Polaroid 54 hints

[Christopher Hansen]

I'm new to large format photography and I'm still developing some basic skills. I've tried using a Polaroid back and Polaroid 54 film to get some instant feedback of my composition, use of filters, focus, and exposure in the field. After getting a decent Polaroid then I do the "real" shot on E-6.

The problem is my Polaroids don't look that great. They aren't that sharp (even when the E-6 transparency is sharp). The images sometimes have a mottled look with white patches. Sometimes I even see some brown on the image. Is this normal? Even the blotchy Polaroids are helpful in the field, but I'm wondering if I'm doing something wrong.

Thanks for any help you can provide.

[Gene McCluney]

It is sometimes hard to get "perfect" polaroids. The holder has to be in pristine shape, and you have to develop a nice even "pull" on the processing step. I get blotchy polaroids all the time, but they are good enough to judge exposure and composition. I never try to judge sharpness or color balance...as polaroid has its own pallete. Also, polaroid has wierd reciprocity effects that conventional film does not have. Been shooting polaroids for 40 years, you are not experiencing anything new.

[A.C.]

It is sometimes hard to get "perfect" polaroids. The holder has to be in pristine shape, and you have to develop a nice even "pull" on the processing step. I get blotchy polaroids all the time, but they are good enough to judge exposure and composition. I never try to judge sharpness or color balance...as polaroid has its own pallete. Also, polaroid has wierd reciprocity effects that conventional film does not have. Been shooting polaroids for 40 years, you are not experiencing anything new.



...I'm glad about that, because I was also wondering if it was me!!


Aynsley

[Ted Harris]

One additional point ... T54 is far from the 'sharpest' of the Polaroid films.

[Helen Bach]

Which camera and back are you using, and how is the back being attached or inserted? Does it seat fully and correctly, or is there something preventing it from being inserted all the way? Could there be light leaks? Are the white blotches consistent, or nearly consistent? I had to modify my MPP S92 to get my 545 to seat properly with correct registration and no slight light leaks.

I use more Type 54 than any other Polaroid material, and the only defect that I would expect from in-date or slightly out-of-date material is to have a piece of the image missing from a corner of the print if the packet is pulled apart too quickly. I've never had any discolouration or blotchy patches - in fact I have found it to be free from the slight streaking I get with Type 57 sometimes. The sharpness is good but not the highest, as Ted says. I would not call it a soft print by any means - the original prints are sharp to the eye but don't stand much enlargement. I use Type 54 as the final print as often as (or maybe more often than) I do for showing the client or the sitter the lighting etc, and defects are not my idea of 'creativity'.

I keep my 545 clean, and do a complete disassembly every couple of months. As it is so simple to do, I inspect the rollers after every session. A careful steady pull and careful treatment during development (no touching, no waving around) might help.

Gene - is your reply about colour materials or about Type 54?

Best,
Helen

[Gene McCluney]

Gene - is your reply about colour materials or about Type 54?

Best,
Helen

Well, what I use on a day-to-day basis is color, but I have experienced the same, or similar defects when also using various Polaroid b/w materials. For quick proofing it doesn't matter, for critical use, as in using the Polaroid as finished art, it requires care, for either b/w or color. I know how to clean the holder and I know how to pull the film for best results, however in most of my cases it is not critical, as I am just judging exposure and composition.

[Donald Qualls]

Polaroids, especially color Polaroids, aren't anything I'd really call "sharp". The method of forming the positive image on the print, by capturing diffusing dyes or dissolved silver, pretty much sees to that. B&W is generally sharper than color, because the silver has less distance to travel and a silver image is generally sharper to begin with than a dye image even in conventional films.

[Christopher Hansen]

Thanks for all the information. The camera is a Toyo 45AII and I've been using a 180mm lens. For Polaroids I use a 545 back that I picked up used. It seems to be in decent shape.

The white blotches in the Polaroids seem to be in random places. On one shot there are some that look like clouds near the top of the photo and some that look like a rough, dotted line on the right side. Maybe the 545 back is worn or dirty and doesn't work well?

I've been using a Kodak Readyload holder with E-100G film for my final shots. The transparencies I get with this look great.

[Helen Bach]

Have you seen the pdf guide to the 545: http://www.polaroid.com/service/userguides/photographic/4x5filmguide.pdf?

Best,
Helen

[Christopher Hansen]

Thanks. I looked through that and the data sheet for Polaroid 54. At least one problem may be working outside with a temperature of 50-60 degrees. I'll try adjusting the development time to compensate in this case.

Chris

[Donald Qualls]

When you say "white blotches" -- you mean completely white, no image there at all? That's due to uneven spreading of the developer gel, which can come from warped rollers, pulling too fast, or film that was stored for a prolonged period on edge (as opposed to flat or on end, storage on edge can cause the gel to settle in the pod and cause side-to-side uneven spreading). Simple solution is to get and install a replacement roller set, assuming the originals are clean, have a good closure spring, and don't have bits of junk stuck in them.

[Brian Sims]

I've just started using Polaroid 54 for proofs. It doesn't really tell me anything about composition that the GG doesn't already tell me. I'm wondering if I can control the process enough to use the proof to judge exposure and contrast. So far, it's not going well. I can't imagine backpacking with a thermometer...so I'm guessing at temperature. I don't yet have any confidence that contolling Polaroid development time will give me any info that would guide an exposure/development decision. For the added weight and cost of the Polaroid (and mess to pack out), I could just bracket 2-3 more shots and test develop one of the shots back in the darkroom. Has anyone been able to align Polaroid exposure/temperature/development time with your zone system controlled decisions with sheet film?

[Donald Qualls]

It's been my understanding that Polaroids are more effective in lighting/exposure decisions when shooting C-41 or E-6 materials where a standard development is virtually always used. The Polaroid print has similar latitude to E-6, and some of the color versions are specifically made to match the sensitivity and color rendition of common chromes.

[Helen Bach]

I've just started using Polaroid 54 for proofs. It doesn't really tell me anything about composition that the GG doesn't already tell me.

Using Polaroids to judge composition does sound unneccessary, but when you are composing by committee - for a magazine cover or layout, for instance - it makes more sense.

Best,
Helen

[Gene McCluney]

Shooting lots of E-6, various distances from subject to camera, bellows factors, lighting ratios, etc., Polaroids are necessary, in my opinion, as well as clients who have gotten used to viewing them (over the years) really like them, and feel "out of the loop" even if you show them a little digicam viewscreen proof.