Instant gratification.

One scene. Four instant films.

Fujifilm Wide in a Fuji Instax 210:

Tree and house


Impossible Project Color and an SX-70:



Fujifilm 100C and a Polaroid Land Camera 100:

Tree and house


Fujifilm 3000B and a Polaroid Land Camera 100:

House print


Dy 177: Burning the candle at both ends.

I’ve apparently been doing this for the past five weeks, but thankfully it’s almost over.

Day 177 - Fire negative

Tonight was the last meeting of my summer Intellectual Property class, and I’ve only got the take-home final to complete, which I plan to do tomorrow. Then I can get to work on a couple of new photo projects, which will be…

…ha! You’ll have to wait. This is just the teaser.

Day 162: Not-so-heavy lifting.

Along with practicing my prints and transfers with the Polaroid, I am also trying to be more comfortable with the emulsion lifts as well. I’ve discovered a good adhesive to work with, did a few test runs with crappy or unusable prints, and then gathered up the guts to start in on the better images.

Day 162 - Garage lift
Day 162 - Wheelbarrow liftStill some kinks to work out (like keeping Zelda’s nose out of the gel medium) but I’m getting better at the basic technique. Now it’s time to get creative!

Day 161: Back in action.

Wires have been soldered, batteries re-inserted, and shutter tested.

The Polaroid is back!

Day 161 - Garage still life PNow that I could shoot images again, I could start practicing my emulsion transfers.

I take a snapshot to check the image and exposure:

Day 161 - Armchair still life PAnd then I take a second one to transfer the emulsion to craft paper where it finishes developing and turns into something quite different:

Day 161 - Armchair still life P transferI’ve done a few of these transfers and they do come out darker than the print. It could be the exposure, the paper, the timing, or the subject matter. I clearly need to work on this more to know how to more purposefully create an effect, but it sure is fun to experiment.

How do you like to push your photographic boundaries?