The Polaroid




ContemporaryIS "When I think of What's Contemporary, it is highly polished images. So for me, I guess the little punk suburban rebel wants to go, 'Well actually no, maybe the complete opposite is the contemporary thing and maybe that's something that we should look at again.'"


ContemporaryIS "It's nice to take pictures of girls that are that age and treat them like they are that age, rather than try to do something raunchy or sexy. There is no manipulation — you can't really manipulate the polaroids. Well, you can in post, but I didn't. And there is no manipulation in trying to get them to be anything other than what they are."

ContemporaryIS "It's not consciously self referential, it's just that the girls come here to my place and I pull little things from the apartment to give them a character, and I have tons of hats."



ContemporaryIS "Working with Polaroid film, especially in this case, as I had a limited amount left and some of it was fogged and old, you definitely think more about the image you are about to take. Rather than digital, where you have endless frames to shoot. The result is that you shoot in a different way and, of course, that leaves you with a different image in the end. Maybe we are missing something by stripping away the reality so much in pictures; perhaps we are missing important things."


ContemporaryIS "In a Polaroid, there is often more feeling, and why is there more feeling? Maybe it's a bit blurry and maybe it's a bit soft, perhaps there is a little dark under the eyes and she's not been all fixed up. Maybe there is something really modern about that now because we never see it."




ContemporaryIS "When talking about finish, a great retoucher like Pascal can transform a digital file to anywhere you want to go really. A great example of this is Paolo Roversi's work, but I think the biggest change is in a lost language. Do new photographers know how polaroid and analogue prints used to look? Can they direct their post production to go there? Does everything start to look the same because the knowledge of analogue is disappearing? I think so. It's great to look back and to experiment, to think outside of digital and remember imagery and the feeling less technology can bring to an image."



contributor Emma Summerton
editor Christopher Michael
creative Ashe Abbott

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