Some people might say analog instant photography is having a renaissance. But these 10 photographers would likely argue that it never went anywhere in the first place. Each of these artists works in a variety of photographic mediums, but it’s safe to say they’ve got distinct passion (and talent) for instant film.
Catherine Edwardina Hammick has a thing for cheetahs (no really). She’s also a master at capturing the decisive moment, especially when it comes to interactions and facial expressions. Even her landscape photographs have a suddenness to them, an aspect of vulnerability. If you’re looking for a fresh twist on fashion photography, or just some feline juju, look no further.
Samuel Limata’s images are simple, but bold. He uses everyday shapes and familiar patterns in ways that are new and comforting at the same. The instant portrait game, too, is strong with this one; by placing his subjects (often himself) dead center, he creates a blunt intimacy between the viewer and viewed. If you like it, tap it twice. (And check out @espcamera, the other feed he runs.)
Hablé De Vos (née Jonthan Mora) creates hazy, dream-like portraits that demonstrate the extent to which instant film can be pushed to look like an alternate world. Whether it’s through process manipulations like emulsion transfers, or just a well-chosen setting, his images become a surreal representation of body and form. We never stop wondering what exactly he’s going to do next.
Phil V., who also runs Polaroids of People, is something like the mayor of instant photography in New York. That is to say, he’s everywhere, knows everyone, and always has a Polaroid camera at the ready. (Always!) This community presence shines through in his work. The people in his images become so much more than just subjects. They are all characters in a greater, more connected story.
Cécile Boyer loves colors and small objects, and she’s pretty darn good at wrangling them both. Her feed is a feast of details, both whimsical and honest. She allows little moments to speak for themselves, and her still lives feels anything but static. When we need a little dose of joy, her feed is where we go.
Je vous ai dis que j’aimais les polaroids ? 🙈 J’arrive toujours pas à réaliser que mes photos sont dans la campagne @polaroidoriginals et ont été exposées à NYC 😱 Clairement ça ne va pas arranger ma passion tout ça 😂 En attendant je vous prépare un big post sur les nouveaux papiers et l’explication sur le rachat de @polaroid par Impossible et même un live dans la semaine soyons fous 🙊) et pour finir il y a encore tout plein de pack Impossible (dont certains inédits maintenant 😉) en vente sur mon eshop ✌🏼 . . #polaroid #polaroidoriginals #polaroidmagique #sx70 #lovepolaroid
Raymond van Mil parties like the rest of us, only better. As the Dutch VICE photo editor, he has access to the coolest of the cool. But his images are nothing like the #humblebrag they might be in the hands of a less skilled artist. Instead, he gives the silly and absurd as much attention as the stunning and staged. The result is a transportive collection that puts you right there with him.
Taylor Boylston sees connections between things (colors, patterns, people) that the regular person might write off as a coincidence, or kitsch. Though her images often depict a happy chaos, or off-kilter aesthetic, there is an underlying precision to them. She does whacky very, very well.
Noelle Duquette won’t let you (or anyone else, probably) off the she hook. Her candy-hued images are confrontational and unabashed with a tender core. She gives her subjects room to spread out, take up space, and if that means it gets messy (or, ahem, flashy) then so be it. But there’s a distinct pleasure, too, among in the discomfort she creates: we can’t look away, and you won’t be able to either.
Ein Beitrag geteilt von Noelle Duquette (@noelleduquette) am
Brock Fetch isn’t here to play around. His simple, often high-contrast images are a perspective on the world that is both heightened and subdued. He also experiments with expired instant film to gorgeous results; where other photographers might see a defect, he sees an augmentation. His feed, therefore, is full of moments of unexpected beauty.
Jesse Lirola doesn’t just like light, he like likes it. And in his hands it becomes a tool rather than just a source of illumination. Whether it’s a studio space, overcast sky, or single spotlight, he finds shadows and highlights in all the right places. And his subjects, in turn, glow very bright indeed.