David Burnett, who shoots for Time and many other prestigious places, notably from Chile, is probably the only press photographer out there who still shoots 4×5 sheet film. He works with a Speed Graphic camera built in about 1949. Roads & Kingdoms, the excellent site devoted to heavy reporting in faraway places, just published a set of his photos, and a companion set by Michael Magers that documents how he shoots. R&K asked me to write a little intro, and you can read it here, and Nathan Thornburgh’s excellent companion story here—but do spend some time with the pictures as well as the words. Like these:

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Presidential candidate Marco Enriquez-Ominami at his headquarters. Photos by David Burnett / Michael Magers, via Roads & Kingdoms. (Click image for larger view.)

 

You may know her from Veronica Mars (the TV show and the forthcoming movie) or House of Lies. Shot for Rolling Stone in 2006; amazingly, story’s not online, otherwise I’d link to it. This image, as the watermark indicates, comes from the fan site kristen-bell.org, by way of the instant-photography blog Phasmatis Apparatus.

Kristen Bell

The camera is a Model 180, same one I use every day. She looks better doing it.

 

 

Nothing instant about this blog lately—I have let things go for far too long, for which I apologize to my MILLIONS of readers. I don’t have much of an excuse, either; the day job plus the in-person book-plugging have been demanding. But I am looking to get back in the rhythm of regular posts, starting with this one.

Spent last weekend in San Francisco, visiting my brother and dropping by three Pola-related events. The first was a real joy: the opening of Susan Mikula‘s show at the George Lawson Gallery, on Sutter Street. I have expressed fandom about Susan before, here, and for this show of her newest work, a series called “u.X,” she asked me to write the catalogue essay. (If you are a Mikula fan or Bonanos completist, you can order it here.) The show looks great on the walls, and if you are able to get to the gallery before October 5, do it. If you can’t, well, it’s part of a three-city exhibition, with work on view in Los Angeles and Northampton (Mass.), too, so really now, what’s your excuse?

The next day brought an event at Photobooth, the little studio/gallery/shop in the Mission district that is devoted to various obsolete photographic technologies. Tintypes, especially, one of which came home with me, and looks like this:

The author, back from the Civil War.

The author, back from the Civil War. (Click for terrifying resolution.)

Pores! My god. Anyway, the shop sold a few books, and I met a few instant-photo buffs and had myself a great afternoon. Thanks to Vince, Melissa, Kari, and Annie for the hospitality, and also the Pabst Blue Ribbon.

Two of those enthusiasts, it turned out, have made a rather ambitious effort out of their buff-dom. They’re Billy and Bruce, the guys behind Polaroid SF, a project simple in concept but not so simple in execution: a Polaroid photo a day, done well, showing some fresh angle on San Francisco life. Today marks the second anniversary, and thus the end of the second cycle. A snapshot of me (taken outside the Photobooth shop on Valencia Street) was No. 364 this time, which tickles me to no end. And since you’re already headed to San Francisco for Susan’s show, I am very pleased to say that Polaroid SF is also opening one, showing all 365 of the last year’s pictures, for one night only on Friday. You, as a Polaroidland visitor, are expressly invited.

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It will surprise nobody who reads this site that I kinda dig the old-style Dymo label.

People were shooting “selfies” long before the word appeared, including Miss I Knew You Were Trouble:

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Can’t find a photo credit on this one—apologies in advance to the photographer.  Will add them immediately it if a source turns up.

Same shoot, more frames:

TaylorSwift

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Chris McVeigh, who makes Lego models of early Macintoshes and vintage telephones and other formerly high-tech objects, is making a kit for a you-know-what:

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The best detail, though, is that it pushes out a little Lego photograph. Click the image below to see it do its stuff:

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Click on image to see the animation.

The tough thing is finding fresh Lego film for it, though.

(Thanks to Laughing Squid for the link.)

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They’d hate me for that headline, but it turned out to be accurate.

To recap the story, quickly: In 1976, Polaroid’s only great competitor, Eastman Kodak, launched its own line of instant cameras. Kodak’s lawyers and engineers believed that they’d dodged and weaved their way around Polaroid’s patents; Polaroid emphatically disagreed, and a week later sued. Fourteen and a half years in court ensued, and Polaroid won. Kodak had to write a check for the largest settlement ever paid out in a patent trial—$925 million—and Judge Rya Sobel, in a serious rebuke, barred the company from the instant-photo business altogether. Owing to a class-action suit, Kodak had to buy back all the cameras for which it could no longer supply film.

I included a chapter in INSTANT about the case of Polaroid v. Kodak, and in our age of patent mills and relentless intellectual-property defense, it’s still a relevant story. As it happens, I recently received (from my wife’s aunt Margaret) one of Kodak’s own instant cameras, and packaged with it was some firsthand evidence of the story: the documentation consumers received in the class-action suit. Here’s the camera, a Kodamatic 960 made in the early 1980s and bought in a kit at J.C. Penney.

IMGP4303Unlike the earlier Kodak instant cameras, most of which were clunky, ugly things, this one’s not bad. It’s not nearly as elegant as an SX-70, nor is it an SLR, but it pops up in somewhat the same way. Here it is in the open position:

IMGP4302You’ll notice that it’s missing a piece of trim on the front panel. That was where the nameplate was. When Kodak was enjoined to quit the instant-photo business, it sent a letter to all owners saying, in effect, “send back the nameplate and we’ll send you payment.” Here’s that letter, with addressee information digitally scrubbed off. (The dot-matrix type will push a different nostalgia button, for anyone who spent time in an office in the 1980s—this is from the sort of printer or electronic typewriter that we laughably used to call “letter-quality.”)

 

Scan 1

Click to read at full size.

And here’s the actual printed documentation of the class-action suit that went to owners. They could receive cash or Kodak stock. I’ve heard stories about people who went to yard sales, scooping up Kodak instant cameras and trading them for shares, which were blue-chip in those days. People apparently still try it, too: Kodak’s Website still bears a notice saying that the offer has expired.

Scan 3 Scan 4

 

It’s almost 23 years later, and nobody’s ever paid out a patent settlement this big. Last August, Apple v. Samsung briefly overtopped it, at $1.3 million—but that judgment has since been reduced, and Kodak retains the ignominious title. (Another Apple-Polaroid parallel, among many.) Here’s a testament to the bad situation Polaroid had got into by the late 1990s: A billion dollars arrived in 1991, and by the end of 2001 the company was in bankruptcy anyway. What a mess.

As I said, I wrote a chapter about this in my book, and the lawsuit was well addressed in Victor McElheny’s biography of Edwin Land, Insisting on the Impossible. The real story, though, is forthcoming: Ron Fierstein, who was one of the top lawyers on the case (working for Herbert Schwartz, at the firm Fish & Neave), has written on a whole book about it, and it sounds like it’ll be out within the year. Needless to say, I’m looking forward to reading it.

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