Blur - Polaroiden

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S P E C I A L E D I T I O N D E D I C A T E D T O P O L A R O I D


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Polaroid was invented as an attempt o simplication o theprocess reserved only or the masters o the dark room, andalthough it had a great ambition to become a serious com-petitor o the classical photo development, it never achie-ved it. Still, Polaroid gained big popularity and many usersand ans. It announced something in which later digitalphotography succeeded, which are practicality and massand simple usage. Due to its imperections, Polaroid pho-tography never seriously endangered analogue one, but itis because o them that it was always perceived as artistic.

This is also the reason why Polaroid company, through itshistory, very oten hired artists and proessional photograp-hers in its campaigns.

However, the circumstances have drastically changed withthe introduction o digital photography, which caused a re-

volution by enabling photographical expression to all usersregardless o their previous knowledge and education con-cerning photography. The photo industry experienced areal boom, while instant analogue photography, because oits inability to respond new market needs, disappeared. InJune 2008, Polaroid company globally stopped the produc-tion o instant lm by shutting down its actories in Mexicoand the Netherlands. This moment was ollowed by nume-rous demonstrations and disapprovals o nostalgic Polaroid

users all over the world, which motivated Impossible B.V.to start up an impossible mission o saving Polaroid pho-tography. Today, 22 o March is a great day or artistic andphotography scene, as it is the day when The ImpossibleProject, ater acing many challenges and troubles, becamepossible as they successully launched their new instantlms compatible to the old Polaroid cameras.

In order to celebrate this great moment, BLUR magazinecreated a real Polaroid treat a special edition in which alldetails about the reshly produced lms will be revealed,where we will show test photographs shoot on the newlms, but also present a new section INSTATATION throughwhich we will be presenting work o many Polaroid photo-graphers, and which will, we believe, become a must seeor all instant lm lovers.

Within this special issue, we have also presented some moreintimate photographs since Polaroid was know, to many, asan ideal method o shooting small personal home photos.

This sae system, through which it was hard to make uncon-trollable and unwanted copies, enabled more relaxed pho-to shooting. To the ladies, guaranteed o privacy in order toget rid o their extra clothes, and its imperections enabledsae hiding o their identity. Although, probably, not so

many o these photos will be sent to our redaction, we stillkeep our ngers crossed. In the meanwhile, with the aim toencourage those who possess this kind o photos, we havepublished two Italian masters o Polaroid erotic.

At the end, in order to conclude this great Polaroid story, inDecember 2009 BLUR started up a big international pho-to competition entitled The Best Polaroid Photo. O course,the intention o the competition was never to gather allever best made Polaroids, since due to the logistical rea-sons it would be quite impossible. Instead, it oered a quitesubjective approach and experience o these works. Therewere no strict criteria and guidelines upon which exactlythese 30 photos were selected by the jury, as we were ru-ling based on our personal preerences, the same as weasked you to do. Beside the jury, the nal decision was up

to you so that you could also, in this way, participate in thishistorical moment.

We would like to thank al participants o the competitionand voter or their supports, as well as congratulate all na-lists and winners.

In order to celebrate this great moment, BLUR magazine created a real Polaroid treat a special edition in whi-

ch all details about the reshly produced lms will be revealed, where we will show test photographs shoot

on the new lms, but also present a new section INSTATATION through which we will be presenting work o

many Polaroid photographers, and which will, we believe, become a must see or all instant lm lovers.

Robert Gojevi, editor in [email protected]


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BLUR MAGAZINE

impressum

Robert Gojevi

ounder | editor in chie | design | dtpe-mail: [email protected]

Ivana Krnji

marketing & PR | translatore-mail: [email protected]

Anamarija Kova

translator

Petra Nenaditranslator

Ivana Beni

translator

Vedran Korui

prooreading

Davor Jurii

prooreading

Ivan Pekarik

translator

Dario Devi

web master

ABOUT BLUR

HARD FACTS - BLUR HISTORY

Blur magazine is project ounded and run by photography enthusiasts, and volun-teers rom all parts o Croatia. Aiming at achieving high quality content, the maga-zine is published quarterly in PDF ormat so it can easily be downloaded, saved andbrowsed through every now and then. It is available through the Internet exclusively,in order to avoid high cost distribution ees, break territorial borders and reach everysingle part o the Earth, ree o charge. It is because o its cosmopolitan nature thatBlur is edited simultaneously in Croatian and English. Though initially established un-der the name o Bulb at the close o 2007, in September 2009, it changed its editorialboard, rereshed its team o collaborators and, using a bit more blurry name, Blurnow heads or new challenges.

SOFT FACTS - BLUR VISION

When it comes to presentation, photographers have great expectations rom theInternet. Virtual exhibition rooms replaced expensive and highly privileged galleriesand at one point it seemed an easy tool or one to be noticed and recognized withoutinvesting a lot o money. However, nobody expected such hysterical interest or pho-tography, a mass industry that constantly persuades us we always need to be awareo latest technological novelties.

A large amount o photo por tals appeared, which led to quality dropping and cri-teria being downgraded, orcing photographers to spend more time online than ac-tively do what they should - take photos. Recognition mostly became a consequenceo constant communication and active and thoughtul commenting the work o otherphotographers, while those less active remained unnoticed in spite o their quality.

We are surrounded by photography every step o the way but it however sadlymostly co-exists with capitalism the way o lie which but ruins the values withoutwhich we only eel empty and incomplete. Everything is seen through the eye o the

dollar and material interest.

Blur magazine chooses to resist to these trends. Apart rom the act it is ree, unbeli-evable to most, we omit what we subjectively eel should be less important and moreblurry when it comes to excellent photography on purpose. Our readers are ree romtechnical inormation which camera/lens was used, what was the ocal length andthe rest o unimportant acts that ll most o photo related magazines and web por-tals. Or ocus is purely on creative photography, with a strong personal mark by aut-hors that deserve to be highlighted. We want to slow down production rhythm, andmake readers and photographers strongly reconsider photography. We wish to beexperienced more as a book and less like a movie.


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THE IMPOSSIBLE PROJECT presents IMPOSSIBLE INSTANT FILM


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31.536000 SECONDS The Impossible Project had


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31.536.000 seconds to change the world o Photography31.536.000 seconds to re-invent Instant Photography rom scratch31.536.000 seconds to develop 31 new components that are needed to assemble one single Instant Picture31.536.000 seconds to prevent more than 300.000.000 perectly unctioning and careully preserved Polaroid

cameras rom becoming obsolete31.536.000 seconds dedicated to all the people out there who still embrace the magic o analog Instant Pho-

tography, who believe in the visions o Dr. Edwin Land and supported the Impossible dream.

Writing a new chapter in the history of Photography

Just a dream?


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A DREAM COME TRUE!The Impossible Project proudly presents its rst 2 Impossible Films

PX 600 Silver Shade lm is a medium contrast high denitionIntegral Film, careully adjusted or optimized results when usedwith 600 cameras. It renders a beautiul black&white characteri-stic with a lot o details, especially in the darker areas, combinedwith a highly sensitive overall exposure perormance and sensiti-vity to processing temperature.


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PX 100 Silver Shade lm is a medium contrast high denitionIntegral Film, careully adjusted or optimized results when usedwith SX70 cameras. It renders an astonishing pastel Sepia tone,combined with a highly sensitive overall exposure perormanceand sensitivity to processing temperature.

Impossibles new PX Instant Films are dedicated to all the pe-ople who a passion or the magic o analog Instant Photogra-phy. Careully manuactured to slowly develop in the palm o thehand, PX Silver Shade Films are monochrome Instant Films thatare designed or usage with traditional Polaroid cameras.

This brand new Instant Film material subtly combines all theimportant characteristics o the traditional analog Instant Film(appearance, ormat, temperature sensitivity, manipulability)with the unique, new appearance o silver based, monochromeshades.


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PX 100 and PX 600 Silver Shade Films are introduced in a limited FIRST FLUSH Edition. This Edition is to celebrate the be-ginning o a new era o Instant Photography by Impossible. These very rst lmpacks produced at Impossibles actory in En-schede (The Netherlands) will provide all waiting photographers with a splendid, rst taste o the new favor o Impossibleslm materials. These will be developed and expanded urther, creating a whole amily o new ormats, characteristics andblends.

PX 100 and PX 600 Films will be available online at www.the-impossible-project in a limited, First Flush Edition rom Thurs-day, March 25th onwards, and shortly thereater at selected premium retail partners all over the world.

In summer 2010, Impossible plans to present its rst PX Color Film. In total, Impossible aims to present 6 new Instant lmormats throughout o 2010: in addition to the PX 100 and PX 600 Silver Shade, two PX Color Films (100 and 600 ASA) as wellas a Silver Shade and a Color Version o the larger Integral Instant lm ormat or usage in all Polaroid Image/Spectra/1200cameras are planned.


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Established in the 1960s, the inventor o Instant Photography Edwin Land started one o the most signicnat art projectsever. With the support and under the leadership o Ansel Adams, Land provided the most outstanding, contemporary photo-graphic artists with his instant lm materials and collected their resultant artworks in order to serve two main purposes:

1. Constant learning about and development o the lm materials in close collaboration with the people using it.2. Revealing the potential o Lands materials by collecting and presenting a astgrowing collection o the most interesting

photographic works o all times.

The Impossible Project was not only started to develop, produce and distribute a new, ascinating analog instant Film Mate-rial and to therewith save analog Instant Photography rom extinction. The overall picture contains much more: Being a trueand honest dedication to one o the most ascinating analog inventions ever made, Impossibles passionate mission is to startwriting a completely new chapter in the history o Photography.


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T H E I M P O S S I B L E C O L L E C T I O N

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Alison Garnett (CAN)Ani Asvazadurian (AT)Aurlien Dumont (FRA)Beppe Bolchi (ITA)Boris Zuliani (Frau)Brian Henr (USA)carmendevos (BEL)Chloe Aftel (USA)Claire B. (FRA)Dan Ran (UK)

Dann Clinch (USA)Didier Le Pecheur (Frau)Emilie Le Fellic (FRA)Filippo Centenari (ITA)Grant Hamilton (USA)Heather Champ (USA)Holger Homann (GER)Jake Chessum (USA)Jeff Hutton (USA)Jeff Sutter (USA)

Jennifer Rumbach (GER)Jerem Kost (USA)Jessica Hibbard (USA)Josh Goleman (USA)Justin Craigen (USA)Laura A. Watt (USA)Leah Reich (USA)Lia Sile (GER)Lindsa Josal (USA)Nanc L. Stockdale (USA)

Philippe Garcia (FRA)Pino Valgimigli (ITA)Rebecca Rust (CH)Sean Tubrid (USA)Simone Frignani (ITA)Steph Parke (USA)Rhiannon Adam (UK)Richard Bevan (UK)Zora Strangefelds (GER)

THE IMPOSSIBLE COLLECTION

With the availabilty o the rst new Impossible Instant Film, Impossible is now in the honorable position to su-pport and cooperate with all the contemporary photographers and artists whose work is based on the magic oanalog Instant Photography.

Starting with the very rst packs o testlm o the new PX Silver Shade material, Impossible invited several ca-reully selected photographers and artists worldwide to utilize the new materials and to discover its potential andcapabilities - and to therewith start building The Impossible Collection: a new archive o contemporary InstantPhotography artworks.

So ar the ollowing artists provided their work and careully interpreted the new Impossible materials, buildingthe base o THE IMPOSSIBLE COLLECTION:

Furthermore, the supporters o The Impossible Project recently placed a binding oer to purchase the Internati-

onal Polaroid Collection, located in the Muse de lElyse, Lausanne. Impossibles intention is not only to preserveand protect this unique collection rom being sold in parts, but also to re-open and expand it by providing thenew Impossible lm materials to contemporary artists.


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Ani AsvazadurianUntitled

Austria, 2010

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DUMONT AurlienBlack and WhiteFrance, 2010


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DUMONT AurlienUntitledFrance, 2010

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Beppe BolchiCannareggioVenice, Ital, 2010

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Beppe BolchiDuomo SquareMilan, Ital, 2010

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Boris Zulianile hoang lanVietnam, 2010

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Brian HenrSucculentUSA, 2010

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carmendevosdropBelgium, 2010

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Claire B.UntitledFrance, 2010

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Emilie Le FellicSecret MissionFrance, 2010

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Filippo CentenariUntitledItal, 2010

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Grant HamiltonPart Over HereUSA, 2010

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Grant HamiltonSaraUSA, 2010

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Heather ChampUntitledUSA, 2010

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Jake ChessumGear Street, San FranciscoUSA, 2010

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Jeff HuttonGrahms RobotUSA, 2010

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Jeff SutterImpossible DreamUSA, 2010

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Jennifer Rumbachbaraque 48Camp Hitfeld, German, 2010

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Jennifer RumbachDouble

Achen, German, 2010

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Jessica HibbardRocking HorseUSA, 2010

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Josh GolemanPaul and EmilUSA, 2010

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Josh GolemanMurphUSA, 2010

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Justin Craigenturbine #42Iowa State Universit,

Ames, Iowa, USA, 2010

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Laura A. WattUntitledUSA, 2010

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Laura A. WattUntitledUSA, 2010

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Lia SileUnravelGerman, 2010

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Lia SileUntitled

Austria, 2010

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Lindsa JosalUntitledUSA, 2010

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Nanc L. StockdaleThe Campus TheatreDenton, Teas, USA, 2010

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Rebecca RustDeparturesSwitzerland, 2010

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Rhiannon AdamCanar Wharf from the GreenwichFeerLondon, UK, 2010

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Rhiannon AdamUntitledUK, 2010

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Simone FrignaniGuilt is the witnessGerman, 2010

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Simone FrignaniDisco EcstasGerman, 2010

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Simone FrignaniThe ShiningGerman, 2010

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Zora Strangefelds

A Real BoGerman, 2010

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Zora Strangefelds

UntitledGerman, 2010

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the

Israel

The possible windELLA SVERDLOV

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the

Great Britain

FlorenceMIKE HOBAN

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the

German

The burning lollipopJENNIFER RUMBACH

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the

USA/Hungar

Liberty bridgeILDIKO VOROS

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the

France

Your handPHILIPPE GARCIA

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the

Ital

PolaRomanceDANIELE PEZZOL

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the

USA

Strawberry eldsAMALIA SIEBER

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the

Australia

Waiting, for nothingJACKSON CASAGRANDE

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the

Finland

Innovation economicsJARKKO WICKSTRM

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the

Spain

Take me off your mailing listIRENE DIAZ

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the

USA

Typewriter in dunesEVAN BREAREy

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the

Poland

Kaja No. 1TOMASZ MOSIONEK

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the

Great Britain

Morgan & GwenllianMARC ARKLESS WALES

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the

Switzerland

BUBBLELAURENZ A. REINITZER

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the

USA

Snow day part 1LEANORA EILEEN SALAZAR

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the

Israel

PhotograftiLIAT HEFETZ

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the

Ital

Love andPeaceCLAUDIO BOCCHINI

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the

Ital

Foggy day at the seaGABRIELE CHIAPPARINI

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the

USA

Timeless journeyJESSICA REINHARDT

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the

Belgium

Read till you need no more....wordsCARMENDEVOS

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the

France

BackstageANTONIO BARROS

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the

Urugua

GinzaFERNANDA MONTORO

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the

China

BirdSHION COLOMI

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the

Sweden

The smell of owersOSCAR HAGBARD

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the

UK

Mont BlancMARTIN JACOBS

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the

USA

Now here is nowhereLIZ GRESEy

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the

Ital

Magic busRICCARDO TESTOLIN

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INstantionINstantionBLUR MAGAZINE


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Italhttp://www.alegiudice.com

Alessandro Giudice

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INstantionINstantion

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ALESSANDRO GIUDICE

I was born in Bologna in 1965.When I was 12, I started to attend darkroom lessons ater

school and began photographing with a 35mm rangender.In 1988 I borrowed a 35mm SLR and started to eel pho-

tography, when I ell in love with the images o Herb Ritt, He-lmut Newton, Robert Mappelthorpe, Edward Weston, MarcoGlaviano, Dahmane, Je Dunas, Jeanloup Sie and many ot-her masters. Majority o things I learned rom them, but alsorom cartoon illustrators such as Manara, Crepax, Saudelliand others.

I soon transormed my bathroom into a darkroom whereI started experimenting with black & white lm and its de-velopment. In the mid 90s I started using Photoshop (i I re-member correctly, it was the version 2.0). During these yearsI tried to work with still lie images, but I soon realized howthis was ar away rom how I experienced photography.

These were the rst years o expensive digital scannersthat supported prints, slides and negatives but also the timeswhen the rst problems with color consistency occurred,which I slowly learned how to solve.

Up to this day, I am still doing the same job, but in the lastyear, encouraged by many insiders rom the eld, I startedwith some dierent projects and began to work as a photo-grapher in the publishing industry, ocusing on nude, glamo-ur and ashion. Last week, an editor o Italian Playboy sugge-sted me collaboration. I currently live in Bologna, but I alsowork all around Italy and abroad.


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My avorite motives are precisely the nude and glamourbecause I enjoy the possibility o storytelling through onesingle rame. I tend to have wonderul relationships withthe models (the malicious may think what they want). I likeevolving them as partners in the project in order to combineboth o our creative orces. I love photographing women; Itry to create a relaxing shooting atmosphere, asking themto act as actresses instead o some cold icy creatures. Whilesearching or a good shot, I rstly like to put all the elementstogether and then to improvise.

I mostly use digital SLRs and medium ormat digital rentali necessary, but, inspired by my riend Daniele Pezzoli, I sta-rted using Polaroid or my personal projects. When it comesto light, I use the natural one or studio fash. I know well theequipment but I would say that I am ar away rom techno-logical obsession, because in the end, photography can bedone with so many equipments: pinhole, rom lens baby andmanual ocus lenses, up to the very modern lenses.

I try to minimize the digital editing, but none o my pho-tographs leaves the room without a bit o post-productionhandled exclusively with Photoshop and Light room.


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http://www.alegiudice.comBLUR MAGAZINE


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daniele pezzolihttp://www.danielepezzoli.it

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He was born in Bologna in 1959 and obtained Art High School degree in 78.Among his teachers the painter Piero Manai, the sculptor and photographerVecelio Paverati and the painters Satta, Boni and Montanari.

From the rst years o high school he got in touch with photography, starting

a personal research o chemical and graphic elaboration o his images.

In the end o the 70s, the rst experiments using Polaroid materials disclosedthe chance to join two worlds seemingly in confict with each other: realism ophotographic image and the utmost creativity o painting.

So in the ollowing years, thanks to the techniques he developed, he had thechance to mix better his pictorial tastes together with photography.

He was born in Bologna in 1959 and obtained Art High School degree in 78.Among his teachers the painter Piero Manai, the sculptor and photographerVecelio Paverati and the painters Satta, Boni and Montanari.

From the rst years o high school he got in touch with photography, starting

a personal research o chemical and graphic elaboration o his images.

In the end o the 70s, the rst experiments using Polaroid materials disclosedthe chance to join two worlds seemingly in confict with each other: realism ophotographic image and the utmost creativity o painting.

So in the ollowing years, thanks to the techniques he developed, he had thechance to mix better his pictorial tastes together with photography.


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Documents

Blur - Polaroiden