PX 100 Impossible Project Film Test

April 6, 2010

So here it is my test of the new PX100 film from Impossible Project.

But first a few declarations at the outset, in the attempt to keep this fair.

I, Kevin Mason, am a Polaroid addict, there is little better than shooting portraits on an sx70 with a pack of scarce but reliable 600 film. (You should be able to view some of my old Polaroids here)

I have been excited ever since I first heard about the Impossible Project and I really want it to succeed, produce viable films at a price that is reasonable.

I have not performed this test under any strict conditions, but following a few bits of general advice I have shot this as I would normally use my SX70. (The lens still had a 1ND filter over it on all but one of the shots).

I shoot Polaroids for both Commercial work and Personal work- both of which put very different demands on both the photographer and the film.

I paid £19.99 for this pack of 8 exposures at The Photographers Gallery London, its cheaper online if you can buy bulk.

I have only ever put 600 film in my sx70 previously.

I am not attempting to solve these clear image problems, but just to shoot with a fresh pack and see what I get. (E.g I am sure gels etc could fix some of these issues).

I really couldnt at this point give a damn about fancy packaging, collectable dark slides or the almost lomographic fetishism that this project is being marketed as, I just want a film I can use with a certain amount of creative control.

I shot all the tests in the street outside the studio, in natural light, varying between shade, sunny, into the sun etc. Just like in one of my regular Polaroid 600 shots of Georgie below, who I shot in all 8 of the images.

Georgie Hobday Polaroid 600 film, sx70

The biggest change to report with this film, is that Impossible have released a product so unstable that you have to hide it from any light as its developing. In other words the film isnt instant, you cant watch your picture appear and more importantly you cant selectively burn in areas with a lighter etc as many Polaroid shooters (including myself) do now, to have more control over the image. It also means you must eject the image into a dark bag, or under the dark slide (taped to the front of the camera) and is both fiddly and inhibiting.

The film is also incredibly sensitive to temperature and needs to be kept warm, but not put under pressure, so even sticking it in a pocket may radically mark the image. Doesnt like light, and hates cold temperatures, well in the UK this films seems hugely impractical so far. The biggest joy of the whole process, watching the image appear, has been sacrificed, but I understand this is a new film and maybe the returns will be greater for it….

Shooting this film is a slow process you’ll need to wait a good 3 minutes or so for the image to fix, and then you can check the shot, adjust any exposure etc and shoot again. Its disruptive, plus in the general cold of the UK, shooting outside, even with a cold clip seems even slower. The film itself is wildly, and I dont use that term loosely, unpredictable- to the point that there is NO consistency in the shots that developed, regardless of the lighting conditions, temperature etc. A client would not put up with the differing results- as it reduces the photographer to just a ‘hit and hope’ role.

So some general points- Although I understand this is an ‘artistic’ film, Impossible have deemed it fit for release and not at a test product price, but a full price that is considerably more than pro commercial film. So I am looking at it in terms both of its art product use, and its commercial use, or more importantly an outcome that can be predicted.

The film clearly isnt Black and White, varying between sepia and some reds/greens in between.
It seems to have an extremely high number of flaws (dark spots etc).
It switches between massively overexposed and a solarised effect.

These are straight scans with some Levels correct (same for each).