TWTGE the polaroid issue

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TWTGE the polaroid issue Edited and curated by Luca Tommaso Cordoni Revised and corrected by Lorenza Panelli, Matteo Cordoni

Cover: “SX-70_007” by Luca Tommaso Cordoni Contact:

Contributors for this issue: Silvia Ianniciello, Impossible Project

Photographer: Silvia Ianniciello, Luca Tommaso Cordoni, Annette Pehrsson, Rhiannon Adam, Lia Saile, Piotr Debski, Brigette Palmer, Marija Cerniavskaite, Irma Rose Pettitt, Amanda Pulley, Martina Giammaria, Lydia T., Andrea Simonato, Michela Heim, Mai Downs, Kate Pulley, Arianna Lerussi, Elena Vaninetti, David Dittrich, Anna Morosini, Valeriya Stepura, Cristina Altieri, Shelbie Diamond, Carmen Palermo, Alan Marcheselli.

TWTGE polaroid issue is edit by The World Through Green Eyes, All right reserved. No part of this publication may be reproduced in any way, without permission. All Images are copyright © of their respective owners. Free copy. Not for sale.

About The World Through Green Eyes is a blogzine based on the relationship between human and nature, we work on the base of : Trees Wood Green Wild Girls and Pretty Bunny This blogzine was created to give space for new Photographer, to let know their name to the world and to demonstrate their love for the land. The World Through Green Eyes is for everyone who loves photography and Mother Nature, for everyone who loves to be wild.

Submission If you want to submit a photo, please use the Flickr group or send an email to with “Submission” as object, don’t forget to put in your full name and a link to your website. Three photos per day will be posted and every month an interview.

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POLAROID, a brief introduction

by Silvia Ianniciello

The instant photography is a wonderful world, fascinating but very complicated. Often, when we’re adventuring in polaroid we end up doing a lot of confusion! It is better to bring some order in the enormous amount of information about equipment, films and more. The first information that we need to know is that Polaroid, unfortunately, has abandoned production of films and machines from several years. The British company has decided to close the market for instant photography, but we don’t have to demoralize ourselves! It’s for that reason that I‘ll refer also to the flea markets or to private sale’s sites, as a resource for the purchase of your favorite camera! Moreover, without forgetting the quality of the Fuji products, the instant photography has retourned back in life also thanks to the Impossible Project, with the production of new films. Let’s start: Wich camera use to begin this wonderful adventure?

If you want to stay in the economy range, but have good results at the same time, the cameras that I recommended are the Polaroid folding pack. These cameras are so fascinating with their vintage look. Except for Zeiss range finder and glass lenses ones, the other folding packs are cheap in flea martkets or on Ebay. The bright side of the folding pack is that cameras are compatible, as well as the old Polaroid type 100 film [669, 664, 665, 667, ID-UV, 125i, chocolate, blu, sepia] , also with the Fuji FP100c, FP100b, FP3000, actually in regular production, certainly less expansive than the old polaroids, which are sold at high price ‘cause of their rarity, even if they are expired for many years. If you’re a creative photographer, you’ll be pleased to know that with type 100 films is

possible to make emulsion lift, image transfer and also get negatives.

Polaroid Supercolor 600

Polaroid Land Camera 320

Fuji fp100c © Silvia Ianniciello

If you’re a ‘80s fans, you can not have a Polaroid 600 type. These cameras are very easy to use, thanks to the fixed focus and the automatic flash; they’re also pretty cheap if you look in flea markets. Futhermore these cameras were the real lucky product of the english company and you can find so many funny version of them. The Polaroid 600 are compatible with the classic Integral Instant Film, like the Colour Polaroid 600 - now rare - or the new PX600 UV+ Silver Shade or the PX680 Color Shade FF by The Impossible Project.

PX680 Color Shade FF © Silvia Ianniciello

The Polaroid Spectra are cheap too and they guarantee excellent results. These cameras are equipped but automatic and easy to use. They are compatible with the Polaroid Image Color films and the recent PZ600 UV+ monochrome by The Impossible Project [in this days are out the new PZ680 Color Shade]. The particularity of these films is the rectangular size, a bit larger than the classic square type of the 600 films.

The peculiarity of Integral Instant Film - especially all the ones by Impossible Project - is the ability to be manipulated: techniques that open the door to experimentation and creativity.

Polaorid Spectra System

Polaroid SX-70

PZ 600 Silver Shade Š Impossible

If you want to spend more, you can buy the mythical Polaroid SX-70. This is the first folding SLR Camera, one of the jewels of the english company. The SX-70 give soft and dreamy images with all the advantages that a SLR guarantees, like to be able to get a preview of photography just looking through the viewfinder, with a internal system of mirrors that reflects what the lens catch. The films that are compatible with this type of camera are the old Artistic TZ and the Fade to Black by Polaroid, they have became increasingly rare to find; with the SX-70 you can use also the PX100 Silver Shade and the PX70 Color Shade Push! film by the Impossible Project. Moreover, simply applying a ND filter, the SX-70 also can also give bright colors of the type 600 film type, mentioned above.

Impossible PX 70 Color Shade Š Luca Tommaso Cordoni

In my opinion, the best instant camera is the Polaroid 600 SE a professional camera with a back for type 100 film, Mamiya optics and telemeter. Obviously is an expensive camera, but justified by the high quality of the product.

Fuji Instax Film © Annette Pehrsson

Polaroid 600 SE

Polaroid, recently, has presented a new instant camera: the Polaroid 300. Indeed, it is a photocopy of the most successful and cheapest Fuji Instax Mini. The special feature is the size of the photographs, large as a credit card. The integral instant films are the Fuji Instax Mini Film and the Polaroid 300 film. The Fuji has produced another instant camera that, in my opinion, it is worthwhile to mention: the Fuji Instax. Although the design is less captivating than a vintage Polaroid, the pictures quality is very high, with bright colors and sharp definition. The films have an interesting “wide” size, good for instant panoramic shots.

Then there are the instant film backs for the most famous toycameras as the Holga, the Diana + and the Lomo LC-A. The back for the Holga is compatible with the peel-apart films while those dedicated to Diana + and the Lomo LC-A are compatible with Fuji Instax Mini Film. The result are instant photos that have the typical toycam’s lo-fi mood, such as the color degeneration and vignetting.


Polaroid 300

Fuji Instax

Fuji FP100B © Silvia Ianniciello

Lomo LC-A Instant Back

Diana F+ Instant Back

Fuji Instax Mini Š Lomography

Fuji Instax Mini Š Lomography

Finally, if you want to deepen, I recommend to visit these sites: - The Land List all models and films by Polaroid - Istant Option all the information about cameras and films - Polaroiders Italian instant artist comunity - Polaroid Art Italy - Impossible Project - Polaroid - Fuji - Lomography

A talk with... RHIANNON ADAM

Rhiannon Adam is a young talented photographer from London, who loves and lives in analogic era. A wild girl, grew up in Ireland and on the ocean with her family. Her way of taking Polaroids is simple but full of detail, in a world where nature dominates man. Besides his photography Rhiannon is an intelligent girl, full and adult, who like to talk about herself, and as she says, analogue photography is her religion. Hi Rhiannon, please introduce yourself. Hi, I’m Rhiannon - former boat kid, Michael Jackson fan, and Polaroid photographer. I live and work in East London, and analogue photography is my religion. What is your relationship with nature? Much of my work takes its influence from nature - obviously living in London is about as far away from nature as you can get, but it does make you appreciate it more. I grew up amidst a lot of open space. Firstly, in Ireland, we lived in the middle of the Cork countryside, and later on the boat we travelled across vast oceans, without seeing another human being for weeks at a time. In my work I try to regain that intimacy with emptiness. We are so small and insignificant, and my photographs focus on the peculiar habits of humans in nature, and the power nature has. Hence my fascination with tiny figures in large open spaces... Taking a Polaroid of an open space allows me to take a part of that emptiness with me wherever I go. I need that in the city. What is wild for you? The crashing waves at the foot of a cliff, and a solitary lighthouse perched on the edge of everything. 20 years from now, how do you think the World will look? Depressing. I think the way that technology is going will mean that there will be less ‘shared experience’. Look at music, we have more and more choice, but yet we stick to things we know. There is less chance for us to discover something completely different. Websites know our buying patterns, and recommend things you will like. The same with books - Amazon tells you what it thinks you will like and no longer do

you browse in a bookshop and pick something up that you have never heard of, or know nothing about. The world is becoming less and less ‘physical’. We buy digital files - photographs are too often digital files, made of 0s and 1s. So are music tracks, and books for your kindle, and films to download. Where is the smell of a new book, or the feel of a CD booklet in your hands. The joy of the tangible is slowly being eroded and we rely more and more on computers. These days we don’t even interact with people who are right in front of us- we are too busy tweeting, or looking at Facebook. Human interaction has gone digital. I hope in 20 years there will be a revolution, and people will learn to appreciate the joy of the handmade, the unique, the fun of rifling through a record shop, or book shop and picking things for themselves. I hope the smart technology that currently dictates so much of our lives will fade... but I think that may be wishful thinking. What is Photography? Many will argue with me, but I think photography is the process of freezing a moment in time as it was, objectively. It is a snippet of truth. This is why I am anti-PhotoShop. PhotoShop creates and encourages lies. The other day I was having a conversation with a friend who told me that when advertising her events online, she sometimes changes the facial expression of people at previous events to make them look like they are having a better time than they actually were. To me, this is an insult to the idea of photography itself. We use photographs on websites and in adverts because we believe that a photograph adds credence. If photography itself is a lie, then why don’t we just draw pictures, or paint an ideal truth? Polaroid is my way around this- everyone knows what it stands for, everyone knows that you can’t edit a picture afterwords - to most people a Polaroid is still a piece of truth.

How did you get into photography? It’s funny, but for many years of my life I have no photographic evidence. Even with all the traveling we did as a family sailing around the world, it was everyday to us. It wasn’t special, and we didn’t have a lot of money, so we didn’t really take any pictures. we don’t even have one good photograph of our boat after all the years we lived on it! When I left my parents and moved to England to live with my aunt, I really began thinking about the lack of photos I had, and that is when I started to be interested in it. I invested in a good 35mm Canon with a 38-300mm lens aged 13, and I started taking pictures of my Dad whenever I got to see him, which was rare. I began obsessively recording everything to make up for the years of memories that I felt I was missing. Later, at Francis Holland School, I began developing my own black and white pictures, and started experimenting with various darkroom techniques. After several years I was given the darkroom key- a badge of honour - and ran a photography society. My addiction developed from there.... How did your passion for Polaroid begin? Again, it all happened while I was still at school. At 15 I did work experience in a large television department, and I became very good friends with a director there. As a parting gift at the end of my time, he gave me a Polaroid camera and as much free film as I wanted. They had a continuity cupboard and used to use Polaroid to take shots before and after takes to make sure ties were in the same place, makeup was the same, etc. It was used as a professional tool, and I was lucky enough to get the film for free. That was all 600 film, but once i was hooked I went on Ebay and snapped up as many different cameras and film types as I could find! I love Polaroids because they can never be recreated. Each one is a one-off, like a painting. A Polaroid image really does, to use their naff slogan- ‘capture the moment’. There is no processing, no one else is involved in its production. It’s only the photographer who decides what is in shot- there is no editing, no post-production. It is what it is. I think it’s the test of a good eye. If you can shoot an image ‘raw’ without relying on special

effects, and if your composition works, then you can photograph anything. Each one is expensive, so you are forced to choose your subject. These special remits of Polaroid have being thrown by the wayside since the advent of Photoshop and the ubiquity of digital. When I look at a Polaroid I can tell whether it was shot on a hot day, a cold day, and whether it was windy. A Polaroid is a product of the time it was taken. The image the picture conjures is not limited to the scene visible in the photograph itself. A Polaroid is an experience. If you’re really lucky there’ll be a smear in the corner, or a dirty fingerprint. How do you have taken the end of Polaroid Instant Film production? It was like my life was over. My passion killed. It was like being a junkie who wasn’t allowed access to their drug of choice! I had no idea what I was going to do next, and felt like the whole focus of my creative energies had been pulled out from underneath me. I turned quickly to Ebay, and realised that life was going to get much more expensive to fund the habit! I couldn’t believe how it was the consumer digital camera that really killed Polaroid, essentially, 1 and 2MP cameras that killed off 60 years of innovation. It seemed like such a waste You’re part of the artists of THE IMPOSSIBLE COLLECTION, how was this collaboration born? Back in 2005 I joined an online community of Polaroid fanatics, as “rodeo”. Little did I know that the owners of the site would later become The Impossible Project. Because I have been a very active member almost since the start of the site, The Impossible Project / Polanoid guys saw a lot of my work, and liked what they saw, so I suppose that’s why I was asked to do it! It was very exciting testing those first films… What do you think of Impossible films? Hit and miss. I shoot a lot outside, so the films aren’t the best for the type of work I do because of their sensitivity to light... and also, part of the reason I love instant photography is because

you create a souvenir of a place as much as you are taking a photograph, and as yet these new films do not age very well, and decay...I need a film that will stay as fresh as the day it was shot. Slowly the film is getting there, and it is improving all the time. Unlike Polaroid, who had 60 years to perfect their craft, The Impossible Project had a year to create their first film. So much respect to them for getting anything out at all! Which do you prefer? I still prefer original Polaroid films, there is nothing like the clarity and colour of SX-70 film. There will come a time when I don’t have a choice though. Each month that passes means the old Polaroid film is one month closer to being too old to use. Shooting now is very different to shooting when the film was in-date, I need to adapt my style continuously. I suppose it keeps me on my toes, and keeps things exciting. The reason I still like original Polaroid though is mostly due to the ease of use. When the new film is easier to handle, I am sure I will cross over. Tell me 3 reasons for possess a Polaroid. Only three? Gosh, where do I start? A Polaroid allows you to take a souvenir of the place that you are standing in, and it absorbs part of the ‘essence’ of that place. If you are by the sea, the salty sea air somehow attaches itself to the surface of the picture. Each one is attached to the place where it was born, so it is more than just a picture, it captures traces of the place that aren’t just photographic. It may be a fingerprint, a grain of sand, a scratch. It’s more than just a photograph. No more printing your images – it is the finished product! No more shouting at photo-labs, no running out of printer ink! No hard drive crashes and you lose everything! Use a Polaroid to teach yourself about cropping and framing – there are no second chances. No possibility to edit. Each pack contains ten shots (or 8 if it’s Impossible film) so you have to edit yourself. It helps you to create a stronger photo-

graphic identity and style without thinking about post-processing, or complicated settings. It’s a very pure way of shooting that will help in every other creative aspect of your life. Also, everyone should try it once- get it before it’s too lts too late. We need as many people to buy film as we can get, else it will die and be just a memory of a romantic time when photographs weren’t made of pixels. Sorry, maybe that’s 4 reasons…! Basically – why wouldn’t you? I love your project “the wrestler”, who’s the wrestler, and how this project born? I found a wrestling mask on London’s Brick Lane and loved it. It started out as a joke. I did a project at art school many years ago about reinventing objects. I “reinvented” a fork, giving it a life – I made an animation, and I placed an advert in Time Out magazine for a knife to share its life with and used the voices from the prospective dates for my animated film. This project, mixed up with a bit of Amelie and her gnomes somehow seemed to fit with the wrestler. We travel a lot and it was a way of tying up all of our travels with a narrative about a wrestler looking for love. In some ways it is autobiographical, as I arrived in the UK lonely, and anonymous, and ‘the lone wrestler’ is a kind of older version of how I felt back then… As for who the wrestler is, that would be telling. Get in touch with him/her to suggest the next place to visit on his/her quest for love and you may get a clue! Where do you get inspiration? My pictures are “found” pictures - I find moments, I find places. I try to avoid the set up, and tend to find inspiration from the world around me as it stands. Not the extraordinary, but the ordinary - the patterns in everyday life. I also take inspiration from biographical details of my life, hence the strong connection to solitude and the sea... I particularly love derelict places, and spaces that contain human traces. I like nature when it is vast, and it makes us look like tiny ants. All my work is really about desolation, about emptiness and nostalgia.

Amanda Pulley in our last interview wants to know what do you hope people will get out of viewing your photography? A connection with a universal past. I suppose I want my images to suggest a time when life was less complicated, a feeling of peace, pensiveness. Who are your favourite photographers? Stephen Shore, Alec Soth, Martin Parr, Elizabeth Heyert, Gursky, Edward Burtysky, Sarah Moon and Sally Mann. There are too many to mention really! I like people who think before they shoot. What kind of camera do you use? Many! I’m not limited to a single camera, though in my heart a folding SX-70 camera is the very essence of Polaroid. I love my TOYO 4x5, my 600SE, my SLR680 and my 180 or 195. But the square format integral and those bluey greens of SX-70 will always be my true love.

Do you have some project in progress? Always! I am working on a series of books, and an exhibition that will take place on Redchurch St in June/July. I also have a series called ‘Pavement People’ which is about tourists who visit amazing places, without really visiting them – i.e. people on coach tours, and organized trips, who don’t like to be outside of their comfort zone. Where people can find you and your works? My website(s),, www., Polanoid (rodeo), and Flickr (rhiannonadam). I also exhibit where I can, usually in London as that’s where I live! What would you like to ask our next Interviewee? What is your opinion on digital manipulation? Do you think it adds to photography, or distracts from what photography is really about? Have you ever owned a Polaroid camera and what do you think of it?

Shooting in Polaroid, do you think that digital technology is destroying it or creating nostalgia and bringing it back? Without digital, Polaroid wouldn’t have died. Digital photography is killing Polaroid, and even though there are apps like Hipstamatic and Instagram, the peope that use them don’t go and buy the film afterwards. The people that use those apps don’t necessarily appreciate real Polaroid, they like the idea of being to seamlessly load their images onto Facebook and the like. It’s a different thing. It’s just a way of making bad photos look better by applying an algorithm to them. The internet, however, which I think also counts as “digital technology” does help the cause. I remember when Polaroid was on its way out petitions flew around the internet trying to save it – I’m sure the number of signatures helped The Impossible Project secure funding proving there was still interest. Without Polanoid, and Ebay my passion may have died, and I wouldn’t have film to shoot. So there are good elements to the digital world as well as bad ones!

© Impossible


This opening photo was the first image that reminds me the rebirth of Polaroid Factory thanks to the Impossible Project. The story started on October 11th 2001, when Polaroid Corporation failed for bankruptcy. In 2007 it stopped making Polaroid cameras and, a year later, after 71 years from the birth, they interrupted the production of this magic instant film, which marked an era in the world of photography. After that, Florian Kaps and Andrè Bosman decided not to accept the extinction of analog instant photography and with the collaboration of Marwan Saba launched an impossible project with a concrete aim: keeping the magic of analog Istant Photography alive by the invention and production of new instant film materials for Vintage Polaroid cameras. Therefore Impossible saved the last Polaroid production plant in Enschede (NL), acquiring the machinery from Polaroid. After some problems to be solved, like the 7 problem points of development & research for finding new solutions for upgranding the Integral Film Pack components. To resolve this problem, Impossible engaged the most experienced team of integral film experts worldwide, and in October 2009 the Impossible laboratory have made working black and white films and considering how to commercialize the product in the following year. Finally, after five months, with the delight of nostalgic polaroiders the Impossible Project PX100 Silver Shade could be bought. The new instant era began!

PZ 600 Silver Shade


Film Speed: ISO 600/DIN 29 Format: 4 x 4.1 in. (10.2 x 10.3 cm) Image Area: 3.5 x 2.9 in. (9.0 x 7.3 cm) Finish: Glossy Exposures per Unit: 8 exposures per pack Development: 10 minutes approximately at 70°F (21°C)

PX 100 Silver Shade Film Speed: ISO / ASA 150 / DIN 23 Format: 3.5 x 4.3 in. (8.9 x 10.8 cm) Image Area: 3.031 x 3.125 in. (7.7 x 7.9 cm) Finish: Glossy Exposures per Unit: 8 exposures per pack Development Time: 3 minutes approximately PX 600 Silver Shade Film Speed: ISO / ASA 600 / DIN 29 Format: 3.5 x 4.3 in. (8.9 x 10.8 cm) Image Area: 3.031 x 3.125 in. (7.7 x 7.9 cm) Finish: Glossy Exposures per Unit: 8 exposures per pack Development Time: 3 minutes approximately

Film Speed: ISO / ASA 600 / DIN 29 Format: 4 x 4.1 in. (10.2 x 10.3 cm) Image Area: 3.5 x 2.9 in. (9.0 x 7.3 cm) Finish: Glossy Exposures per Unit: 8 exposures per pack Development Time: 3 minutes approximately PX 70 Color Shade FF/Push! Film Speed: ISO / ASA 125 / DIN 23 Format: 3,5 x 4,3 in. (8,9 x 10,8 cm) Image Area: 3 x 3,1 in. (7,7 x 7,9 cm) Finish: Glossy Exposures per Unit: 8 exposures per pack Development Time: 4-10 minutes approximately. PX 680 First Flush Film Speed: ISO 600/DIN 29 Format: 3.5 x 4.2 in. (8.8 x 10.7 cm) Image Area: 3.1 x 3.1 in. (7.9 x 7.9 cm) Finish: Glossy Exposures per Unit: 8 exposures per pack Development: 10 minutes approximately at 70°F (21°C) PZ 680 Color Shade

This films present some developing problems of light exposure and warmth. PX100 had crystal killer and PX 680 First Flush has sometimes white spots. To solve all of these problems please consult the Impossible our film section http:// But don’t worry… they’re still working for us!

PX 70 Color Shade by Lia Saile © Impossible

PX 600 Silver Shade by Lia Saile © Impossible

PX 680 Color Shade FF by Piotr Debski © Impossible

PX 600 Silver Shade UV+ by Lia Saile © Impossible

PX 70 Color Shade FF © Impossible

PZ 600 Silver Shade © Impossible

PX 100 Silver Shade by Lia Saile © Impossible




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The network of Italian Artists

Polaroiders is an Italian social network born in June 2010 for all the fans and nostalgics of Polaroid. From the beginning they have great success and they’re immediately struggle in this year with four books (Vintage is Vintage, Polaroiders Anno Zero, BO50, Nanowriters meet Polaroiders), exhibitions, workshops and a lot of collaborations in Italy and abroad, including Impossible. We talk about it with Carmen Palermo and Alan Marcheselli, the founders. Hi Carmen, Hello Alan. Please introduce yourself.

And at the news of Impossible Project, How did you react?

Alan: Hi I’m Alan Marcheselli, co-founder of

A: I must say I was really sceptic, I already knew that the original polaroid receipt was lost and the Impossible project at the beginning of its life seems to me a really IMPOSSIBLE project, but I began to follow them.

Carmen: Hi! I’m Carmen, the other co-founder. When and how was born ? A: Polaroiders was born the 21st of June 2010 by our experience in others photograper groups, there where a lot of Social network dedicate to Photography but no one was fitting our idea, so we were speaking via Skype and I propose Carmen to create a Social network dedicated to our love, the instant Photography and in our will we try to create a home for old and new generation of Italian Instant photographers and artists. When did you purchased/received your first polaroid? (Which model was it?) A: I buy my first Polaroid when I was 19 and it was a SPIRIT 600 CL. C: My first polaroid was a Polaroid 1000 Red Button: my father bought it when I was born and last year I decided to “exhume” it. What were you doing at the end of Polaroid Instant Film production (and how did you handle it)? A: My father showed me the news on the newspaper and than I ran on the web to know more about it; it was a real hearthake! After that I called all the shops I knew and I began collecting all of the 600 film packs I could. (I used the last pack few days ago). C: I heard about that news from the web, but at that time I didn’t use polaroid yet. I realized what that news was meaning last year when I decided to use my father’s polaroid.

C: In this case I had different points of view: I never used a polaroid before last year and when I decided to start making polaroid the polaroid film stocks were finishing, The Impossible Project really gave me the dream of instant photography. What do you think of their films? After the initial problems, have they improved a lot or do they have to work up a bit more? A: The first PX100FF was quite a surprise, it didn’t fit any of my expectation. It was a very particular film with some problem to solve, but let me say that I began falling in love with this new istant era, it was such a new discovery every day and it was easy to feel part of the process. Following up the question, yes, they have improved a lot, and yes they still have to work up. The road towards perfection is long, but they are running and we are having fun. C: The PX100FF was really hard to use but the film gave its own effects that sometimes, now, we’re looking for and we can’t have anymore. Sure they improved a lot in this year and surely they have to work. It is thrilling looking at their improvements and trying new films with new behavior and effects. Usually in my interviews I ask what is photography. I’d like to ask to you, What is Polaroid? A: Someone sing, someone write, a lot spend the day in front of television or lying on the sofa after their job; Polaroid or better Instant

Photograpy is the way I choose to express myself. C: I agree with Alan, instant photography is the better way I have to communicate first of all with my inner self . Do you have some favourite Polaroiders in your community? A: Sure, a lot :) C: Exactly! A lot! I’m fashinated by the ways each of them can model differently the same film and how they communicate different feelings. Some anticipation, future projects on A: We are planning for the nearest future a trip in Austria to go visiting all together the Polaroid Exhibition in Wien, in the meantime, with the support of the Impossible shop Wien, we will

organize a workshop about the new PX680. And for the most far future, we are now having some contact to organize in 2012 the Italian Instant Festival, 30 days dedicated to the instant photography. I leave to you the last question, a free space to say what do you want to say, something that I haven’t asked you, or to advertise. A: I thank you for this interview, and thanks to everyone who have taken the time to read it. Just last thing: instant photography is all new, we are all pioneer of a new analogic era, I think this is fantastic. C: I’d like to say thanks, sure at you and your readers, and especially to all members of that help to grow up every day more.

We Love‌ is a free space to submit all you love, still on the base of Trees Wood Green Wild Girls and Pretty Bunny of our blogzine The World Through Green Eyes. so what do you waiting for? You can post text, video, photo, link and whatever you love!

Š Impossible

Impossible battery return project

Š Impossible

For know more about the Impossible battery return project, please visit:

THANKS A special thanks to Silvia for the introduction and to Marlene of Impossible for the usage of image materials. I would also like to thank Rhiannon, Carmen and Alan for their time, thanks also to Lorenza and Matteo for help me with translation and impagination. Finally, a big thanks to all the Photographers for submitting their wonderful instant photos! Hope you like it, Lu

In this issue:

Rhiannon Adam

Cristina Altieri

Marija Cerniavskaite

Luca Tommaso Cordoni

Matteo Cordoni

Shelbie Diamond

David Dittrich

Mai Downs

Martina Giammaria

Michela Heim

Holga My Dear

Silvia Ianniciello

Impossible Project

Arianna Lerussi

Anna Morosini

Brigette Palmer

Lorenza Panelli

Annette Pehrsson

Irma Rose Pettitt


Polaroid Art Italy

Amanda Pulley

Kate Pulley

Andrea Simonato

Valeriya Stepura

Lydia T.

Elena Vaninetti

We Love‌

A World in Reverse

The World Through Green Eyes

Š The World Through Green Eyes