwhelming. I don’t blame the camera—it’s the film.

Still, I’d like to shoot Polaroid more candidly. But as of this writing (2023), a 2-pack of SX-70 color film is $48.95—and $49.95 for black and white. You might say it’s the photographer, not the film. Fair enough. But I get far more keepers with Fujifilm Instax.

I have a batch of SX-70 film sitting in the fridge, untouched. That hesitation—and the stronger reviews from other photographers—led me to try Instax. I picked up some Instax film and the LomoGraflok 4×5 back to use it with my studio view camera.

Hands down, Instax wins on consistency. Film isn’t cheap, and I want dependable results. Instax gives me that, but Polaroid doesn’t. If you prefer Polaroid’s color palette and don’t mind the gamble, go for it. But unless Polaroid figures out what Fuji is doing right, I won’t be buying more.

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