Not really manuals, but interesting (to me at least) as historical information.
I got Land Camera 210 information when I picked up another 250 at a thrift store.
Thorough. A manual to tell you where to find your manual.
That’s a lot of patents on one of the simpler Land cameras.
A lot of old Polaroids come with cases and paperwork. The mailers for getting copies of your prints are interesting. I lined these up in what I think is chronological order based on the prices. I scanned the whole thing for the oldest one. In typical Edwin Land fashion, it is logical and well laid out.
Fold the sides & bottom, insert prints, & seal.
Visa was still “BankAmericard” & Mastercard was still “Master Charge”.
I guessed this one is later because B&W prints are $0.05 more.
The tidy package when it’s all folded up.
This is another example of how much thought went into this little mailer. You can see the instructions on the inside right below where someone would lick to seal the package, “Reminder – Tear off California address if you live closer to Massachusetts”. Both parts of the flap are gummed to seal the envelope. I made a GIF but decided it’s annoying.
Keep the flap and the California address shows.
Tear off the flap and it exposes the Cambridge address.
I may have 1 and 2 transposed. The kids seem like an older ad and the 1st one has a “new product” the “11 X 14 Custom Gallery”. It also makes sense that PS181S-2 comes before PS181-X. Now I’ve convinced myself that the 1st one should be in the middle. Oh well, I’m not going to rearrange everything now.
Pretty sure this is the newest. It has an effective date, prices are higher, and…
Polaroid is no longer paying the postage.
The outside of the 1974 mailer. Groovy.
I have no idea if Edwin Land had anything to do with the copy order mailers but it seems like the kind of thing he would obsess over until it was perfect.
Update 20 December 2019: I shot a frame of GAF Versapan in this camera. This post got too long so I moved it to another post .
A lot of duplication with what is in the video. 10 frames in the pack & the first one jammed. Another, I had a dud bulb in a flash cube and it was black.
This is frame 2. Frame 1 jammed & I exposed this one getting it out.
Looking for an article about diffraction, I discovered digital bellows leak filters are a thing.
Asters in the yard.
Jem & Goober. No sunlight but I was right under the kitchen lights.
Tried spreading developer with a bottle while it processed.
The manual dev-goo spreading worked a little. The lighter area at middle left would have been blank. Not keeping tight control of pressure, I also lifted some developer – the white areas in the print – and spread it too thin – the light area to the right of Goober. I’d only seen the fern pattern with integral film before. Maybe I can tweak roller pressure and get better results out of Polaroid Originals/Impossible film.
Borrowed the rollers from a Color SuperPack and got proper developing.
The picture of Trinity above is a bit overexposed. I was too close and forgot to turn down the ProFlash power setting.
Looking closer, this isn’t missing development, it’s the bathroom wall. Dev problem would be on the left.
Cropped square and auto white balance in GIMP.
I couldn’t figure out why I was getting the beach-ball-of-death while resizing images in Preview. I’d opened the images stored on the iMac from the laptop. Apparently, I was closing Preview before the saves were complete and it did strange things.
Sites mentioned in the video:
Mr Pinhole: http://mrpinhole.com/
Draw angles on-line: https://rechneronline.de/winkel/angles.php
This camera’s specs:
Focal length: 91mm
Pinhole diameter: 0.4mm
F Stop: f/226
Film diagonal using 4×5″: 163mm
Angle of view: 83.7 degrees
Film: Instax Wide 800 ISO, & Arista EDU Ultra 100 ISO (actually Fomapan 100)
The neighbor’s red barn. 1/5 second at f/226.
Not a lot to show. I had the Instax and 4 sheets in the holders, one of which became this…
Normally, it’s solid green. I played with it after seeing the color of the rinse water.
Not news to anyone familiar with large format (I’m not) but the notch is so you know which way is which in the dark. When the notch is on top, at the right, the emulsion is facing you. In the above image, you’re looking at the backing.
I actually have a 4X5 developing tank. I got it when I bought most of a darkroom from a guy in Santa Fe. He’s getting out of film photography to concentrate on restoring an old Lotus. Sometimes you have to choose and whichever passion is pulling you the strongest wins. Any way, it’s cool but it’s made to do a bunch of sheets at once and it takes a LOT of chemicals. So, I used the “taco” method to develop. You fold, well, gently bend, and put a hair tie around the film to keep it from coming undone. The Yankee tank I usually use wasn’t quite deep enough but I also got a Paterson from the same guy and it clears the 4″ height of the negatives. No reels but you have to keep in the center cylinder so it’s light tight. You can squeeze in 4 tacos but I only had the three to develop.
There’s a good taco development visual how-to on Flickr by Tony.
Rocks near Chimayo, NM.
More rocks. I lost a lot of the image to a light leak.
This one really is portrait format – I tilted the ball head on the tripod all the way over.
I’m nearly caught up! Well, I have to scan two rolls and develop and scan another but that’s pretty close to caught up.
Scanned on a CanoScan 9000f at 600DPI. These are resized to 1024 pixels on the short side.
The first two are also in the video. There are 8 frames in a pack of Impossible film — it’s not like I have 36 images to choose from, plus, I really like them.
Zoe. No idea why it happened but I love the colors on the white walls.
Most RVs run the gamut from butt-ugly to “meh”. Airstreams are cool.
This is a lame picture but it’s the result of an experiment so I included it. I used a telephoto adapter for a Canon AF35ML/Super Sure Shot/Autoboy Super (which sadly, I don’t have working yet). I framed using the adapter lens held over the viewfinder lens and then moved it over the taking lens. I was a little sloppy with the framing (no tripod) and got my finger in the picture but it works! That means I can use an even longer telephoto, a wide angle, or even a fish-eye adapter. I do need to adjust for the loss of light next time — there ain’t no free lunch.
There’s a hummingbird in there somewhere.
Another developer-didn’t-quite-reach splat. Still, not bad for film that’s been expired for 2 years.
My sweeties, chillin’ on the couch.
Just after sunset using flash override. Highlighting the foliage in the foreground would’ve looked weird.
My other swwetie, Trinity. She has a 6th sense like Zoe, and starts moving when a shutter fires.
Last frame in the pack — walking into the sun on our street.
The scanner at work, a Canon print/scan/fax thing, was giving me bad reflections from the clear plastic on the Instax frames so i had to adjust. They’re underexposed to start with — f/256 is pretty dim.
Tusker and Melon — my WPPD contribution.
Some of M’s pots.
My kludge of a darkroom…
Foam core poster board painted black on the window.
Black craft paper and tape around the door. Towel at the bottom.
It worked, it was black-black. Then I remembered when I bought a guy’s old darkroom stuff, I got a…
Not much to show for finished images. I shot three Fuji FP-100C frames but the last one was a test to see if I’d found the problem with the intermittent connection and it’s completely black. I have to be frugal since Fuji has discontinued the last of their pack films.
How can you have a global monopoly on pack film with millions (tens of millions?) of cameras still in use and not make enough money to bother manufacturing it any more?
Seriously, how much profit margin does Fuji need? They don’t have any engineering costs to pay down, it was Polaroid’s design. Maybe a little bit to improve it over the years but they didn’t eat billions (in today’s dollars) like Polaroid did to invent integral film from scratch.
We’re stuck with Instax (a derivative of Kodak’s instant film) for now but if anyone figures out how to mirror-image Impossible film or shoot it through the back, I’m done with these greedy, fickle [bleep]s forever.
Seriously, sell the manufacturing equipment and put the film formulas into the public domain. If you can’t make money with a monopoly, you’re the problem, not the product. Let someone else have a go at it.
Sorry, I had to get that out.
I tested this camera after cleaning the battery compartment and contacts and the shutter opened. To get some justice from the battery that crapped up the camera, I removed the snaps from the ends of it (the 3V batteries have larger connectors than 9V batteries) and soldered them to the ends of a CR123 lithium battery.
I’m glad I tested again before loading because it stopped working. That’s when I traced the battery wire to the shutter circuit, re-soldered the battery connector, and replaced the foam.
The old foam was fugly and getting crumbs in the working bits.
Foam from Michael’s and white glue.
The shutter was working consistently now so I loaded film and got a late evening image that was back-lit and too dark.
Still cute though.
Try again with the flash gun.
Dammit! No flash. I even wasted a bulb making sure the 268 flash was working.
I opened it back up and started doing continuity tests. My meter has a nice diode check function that beeps if point ‘A’ and point ‘B’ are connected. I’d get BEEEEP-BE-BE-[silence]-BEEEEP-BE-BE… Argh! Nothing is a bigger PITA than intermittent connections.
Quote from Brian R: Sometimes it’s intermittent but not always.
I guess was cheaper to manufacture but seeing ribbon cable instead of a proper circuit board made me sad — it can melt before solder becomes liquid and it gets brittle with age. It lasted 50 years so I guess I shouldn’t complain but I am because it made me think and work.
At least there were only seven lines from the photocell side to the shutter side.
Spiffed up with colorful telephone wire. The last power wire isn’t connected yet.
An Instax Wide cartridge is a tight fit vertically but it fits. Side-to-side, I eyeballed the spacing with an empty cartridge and did it by feel with a partially used cartridge in the dark bag.
About a pinky width.
The last bit is unscrewing some parts in the Polaroid so the back will close over the Instax cartridge.
Don’t have to drill any rivets yet.
Converting from ISO 800 Instax to 100 for the camera is done with a minus-3-stop (ND8) neutral density filter.
I didn’t adjust the exposure and the image is a little dark. The cell being 50 years old might have something to do with that too.
Herbs in pots.
My dark bag can’t hold a pack film camera and an Lomo Instant Wide with room to work. I transferred the film from the Lomo to a film box in the bag, opened up and swapped the Polaroid in, loaded the film, took the picture, moved the film from the Polaroid to the box in the bag, swapped in the Lomo, loaded the film, took the Lomo out of the bag, and took a shot with the lens cap on. Somewhere in that convoluted mess, I got a light leak.
There’s a video on Youtube where a guy loaded the Instax into a pack film cartridge and shot into the front of the Instax film. I may have to play with that but that’s not how it’s made — just look at how the film is oriented when it exits your Instax camera. Like the Kodak instant film or any camera without a mirror between the lens and the emulsion, you have to shoot the back or you get a mirror image. I’ll update this post or do another one with the optics involved so you can see I’m not full of beans.
I can’t bust his chops too much — he has a calico.