ANDREI TARKOVSKY POLAROIDS
Photography A fine wind blows into the heart, And you fly headlong on, While love within the roll of film Holds the soul east by its sleeve. Bird-like she steals grain by grain From oblivion-and no…
Andrei Tarkovsky (born Russia 4 April 1932 – 29 December 1986) was hailed by Swedish director Ingmar Bergrman (14 July 1918 – 30 July 2007) as “the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream”. You see more of … Continue reading "27 Gorgeous Andrei Tarkovsky Polaroids"
Guardian photographer Christian Sinibaldi tours the world’s last Polaroid film factory, in the Netherlands, the only remaining factory still making film for the much-loved instant cameras
Polaroid from my ginger explosion shoot.
Today, digitally empowered to take, view, and share a photograph in the span of seconds, we think nothing of the phrase 'ïnstant camera.' But to celebrated Russian filmmaker Andrei Tarkovsky, who died in 1986 after living almost his entire life in the Soviet Union, the technology came as a revelation.
Photography A fine wind blows into the heart, And you fly headlong on, While love within the roll of film Holds the soul east by its sleeve. Bird-like she steals grain by grain From oblivion-and no…
Portrait Of A Culture - I is a creation by the artist Manoj Jadhav. Category People, Portrait, Female, Photorealism, Nostalgia, Surreal, Photography, Instant film. This artwork is for sale. Polaroid SX70 , Impossible Project instant film , Polaroid. Polaroid…
Explore Timmy Toucan's 2107 photos on Flickr!
stray kids studio choom case 143 behind photos as polaroids. photos that are horizontal will be printed horizontally, I will do them vertically if you would like but please message me before you order and I can show you how it would look. DISCLAIMER: I could not find a photo of changbin if there is one, if anyone knows of it please do let me know and send it to me so I can add it here, thank you :)
Kyler Zeleny has a strange obsession: collecting Polaroids of total strangers. Now, he’s taken his 6,000-strong hoard and put it online, inviting the public to name the mystery guests. So do you know any of these Polaroid people?
Telephone Pole, 1982 David Hockney Love this one! Gregory and Shino---1982 The Desk-David Hockney 1984 ...
About The Artwork Henry watching Athena Dance (Stay) III - with Ryan Gosling, 2006, 38x36cm, Edition of 10, Digital C-Print, based on an original Polaroid. Certificate and Signature label. Artist Inventory No. 5065. Not mounted. featuring Ryan Gosling. Stefanie Schneider's art work was used for the Marc Forster movie 'Stay'. featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's art was the art both created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as art paintings hanging in several scenes within the movie. Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13 Photography Art Cinema. Revisited Stay (USA, 2005) could have fitted in seamlessly here. Considering that the films High Art and Pecker establish photography as an ideal art form at the end of the millennium, director Marc Forster (Monster’s Ball, Finding Neverland) takes a step backward; he revives an anti-technical, intuitive concept of art, including the customary clichés about madness and genius. This choice documents less an anachronistic notion of art (especially considering that painting is currently experiencing a Renaissance) than instead the appraisal that paintings are more suitable for representing the free objectification of the mind. Stay is not an artist-film but rather a psycho-thriller in which the borders between dream and reality become blurred. The psychiatrist Sam Foster (Ewan McGregor) has saved his girlfriend, the artist Lila (played by Naomi Watts) from committing suicide. Now he is attempting to keep another patient, the art student Henry Letham (Ryan Gosling) from killing himself, but succumbs in that endeavor more and more to a whirlpool of inexplicable events. Any further words would already be interpretation and would reduce the significatory potential of the film. The film is loaded with meaning down to the tiniest details―including the notoriously short pants of the protagonist―or it willingly offers itself as a projection screen for speculations. Line-crossings, subjective camera-views of utterly strange figures, and pan-shots in which space and time shift abruptly all serve to confuse the viewer. One scene switches with no transition into paper photography; other scenes hesitate, repeat themselves. The temporal continuum of the film is caught in loops. Figures merge into each other. Miracles occur: blind people regain their sight, the dead are reawakened to life. If it is the continuity of events which distinguishes dream from reality, then everything which the psychiatrist Sam experiences is a dream. It is precisely here, in this intermediate world of imagination and reality, that the film brings paintings into play, and with them the Polaroid photographs of Stefanie Schneider. For even if the paintress Lila drips paint all over herself in the film, in fact her paintings are without exception based on photographic models which―thanks to modern technology―have been printed onto canvas. Bizarre Dream-Worlds Stefanie Schneider’s vague and evanescent Polaroids work towards a painterly impact. The artist, who resides alternately in Berlin and Los Angeles, exclusively uses out-of-date film material. She takes into account chance occurrence, the scarcely predictable waywardness of damaged emulsions. Her associative Polaroids portray a bizarre, film-like world which further enhances the irrealism of Stay. Independently of each other, but not without reason, both Marc Forster and Stefanie Schneider are repeatedly compared with David Lynch. Stranger than Paradise is the title of Schneider’s new photographic volume which, punctually with the start of the film, has been published by Hatje Cantz. The title borrowed from Jim Jarmusch is no accident: Cinema, not artistic photography, is the world from which the former cutter draws her visual models. And whoever has carefully studied the jazzy photographer of her series 29 Palms, CA can recognize beneath the orange-red wigs the cinematic actress Radha Mitchell (Finding Neverland, High Art). A few motifs from this series, which was presented in an extensive edition by the Lumas gallery, are already sold out. The popularity of the artist is rising. But even if Schneider’s gallery makes this claim, her photography does not in fact play a major role in the film Stay. Instead the presence of the Polaroid photographs onscreen is limited to short photographic sequences, to the―admittedly magical―end credits, and to a few paintings on the set. It is precisely here at the periphery, on the symbolical level, however, that the film unfolds its central meaning―for example, when in Lila’s studio photographs of walruses may be seen, a motif which is familiar to the viewer from a previous scene with the art student Henry. In this new context, the images acquire an impact like the visualization of a strange memory. The pictures do not seem to belong to Lila and already anticipate in an allusive manner the peculiar transformation which her paintings undergo at the end of the film. The overlapping of the protagonists has a correspondence in the interpenetration of inner and outer worlds: In another scene, in which Henry visits a table-dance bar, there is a photographic sequence. The flood of sharply highlighted, ever-changing images cannot be unambiguously situated, however. On the one hand, it can be read as a projection in the depicted space; and on the other hand, it presents itself as the stream of consciousness of the protagonist, whose blurred scraps of memory it portrays. Art as Key The photographs do not function in Stay as props for the plot, but instead they are metaphors for the interpenetration of dream and reality. They are not so much motifs as rather means of representation. On the one hand, they are almost seamlessly integrated into the portrayal, but on the other hand―as works of art―they play a key role in the reception of the film. Whoever considers the cinema to be simply an escapist pleasure must have the impression, with regard to Stay, of being in the wrong film. Stay repudiates all expectations regarding genre and demands a fundamental shift of attitude. One can argue about whether this claim is justified, but the film demands to be viewed as a work of art. Not in the sense of contemplative immersion, but in terms of an active reception. Meaning cannot be derived directly from the film. Meaning is an addition made by the viewer. If Stay has a special message, then it is this: Everyone constructs his or her own film. In fact, in Stay there is a short scene which takes place in the art academy and may be understood as an interpretative instruction. On the basis of a painting, the professor offers a lesson which can be expressed in two simple formulas. First, everything is significant. And second, everything is somehow connected with everything else. The individual elements of the film must be decoded and set into relationship with each other. After the Film is Before the Film With director Marc Forster and photographic artist Stefanie Schneider, two coequal partners are at work. The photographer brings her style-generating aesthetic into the cinematic representation. She appears as the author of her images, not as the executor of instructions from the director. This status is also evident in the participation of the artist in the press conference and in the fact that the premiere party took place in Stefanie Schneider’s gallery Lumas. Whoever came early or stayed late could here take an unobstructed look at the pictures and review the film at leisure. With regard to the photographs, one is inclined to see the film a second time. But also in the retrospective photographs after the film, the puzzle-game continues. “This is the way it was,” each photograph seems to say. But were things really that way? In fact, the poetically blurred Polaroid photographs do not provide a documentation, but rather an interpretation of the film from an artistic perspective which is lost in reverie. On the one hand, they make selections from the cinematic plot, and on the other hand, they transcend these happenings. The film photos become autonomous and make reference, not to filmic “facts,” but to other possibilities―to that which might have been, to the inherent fictionality of the film. Original Created: 2006 Subjects: Celebrity Materials: Other Styles: Conceptual Pop Art Figurative Fine Art Expressionism Mediums: Polaroid Color C-type Photo Details & Dimensions Photography: Polaroid on Other Artist Produced Limited Edition of: 10 Size: 15 W x 15 H x 0 D in Frame: Not Framed Ready to Hang: Not applicable Packaging: Ships Rolled in a Tube
kmitt: “Polaroid at D’Management, Milan ”
Set of 5 mystery mini polaroids. Each polaroid measures about 2x3 inches. Photos shown are not guaranteed. Polaroids are chosen at random but you won’t receive any duplicates. If you have any questions or would like a specific picture feel free to send me a message. Thanks for visiting my shop!! Every order comes with a few extras! (Tea, stickers, candies) Packaged in a kraft brown envelope with a wax seal.
From Princess Leia's hair test to a Stormtrooper waiting for the bathroom
An appreciation of Edwin Land's genius and the beautiful, compact universe embodied in his Polaroid SX-70 instant camera
About The Artwork 'Gas station at Night I' Stranger than Paradise, 1999, 37x36cm, Edition of 3/30, digital C-Print, based on a Polaroid, Certificate and Signature label, artist Inventory Nr. 391.23, not mounted, STRANGER THAN PARADISE published by Hatje Cantz Verlag, Ostfilder, 2006, (monography) Stefanie Schneider: THE GREATER THE EMPTINESS THE GRANDER THE ART – Stefan Gronert Not “Twenty-six Gasoline Stations” but “29 Palms, CA”! Forty-two years after Ed Ruscha’s legendary book, there is no gasoline station at the beginning of the book that is here at hand. Instead it is the open hearted Radha – with orange hair, pink-colored overalls and a bashful, or rather cunning, gaze that is directed downward – with which this book begins! And with her and with Max – attention: a woman –, one whose appearance is in accordance with the same styling, it comes to an end as well – after Radha has in the meantime colored her fingernails pink, again endowed with the same open heartedness and the same look which now, however, reveals in combination with her altered facial expression an “old-maidish” turning away from the viewer. This may serve as an example for a vivid and understandable transformation which flows into a large-scale representation of a cheerless settlement beneath a shining, blue sky – there a figure, lost straightaway, becomes overwhelmed. Pictures which in 1998/99 play in the harsh California sunlight or in spaces that are not exactly cozy and comfortable. “Play” is the correct word in this regard, for precisely in view of the pictures of persons, there remains more than just doubt as to whether we are looking at staged scenes or have simply happened upon the high-strung “reality” of a (wannabe) film world. Yet not all the pictures have the same character of a glaring, plastic world. Upon flipping through the pages, we also encounter unpretentious, literally “colorless” scenes in undefined interiors, or unspectacular views resembling a still life and opening out onto a nowhere land. That which connects all participants in these picture-worlds is the observation that they appear to be exhausted, lost, empty or uncertain about their existence. One is almost reminded of the empty gazes and loneliness of the protagonists in the pictures of large cities painted by Manet or Degas in the era of Early Modernism. With one exception, all the photographs which are reproduced here, which originally measure 60 by 70 cm but which here, in their present size and configuration, make productive use of the possibilities presented by the medium of the book, manifest several elements of B-movies: smoking, naked, made-up and muscular persons who are not inclined to conform entirely to the vision of Hollywood dreams. Beauty and vexation, eroticism and loneliness enter into a mixture which reveals the rift between desire and truth. From a distance, one is reminded of the “Untitled Film Stills” of Cindy Sherman, which in this regard are not nearly as drastic. Yet whereas her photos from the seventies are characterized by a cool, objective mode of representation in historicizing blackand-white, the photographs of Stefanie Schneider evince a soft, sometimes seemingly pictorial visual language with a coloration ranging from the pale to the artificial-glaring. As in many other pictures of Stefanie Schneider which often present themselves to us as sequences, these photos refer back as well to the perceptual stereotypes of film. Making use of instant photography, proceeding from which significantly enlarged C-prints come into being, her pictures summon up the impression of a narration without ultimately becoming part of a plot that is readable in a linear fashion. The illusion of the narrative element, however, simply enhances the experience of a renunciation of just this aspect. For the picture titles as well – and also the title of this publication – provide no real help with the imaginary construction of a story. Nevertheless, names return which include the first name of the artist herself: hence is everything not in fact a game but rather a series of authentic and instantaneous images, or is it after all nothing other than a staging, a game – how real is life? The paucity of plot elements, which contradicts all expectation of a cinematic style, as well as the emptiness and loneliness of the persons, enters into a peculiar, sometimes seemingly surreal association with the magic of the sun-drenched expanses of the dreamlike landscape. Just as the fantasy and imagination of the viewer are stimulated, so to the same great extent does the redemption of these visual figures of love founder on a void whose glaze is created, not least of all, by the peculiar blurriness of the photographic representation. The seemingly amateur character of these pictures, which have in no way been treated with any excessive scrupulousness, leaves us with a stimulating incertitude as to their interpretation, one in which the spheres of reality, fiction or dream are scarcely capable any longer of being differentiated. Thus the gaps and the scenic openness of what is presented ultimately set in motion a self-appraisal. So what remains after “29 Palms, CA”? Perhaps that hope which deviates from the saying of Ruscha that is quoted in the title: The stronger the photography the better the reality will be! Translated by George Frederick Takis Stefanie Schneider lives and works in the California High Desert and Berlin Stefanie Schneider's scintillating situations take place in the American West. Situated on the verge of an elusive super-reality, her photographic sequences provide the ambience for loosely woven story lines and a cast of phantasmic characters. Schneider works with the chemical mutations of expired polaroid film stock. Chemical explosions of color spreading across the surfaces undermine the photograph's commitment to reality and induce her characters into trance-like dream scapes. Like flickering sequences of old road movies Schneider's images seem to evaporate before conclusions can be made - their ephemeral reality manifesting in subtle gestures and mysterious motives. Schneider's images refuse to succumb to reality, they keep alive the confusions of dream, desire, fact, and fiction. Stefanie Schneider received her MFA in Communication Design at the Folkwang Schule Essen, Germany. Her work has been shown at the Museum for Photography, Braunschweig, Museum für Kommunikation, Berlin, the Institut für Neue Medien, Frankfurt, the Nassauischer Kunstverein, Wiesbaden, Kunstverein Bielefeld, Museum für Moderne Kunst Passau, Les Rencontres d'Arles, Foto -Triennale Esslingen, Bombay Beach Biennale 2018 / 2019. Original Created: 1999 Subjects: Light Materials: Other Styles: Pop Art Fine Art Conceptual Expressionism Surrealism Mediums: Polaroid Color C-type analog Photo Details & Dimensions Photography: Polaroid on Other Artist Produced Limited Edition of: 30 Size: 14.2 W x 15 H x 0.1 D in Frame: Not Framed Ready to Hang: Not applicable Packaging: Ships Rolled in a Tube
This listing is for a set of 5 mystery mini polaroids. Each pic is 2x3 inches. Photos shown aren’t guaranteed but if you have a specific pic you want please send me a message or leave a note at checkout! Thank you for checking out my shop! ❤️ Every order comes with a few extras!
This listing is for a set of 5 mystery mini polaroids. Each pic is 2x3 inches. Photos shown are not guaranteed but if you’d like any specific pics or have any other questions please send me a message and I’ll get back to you asap! Thank you for visiting my shop! xx
This listing is for a set of 5 mystery mini polaroids. Each polaroid is 2x3 inches. Photos shown are not guaranteed but if you’d like any specific pics or have any other questions please send me a message! Thank you for visiting my shop! ❤️ Every order comes with a few extra goodies!
About The Artwork Mocking Jay (Heavenly Falls) - 2016 48x58cm, Edition 1/10, Digital C-Print based on a Polaroid. Certificate and signature label. Artist inventory number: 19623.02. Not mounted. Stefanie Schneider interviewed for Instant Dreams Documentary When did you first decide to work with Polaroids? Why do Polaroids seem to be so well tuned to our (artistic) senses, perception and minds? I started using expired Polaroid film in 1996. It has the most beautiful quality and encapsulates my vision perfectly. The colors on one hand, but then the magic moment of witnessing the image appear. Time seems to stand still, and the act of watching the image develop can be shared with the people around you. It captures a moment, which becomes the past so instantly that the decay of time is even more apparent; – it gives the image a certain sentimentality. The Polaroid moment is an original every time. Why use a medium from the past? For me, analog has always been there in the present. For the new generation, analog is interesting because it's new to them. I understand that people growing up in a digital age will wonder about its usefulness, but it's theirs to recover if they want to. When I first started working with Polaroid, it wasn't the past. It was a partially forgotten medium, but it existed nonetheless. It is mine by choice. There is no substitute for tangible beauty. Is it imperfect? The imperfect perfection in a “wabi-sabi” kind of way. Wabi-sabi (侘寂) represents a comprehensive Japanese world view or aesthetic centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of beauty that is imperfect, impermanent, and incomplete. 'If an object or expression can bring about, within us, a sense of serene melancholy and a spiritual longing, then that object could be said to be wabi-sabi'. 'Wabi-sabi nurtures all that is authentic by acknowledging three simple realities: nothing lasts, nothing is finished, and nothing is perfect.' Is the Polaroid photograph recognizable or even sometimes cliché? Absolutely! There's something cliché about the way I'm showing the American Dream. I live it myself, trying to find perfection in an imperfect world. Reaching for the horizon. The dream is broken; the cliché tumbles. There are different ways to involve an audience. You could make movies like Harmony Korine's 'Gummo' a masterpiece in my view, which would estrange a large part of the audience. A certain film education is a prerequisite. Or you can start with clichés, the audience then feels safe, which lures them into the depth of your world without them even knowing it or understanding where exactly they are being led to. Appealing to emotions and the sub-conscious. Normal, Change, New Normal. You continually revisit the landscape of the American West in your work. What draws you back to this scene? Southern California represents a dream to me. The contrast of Northern Germany, where I grew up, to the endless sunshine of Los Angeles was what first attracted me. The American West is my dream of choice. Wide, open spaces give perspectives that articulate emotions and desires. Isolation feeds feelings of freedom or sometimes the pondering of your past. The High Desert of 29 Palms has very clear and vivid light, which is vital. Expired Polaroid film produces 'imperfections' that I would argue mirrors the decline of the American dream. These so called 'imperfections' illustrate the reality of that dream turning into a nightmare. The disintegration of Western society. Are you playing with the temporality of the material and the value of the moment itself? The value of the moment is paramount, for it is that moment that you're trying to transform. All material is temporary, it's relative, and time is forever. Why does analog film feel more pure and intuitive? It's tangible and bright and represents a single moment. The digital moment may stay in the box (the hard drive / camera / computer etc.) forever, never to be touched, put into a photo album, sent in a letter, or hung on a wall. Printing makes it an accomplishment. The analog world is more selective, creating images of our collective memory. The digital worldwide clicking destroys this moment. The generation without memories due to information overload and hard drive failures. Photo albums are a thing of the past. Why does it feel this way? That's how the human instinct works. When I was a child, every picture been taken was a special moment. Analog photographic film as well as Super-8 material were expensive treasures. My family's memories were created by choosing certain moments in time. There was an effort behind the picture. The roll of film might wait months inside the camera before it was all used. From there, the film required developing, which took more time, and finally, when the photos were picked up from the shop, the memories were visited again together as a family. Who knew then, how fleeting these times were. Shared memories was a ritual. What's your philosophy behind the art of Polaroid pictures? The 'obsolete' is anything but obsolete. Things are not always as they appear, and there are hidden messages. Our memories and our dreams are under-valued. It is there that real learning and understanding begins by opening yourself to different perspectives. What inspired you to use stop motion cinematography? My work has always resembled movie stills. I remember the first time I brought a box of Polaroids and slid them onto Susanne Vielmetter's desk (my first gallery). Instantly, it became apparent that there was a story to tell. The stories grew. It was undeniable to me, that the emerging story was where I was destined to go. I've made four short films before my latest feature film, "The Girl behind the White Picket Fence". This film is 60 minutes long with over 4000 edited Polaroids. It's important to remember that our sub-conscious fills in the blanks, the parts missing from the story allow a deeper and more personal experience for the viewer. That is, if you surrender yourself and trust me as the director to lead you somewhere you might not have been before. Why do you think it is important to own art? 'We have art in order not to die of the truth' Nietzsche Interview published in Stefanie's Schneider our catalog. Original Created: 2016 Subjects: Women Materials: Other Styles: Conceptual Figurative Fine Art Pop Art Portraiture Mediums: Polaroid Color C-type Photo Details & Dimensions Photography: Polaroid on Other Artist Produced Limited Edition of: 10 Size: 22 W x 18 H x 0.1 D in Frame: Not Framed Ready to Hang: Not applicable Packaging: Ships Rolled in a Tube
Natural background with sage(Salvia officinalis) leaves, close-up, macro
Hiddenness is the refining season where character is built.
Since 2003, Rick DeMint has used an old school Polaroid camera to photograph over 2,000 people. He uploads daily portraits on his tumblr.
A new exhibit explores the work of nineteen lensmen who looked to ribbons of asphalt as their muse
Matthias Stom (1600 – 1652) The Incredulity of Saint Thomas (detail) 1640–1649
