Back when I was shooting film, my LCD screen was a Polaroid that I'd pop after setting up lights or getting a composition set up. I'd set things up, take a Polaroid, wait the 20 seconds for it to develop, then check my lighting, then adjust to taste. When people ask "But how did you do things before having an LCD screen to look at?" well, we did it with Polaroids. Anyway, I've been shooting with the Hasselblad and it's Polaroid back lately, trying to work it into my regular shooting, and I'm having so much fun pulling Polaroids and then scanning them into the computer to add to my sessions.
I love the process of Polaroids - taking a shot, counting out the seconds it takes to develop, then magically pulling the paper back and revealing a black & white image, almost instantly! Instant film is magical in a way that digital can't recreate, and I'm so happy that I've been restocking the studio fridge with Instant film again.
(above: a recent order of Fujifilm packs arrive at the studio.)
Here are some images I've been taking as I've been working with Musician and Band clients:
(above: Myles Moriarty)
(above: A still life shot used as an album-cover mockup)
(above: Triple Shot Factory Funk)
(above: Matt Jackson recording vocals at The Space, Lowell MA)
(above: Mike Loce)
I love shooting loose with Polaroids. I love the slightly sloppy feel I can get by slightly overexposing. I love that it looks like film because it IS film. I love ripping the Polaroid out of the back and hearing the *ziiiiiiiiip* it makes. I love counting down the seconds until it's ready. I've missed shooting them. It was like a cool breeze blowing when I started ripping them again, like an old friend.
I'm sorry that I left my film gear in the cabinets for so long. It's nice to be able to take them out and have discussions again.