New 55 Film

New55 photographed by Polly Chandler 

Alright, 4x5 photographers. We have a Kickstarter to get behind. New55 FILM is taking up the challenge of filling the market of the discontinued Type 55 film. The product has a different quality than Type 55, but from what I can tell from the samples, it looks beautiful. The product will produce a negative and a positive, and is used with a 545 Polaroid Land Film Holder. To learn more about the film, pledge a donation, and find out about other pledge perks, check out their Kickstarter. If they meet their goal, film is expected to shipped out in 8 months.

Here is some more information by Michael Kirchoff about New55:

There’s a new Kickstarter campaign on the block, and they want your hard earned money to help them bring about a new film for photographers to make images with. Film?...yes film. Some brief info on what it is and what they plan to do, before letting you watch the video and explore further on your own. The name of the film is New55, and it is a re-imagining of sorts of Polaroid’s legendary Type 55 positive/negative film, which ceased production back in 2008. That end was a shock to the system and careers of a great many photographers out there, as it was used for both commercial and artistic purposes. It was the film with the famous deckled edge and identifiable border that came in single sheet form for 4x5 view cameras. It had incredible tonal range and sharpness. It was loved by so many photographers out there that petitions to keep it in production flooded the halls of Polaroid. None of that worked however, as you might have guessed. Some, myself included, purchased and literally hoarded box after box of the film and put it into cold storage to be used sparingly until even now, because the thought of not having it is, well...sort of incomprehensible.

So what is New55? It is a film that uses Type 55 as a template for something similar, but quite different, and in some ways, an improvement. It still comes in single sheets of 4x5 black and white film. It is still a positive/negative film...meaning that upon peeling the shot sheet open, you are presented with a black and white positive print, and a high resolution negative of the same size, for either printing or scanning. One improvement is of a “green” nature, in that the redesign of the actual film packet means that less trash is created after it’s used. The possibility that the ISO of the film will be higher than Type 55’s ISO 50, maybe even as high as 200. Lastly, the film is exposure balanced, meaning that when you shoot a properly exposed sheet, you get a tonally rich print AND a perfectly exposed negative...something that Type 55 could never do. Cool, right? You’re damn right it’s cool, and quite beautiful as well! It’s also worth noting that there is no 4x5 black and white instant film currently in production anymore. Even Fuji has bailed on it. That leaves a big hole in what is a seemingly declining film market...or is it? Now is the time to get in on this Kickstarter, and hopefully, when fully funded, it will bring us a new and improved film worthy of making new art.

There is something quite special that occurs when using a product like instant film, especially one that gives you both a print and negative. Creating an instant tangible object with so much soul like that is the closest thing to magic that I can even think of. Even digital photography cannot instantly give you both a print and a negative! A long time ago in the very early days of my career I started working for an incredible photographer and mentor by the name of Alan Ross. Alan was one of Ansel Adams’ former assistants, and was (and still is) the guy who gets to make prints from Ansels original negatives that are sold in the Ansel Adams Gallery in Yosemite. On a couple of occasions I even assisted him in the darkroom during the making of these prints. I still have in my mind the very vivid memory of holding one of these hallowed negatives, ‘Moon and Half Dome’ to be exact. Let me tell you, I may as well have been holding a Fabergé Egg or the Hope Diamond as far as I was concerned. That negative was such a physical object of incredible history and culture, that it still resonates with me today. I think the new photographers out there willing to try something different than digital will see this in a film like New55. They get to create something tangible that has the potential to ignite their passion like nothing else.

This is what brings me to another reason I have for writing this article. One of the things that had been mentioned to me by the team behind New55 was that they felt a new, younger audience would be in the forefront of making pledges and showing support of their new endeavor. I was a little surprised at this initially, being one of the older, and past users of the original Type 55 Polaroid. However, the more I thought about it and the more I looked at what was happening with the analog photographers out there, I changed my view and now feel that they are absolutely right.

I recently read a post made on a Facebook page regarding New55 and the idea of bringing back a little of the old technology. The person responsible for the post stated that he liked having as broad a range of materials as possible to use in making our art, however, to not look to the old trends in using these materials. It seemed so contradictory to me, and made me think that a younger photographer would never think in those terms. It’s like saying that the original Ford Mustang or Chevy Camaro were so unbelievably great, but the contemporary versions have nothing to offer the new buyers, or the changes in technology could not possibly have made any improvements to them. Perhaps referring to New55 as a reinvention is not as accurate as saying that it is more of an evolved version of its predecessor, with some improvements, but still exciting and different. Honestly, the days of discussing the validity of what you shoot with are over. I don’t care what you use, just make the imagery the best you can with whatever it is that suits your vision. Truly, it is the newer generation of artists that are embracing the ways of old and trying out the things that often appear difficult or problematic. I suppose that some would simply call them hipsters, but really, that’s just another label for people to put on those who do things differently than they do. When you’re younger, you tend to be more optimistic about the world, and certainly more willing to get behind something you feel passionate about. Youth also seems to be more likely to take on risk. As “they” say...better to have tried and failed, than never to have tried at all. There are never any guarantees, but at least something was learned in the process. I know that as I find myself getting older, I try to remain young at heart and optimistic still. It gets harder every year, sure, but I do my best. I prefer to remember myself in those terms, when I was wide-eyed and excited about photography and the career I had chosen. That’s why I find myself getting behind the efforts of those responsible for New55 Film.

So now that you’ve read about me and my crazy romantic feelings towards analog photography and using film, I think it’s about time to move on and let you do some investigating of your own and draw some conclusions. Some may be with me, and some may not. The great thing is that everyone gets to have their opinion, and I’m more than willing to listen to yours. I’ve been doing this for a very long time, so you probably won’t be able to change my thoughts or opinions, but I definitely want you to form your own. Every now and then I hear someone write or utter the phrase “Photography Is Dead”. I can’t even seriously consider something like this to ever be true. With so many new and talented photographers out there willing to explore the limitless possibilities, how can it? Photography can only die if we give up on it and let it die. I don’t give up, and neither do the people behind New55 Film. Watch the video, do some research of your own, and consider the pay it forward aspect of this incredible opportunity. Thank you so very much for reading. 

Carrie Will

Carrie Will is a photographer and a New York native. Her camera is always aimed at people and the relationships in her life, especially the relationship she has with her twin sister. Her photographs document and often exaggerate the space that lies between their similarities. Photolucida named Carrie one of the top 50 photographers in 2012 via the Critical Mass competition. Will’s work is held in various permanent collections including the Smithsonian American Art Museum in DC and The University Art Museum in Albany, NY. Her work has also been seen in many galleries nationally and internationally, most notably at the Center for Photography at Woodstock, Michael Foley Gallery in NYC and the Australian Center for Photography. A solo show of Carrie's photographs will open in November 2013 at the SRO Photo Gallery in Lubbock, Texas.

View more of Carrie's work here

Ashley Kauschinger: How did your series, I am Redundant, begin? Did this feel like work you needed to create? What has this work taught you about your identity?

Carrie Will: The series entitled, I Am Redundant, began when I found myself in Syracuse, NY. I was cold, isolated, lonely and broken hearted. I was an MFA candidate at Syracuse University and life didn’t feel easy (I should point out that being cold is the only thing I blame Syracuse for). Eventually I hit bottom. One broken heart, one totaled car (with no injuries) and lots of sadness seemed to be the right recipe for art making. Despite all my dwelling in the past eventually I realized that what was in front of me was what mattered the most and I started making pictures of my twin sister and myself.  

Making pictures of Rikki and I was not new to me. I had done it before and I had actually fought the idea of doing it again for no good reason. Perhaps I wanted to be sure that the images were being made out of necessity and not ease. After eight years of photographing our relationship I can safely say that this is work I needed to be making. Creating I Am Redundant has taught me that I am one person as well as two and that my understanding of my sister and myself is always changing. When I started making the work I wanted to answer questions, to create visuals of how connected Rikki and I are but what I got were lots of questions with lots of possible answers. I believe good photographs should ask more questions than they answer. Similarly, the definition of my identity is always shifting and changing. Sometimes I think I know the truth, other times I feel as though I know nothing. Making this work has taught me that the not knowing is okay too.

AK: In your statement, you talk about creating a visual language that you can use to discuss your relationship with your twin. Do you feel this language was developed naturally, or was labored into existence? What do you feel a visual language can say that words cannot?

CW: The only thing I labor over, when making images, is getting the colors right. Other than that, the process is pretty easy and natural. I’ve always been interested in the way in which people communicate, whether it’s words that are spoken or written, glances, body language and gestures. I love the idea of it, the shortcomings and the successes. I am also obsessed with the idea of communicating with no gestures or language. This stems from the fact that the bond between twins is defined by moments of knowing and understanding another human beings almost as well as you can understand yourself. This ‘knowing’ has little or nothing to do with words. 

When my sister went into labor I dreamt that she had the baby and all was well, when I woke up, I had two text messages. One saying she was in the labor, the other saying she had the baby. I missed the messages but I knew. It’s experiences like this one that have driven me to create a visual language. Words can be beautiful but often language fails us in its finality. An image creates a language that changes depending on who’s looking at it and what they have brought to the image. I want my images to communicate as clearly as any human can. I expect them to tell the truth as well as lie a little, to speak clearly and yet be misunderstood sometimes, to ask lots of questions and to only answer the necessary ones.

AK: The narratives that you create are varied, complicated, and strong. They have a flowing rhythm and are not repetitive. What are your thoughts on creating individual narratives within a series, and getting down to the final edit of images? Some photographers have a belief that all images should be in the same lighting, or all taken inside. Your variation suggests a different mindset.

CW: Thank you for the kind words about my work. When making work that features the same two people over and over my fear is repetition. It’s always nice to hear the words ‘not repetitive’ in the same sentence in regards to ‘I Am Redundant’. I love stories, which is why I love photography. I think a series of photographs should tell a general story and each image within it has a responsibility to tell a different story within the framework of the main theme. I believe they can vary and differ and even be at odds with each other but overall they always point us back to the whole. The full title of the series is 'I Am Redundant, Half of a Whole, A Freak, Identical and Lucky'. Each image has it's own narrative but can find it's place somewhere in that sentence. 

I have a few rules that I follow when making images. I almost always shoot in natural light, I always shoot landscape orientation, I only shoot Kodak Portra film and I shoot with a 4x5 view camera. I used to have more but I have lightened up a bit over the years. I find the formality of these things forces me to think through the image just enough. I like having a plan and then completely changing it at the last minutes. I also love happy accidents, otherwise I wouldn't put myself in the images. When it comes the making of each image and the meaning inside of it, my process is always different. Perhaps that’s where the variation comes from that you mention.

AK: Finally, what is your process of self promotion? How do you balance life and creating work?

CW: Self-promotion can be tricky. I consider it part of the process of art making but if not careful it can take up a lot of precious art-making time. I reserve time in my week to do research about upcoming shows, grants and residencies. Conferences are a good place to network and I make sure always to follow up on contacts and send ‘thank you’ and ‘it was nice meeting you’ messages. I have been pretty lucky and I am so grateful to the people who find me via my website and include me in things to help promote my work. Thank you, Light Leaked!

I find balance between life and making art to be always influx. Some days I get it evenly split, other days it’s all off but that’s what balancing is, always changing and shifting. I try not to be too hard on myself. For years I taught photography as an adjunct instructor at different colleges. Making art was almost impossible for me because I felt like I was always spread too thin. I know people that can make it work, but I couldn’t. Now I teach yoga, I practice yoga and I make art. Balance feels easier now that I enjoy all aspects of my working life.

Photo Friday: Sofie van Dam

Sofie van Dam's photography explores universal themes and has been exhibited and published internationally. She received her MA in photography from TaiK in Helsinki, Finland, and her BA in photography from the Royal Academy of Art. She currently lives and works in Finland. 

Visit Sofie's website for more information: http://www.sofievandam.nl/home.htm

My work is rooted in associations. It triggers the imagination of the spectator by referring to collective feelings. This is accomplished through the themes of longing, recollection, alienation, loss, and the transitory. These themes are layered and create tension that slowly reveals the emotions within the image. I capture what is latently present, but not normally visible in society. My process is to work calmly and meticulously at night and in quiet abandoned places. I use diverse staging and illumination techniques with 4x5, digital and Hasselblad cameras.