Polaroid Camera Quotes

But the most surprising difference was Show Street, the topless corner of Seattle’s second world’s fair, where fairgoers could rent Polaroid cameras to snap photos of showgirls in various stages of undress.

A serious rest. My mouth watered. Good strong American sleep. Those pills would scrape out the sludge of Infermiterol left in my mind. Then I’d feel better. Then I’d be set. I’d live easy. I’d think easy. My brain would glide. I looked at the assortment of pills in my palm. Good-bye, bad dream. I wished I had my Polaroid camera to document the scene.

Did you bring your camera?” Gracie grabbed her trusty Polaroid from under her arm and held it out. Light from the streetlamp glinted off the narrow lens.

Look at Gaga she's the creative director of Polaroid. I like some of the Gaga songs but what the fuck does she know about cameras?

Q What makes a question “beautiful”? A beautiful question reframes an issue and forces you to look at it in a different way. It challenges assumptions and is really ambitious. Often, these questions begin with the phrase “How might we...” They have a magnetic quality that makes people want to answer them, to talk about them, to work on them. They make the imagination race. The Polaroid camera came out of a 3-year-old girl’s asking, “Why do we have to wait for the picture?” That’s a beautiful question.

He opened the back of the Polaroid and slid in the roll of film while his family arranged themselves on the Argent sofa. The upholstery was the color of faded mint, a fine setting for their brown skin, but the camera only took black-and-white photos. John on Elizabeth’s lap, May beside them. May didn’t know how to smile yet—all instructions to do so summoned an unsettling, gum-heavy display that would not have been out of place on a Bowery bum sleeping it off in a vestibule. “Sit still,” Elizabeth said.

One of the more-interesting?-things I did for Chris during that first deployment was send him some sexy photos of me in lingerie. I knew he wanted something to remember me, and I knew that other wives were doing the same thing. But getting the pictures was difficult. I finally got my courage up and asked my sister to help. Even then, I was so embarrassed that I needed to have a couple of beers to get through the session. This was back in the days before camera phones and digital photographs were everywhere, and so the photos were taken on a Polaroid camera. They came home a little worse for wear, so obviously he enjoyed them.

a Polaroid of me and Serena looking away from the camera during that sunset lake tour we did two years ago. Some guy took it without asking, while we were dangling our feet in the water. Then he showed it to us and said he’d only return it if one of us gave him our number. We did the only logical thing: caught him in a headlock and forcibly took the photo.

One tweet includes a photo of her at fourteen, skinny and smiling through braces in her field hockey uniform, the text screaming, THIS IS HOW OLD TAYLOR BIRCH WAS WHEN JACOB STRANE ASSAULTED HER. I try to imagine the same line paired with the Polaroids Strane took of me at fifteen, my heavy-lidded eyes and swollen lips, or with the photos I took of myself at seventeen, standing before a backdrop of birch trees, lifting my skirt as I stared at the camera, looking like a Lolita and knowing exactly what I wanted, what I was. I wonder how much victimhood they’d be willing to grant a girl like me.

The Memory Business Steven Sasson is a tall man with a lantern jaw. In 1973, he was a freshly minted graduate of the Rensselaer Polytechnic Institute. His degree in electrical engineering led to a job with Kodak’s Apparatus Division research lab, where, a few months into his employment, Sasson’s supervisor, Gareth Lloyd, approached him with a “small” request. Fairchild Semiconductor had just invented the first “charge-coupled device” (or CCD)—an easy way to move an electronic charge around a transistor—and Kodak needed to know if these devices could be used for imaging.4 Could they ever. By 1975, working with a small team of talented technicians, Sasson used CCDs to create the world’s first digital still camera and digital recording device. Looking, as Fast Company once explained, “like a ’70s Polaroid crossed with a Speak-and-Spell,”5 the camera was the size of a toaster, weighed in at 8.5 pounds, had a resolution of 0.01 megapixel, and took up to thirty black-and-white digital images—a number chosen because it fell between twenty-four and thirty-six and was thus in alignment with the exposures available in Kodak’s roll film. It also stored shots on the only permanent storage device available back then—a cassette tape. Still, it was an astounding achievement and an incredible learning experience. Portrait of Steven Sasson with first digital camera, 2009 Source: Harvey Wang, From Darkroom to Daylight “When you demonstrate such a system,” Sasson later said, “that is, taking pictures without film and showing them on an electronic screen without printing them on paper, inside a company like Kodak in 1976, you have to get ready for a lot of questions. I thought people would ask me questions about the technology: How’d you do this? How’d you make that work? I didn’t get any of that. They asked me when it was going to be ready for prime time? When is it going to be realistic to use this? Why would anybody want to look at their pictures on an electronic screen?”6 In 1996, twenty years after this meeting took place, Kodak had 140,000 employees and a $28 billion market cap. They were effectively a category monopoly. In the United States, they controlled 90 percent of the film market and 85 percent of the camera market.7 But they had forgotten their business model. Kodak had started out in the chemistry and paper goods business, for sure, but they came to dominance by being in the convenience business. Even that doesn’t go far enough. There is still the question of what exactly Kodak was making more convenient. Was it just photography? Not even close. Photography was simply the medium of expression—but what was being expressed? The “Kodak Moment,” of course—our desire to document our lives, to capture the fleeting, to record the ephemeral. Kodak was in the business of recording memories. And what made recording memories more convenient than a digital camera? But that wasn’t how the Kodak Corporation of the late twentieth century saw it. They thought that the digital camera would undercut their chemical business and photographic paper business, essentially forcing the company into competing against itself. So they buried the technology. Nor did the executives understand how a low-resolution 0.01 megapixel image camera could hop on an exponential growth curve and eventually provide high-resolution images. So they ignored it. Instead of using their weighty position to corner the market, they were instead cornered by the market.

A child’s why led to the development of the Polaroid camera. On a family vacation in the 1940s, Edwin Land’s three-year-old daughter asked why she couldn’t immediately see the photograph her father had just taken. Land knew that producing an instant photograph was impossible: You had to develop film in a darkroom. But instead of relying on what he knew, he continued to think about her question. Four years later, his first black-and-white instant camera hit the market.

As planned The Three Wise Women meet at 3WW HQ for debriefing. Angelina extracted the small camera from her lapel and downloaded it onto a laptop. She then expertly digitally scanned the Polaroid into her electronic file on James. Ava had just missed Sean who had given his camcorder and photographs of himself and Patrick to Angelina. It had been digitally downloaded and formatted onto Patrick’s pc file. A back-up of all data was done on the Company server but it was heavily encrypted and written in Angelina’s own program Borrow and used her own software Gotya, so only the very best could break her code and that would take months

Polaroid sales grew from just under $1.5 million in 1948 to $1.4 billion in 1978. For 30 years, Polaroid dominated instant print like Pan Am dominated international travel: by delivering spectacular breakthroughs, year after year, which delighted customers. In both cases, a master P-type innovator at the top fueled those loonshots, which grew the franchise, which, in turn, fueled more loonshots. The wheel in the camera kept on turning. The dangerous virtuous cycle spun faster and faster.

Is that a Polaroid camera?” Bo asked. He was pointing to the camera dangling from her neck. Jiminy had brought it with her from Chicago, to document her decline. She touched it now, and nodded.

Jim Collins writes: ‘Gillette didn’t pioneer the safety razor, Star did. Polaroid didn’t pioneer the instant camera, Dubroni did. Microsoft didn’t pioneer the personal computer spreadsheet, VisiCorp did. Amazon didn’t pioneer online bookselling and AOL didn’t pioneer online internet service.’17 What

table, a chest of drawers, a window seat, a color television with a working remote, and a closet with a light that came on automatically when he opened it. He went to the closet, pulled out a briefcase and opened it on the bed. Inside was a monocular, a cassette recorder with a phone clip, and a Polaroid Spectra camera with a half-dozen rolls of film. Excellent. He closed the briefcase, made a quick trip to the bathroom, and rode back down to the street. A bellhop, loitering in the phone-booth-sized lobby, said, “Cab, Mr. Davenport?” “No. I’ve got a car coming,” he said. Outside, he hurried down the street to a breakfast bar, got a pint of orange juice in a wax carton, and went back outside. After leaving Fell the night before, he’d gone to Lily’s apartment and given her the key impressions. Lily knew an intelligence officer

When Mike returned from Vietnam, Richard began hanging out with him. He was twelve. To Richard, Mike was special—a bona fide, real live hero, a man who’d gone into battle and come back victorious, with medals and Polaroid photos to prove he had been there and done it. In these pictures—which Mike showed Richard many times—there were Vietnamese women on their knees being forced to perform fellatio on Mike. In each he looked grimly at the camera and held a cocked .45 to the woman’s head, genuine fear in the woman’s eyes. Mike kept these black-and-white pictures, all bent by handling, in a shoebox at the top of a closet. He also kept eight shrunken heads he’d brought back from ’Nam in a battered suitcase under his bed. He told Richard he’d used the heads as pillows in Vietnam. Mike was married to a shapely Mexican-American redhead named Jessie with a full figure and strong personality.

Both of them had this ability to—well, not invent products—but discover products. Both of them said these products have always existed, it’s just that no one has ever seen them before. We were the ones who discovered them. The Polaroid camera always existed and the Macintosh always existed. It’s a matter of discovery

In 1948, the year when the Land camera appeared in late November, Polaroid took in $1.48 million. A decade later, it had grown to $89 million in sales; ten years after that, in 1969, it was nearing half a billion. Even as the press kept saying “the stock is overvalued,” it kept going up. After rising almost nonstop through the fifties, it split 4-for-1 in 1964, and split again in 1968. It became a glamour purchase, and even against the advice of some of their brokers, people kept buying shares.

These findings map directly onto the rise and fall of Polaroid. After Land invented the instant camera in 1948, the company took off, its revenues jumping from under $7 million in 1950 to nearly $100 million in 1960 and $950 million by 1976. Throughout that period, the photography industry remained stable: Customers loved high-quality cameras that printed instant pictures. But as the digital revolution began, the market became volatile, and Polaroid’s once-dominant culture was left in the dust.

PACKING CHECKLIST Light, khaki, or neutral-color clothes are universally worn on safari and were first used in Africa as camouflage by the South African Boers, and then by the British Army that fought them during the South African War. Light colors also help to deflect the harsh sun and are less likely than dark colors to attract mosquitoes. Don’t wear camouflage gear. Do wear layers of clothing that you can strip off as the sun gets hotter and put back on as the sun goes down. Smartphone or tablet to check emails, send texts, and store photos (also handy as an alarm clock and flashlight), plus an adapter. If electricity will be limited, you may wish to bring a portable charger. Three cotton T-shirts Two long-sleeve cotton shirts preferably with collars Two pairs of shorts or two skirts in summer Two pairs of long pants (three pairs in winter)—trousers that zip off at the knees are worth considering Optional: sweatshirt and sweatpants, which can double as sleepwear One smart-casual dinner outfit Underwear and socks Walking shoes or sneakers Sandals/flip-flops Bathing suit and sarong to use as a cover-up Warm padded jacket and sweater/fleece in winter Windbreaker or rain poncho Camera equipment, extra batteries or charger, and memory cards; a photographer’s vest and cargo pants are great for storage Eyeglasses and/or contact lenses, plus extras Binoculars Small flashlight Personal toiletries Malaria tablets and prescription medication Sunscreen and lip balm with SPF 30 or higher Basic medication like antihistamine cream, eye drops, headache tablets, indigestion remedies, etc. Insect repellent that is at least 20% DEET and is sweat-resistant Tissues and/or premoistened wipes/hand sanitizer Warm hat, scarf, and gloves in winter Sun hat and sunglasses (Polaroid and UV-protected ones) Documents and money (cash, credit cards, etc.). A notebook/journal and pens Travel and field guide books A couple of large white plastic garbage bags Ziplock bags to keep documents dry and protect electronics from dust

The invitation came from Studio Morra in Naples: Come and perform whatever you want. It was early 1975. With the scandalized reactions of the Belgrade press fresh in my mind, I planned a piece in which the audience would provide the action. I would merely be the object, the receptacle. My plan was to go to the gallery and just stand there, in black trousers and a black T-shirt, behind a table containing seventy-two objects: A hammer. A saw. A feather. A fork. A bottle of perfume. A bowler hat. An ax. A rose. A bell. Scissors. Needles. A pen. Honey. A lamb bone. A carving knife. A mirror. A newspaper. A shawl. Pins. Lipstick. Sugar. A Polaroid camera. Various other things. And a pistol, and one bullet lying next to it. When a big crowd had gathered at eight P.M., they found these instructions on the table: There are 72 objects on the table that one can use on me as desired. I am the object. During this period I take full responsibility. Duration: 6 hours (8pm - 2am) Slowly at first and then quickly, things began to happen. It was very interesting: for the most part, the women in the gallery would tell the men what to do to me, rather than do it themselves (although later on, when someone stuck a pin into me, one woman wiped the tears from my eyes). For the most part, these were just normal members of the Italian art establishment and their wives. Ultimately I think the reason I wasn’t raped was that the wives were there. As evening turned into late night, a certain air of sexuality arose in the room. This came not from me but from the audience. We were in southern Italy, where the Catholic Church was so powerful, and there was this strong Madonna/whore dichotomy in attitudes toward women. After three hours, one man cut my shirt apart with the scissors and took it off. People manipulated me into various poses. If they turned my head down, I kept it down; if they turned it up, I kept it that way. I was a puppet—entirely passive. Bare-breasted, I stood there, and someone put the bowler hat on my head. With the lipstick, someone else wrote IO SONO LIBERO—“I am free”—on the mirror and stuck it in my hand. Someone else took the lipstick and wrote END across my forehead. A guy took Polaroids of me and stuck them in my hand, like playing cards. Things got more intense. A couple of people picked me up and carried me around. They put me on the table, spread my legs, stuck the knife in the table close to my crotch. Someone stuck pins into me. Someone else slowly poured a glass of water over my head. Someone cut my neck with the knife and sucked the blood. I still have the scar. There was one man—a very small man—who just stood very close to me, breathing heavily. This man scared me. Nobody else, nothing else, did. But he did. After a while, he put the bullet in the pistol and put the pistol in my right hand. He moved the pistol toward my neck and touched the trigger. There was a murmur in the crowd, and someone grabbed him. A scuffle broke out. Some of the audience obviously wanted to protect me; others wanted the performance to continue. This being southern Italy, voices were raised; tempers flared. The little man was hustled out of the gallery and the piece continued. In fact, the audience became more and more active, as if in a trance. And then, at two A.M., the gallerist came and told me the six hours were up. I stopped staring and looked directly at the audience. “The performance is over,” the gallerist said. “Thank you.” I looked like hell. I was half naked and bleeding; my hair was wet. And a strange thing happened: at this moment, the people who were still there suddenly became afraid of me. As I walked toward them, they ran out of the gallery.

As a result, throughout the production, the director shot an estimated ten thousand Polaroids as the lighting was adjusted, then readjusted, and the camera positions were modified.

In Tsai's go‐go years, high‐flying stocks with​ positive momentum were all the rage. Polaroid, Xerox, IBM all traded at price‐to‐earnings ratios of more than 50. These expensive stocks were supported by explosively high growth rates. From 1964 to 1968, IBM, Polaroid, and Xerox grew their earnings per share at 88%, 22%, and 171%, respectively. Others like University Computing, Mohawk Data, and Fairchild Camera traded at several‐hundred times their trailing 12‐month earnings. The latter three and many others like them would go on to lose more than 80% in the 1969–1970 bear market. The Manhattan Fund was up almost 40% in 1967, more than double the Dow. But in 1968, he was down 7% and was ranked 299th out of 305 funds tracked by Arthur Lipper.16 When the market crash came, the people responsible were entirely unprepared. By 1969, half of the salesmen on Wall Street had only come into the business since 196217 and had seen nothing but a rising market. And when stocks turned, the highfliers that went up the fastest also came down the fastest. For example, National Student Marketing, which Tsai bought 122,000 shares for $5 million, crashed from $143 in December 1969 to $3.50 in July 1970.18 Between September and November 1929, $30 billion worth of stock value vanished; in the1969‐1970 crash, the loss was $300 billion!19 The gunslingers of the 1960s were thinking only about return and paid little attention to risk. This carefree attitude was a result of the market they were playing in. From 1950 through the end of 1965, the Dow was within 5% of its highs 66% of the time, and within 10% of its highs 87% of the time. There was virtually no turbulence at all. From 1950 to 1965, the only bear market was “The Kennedy Slide,” which chopped 27% off the S&P 500, and recovered in just over a year.

Tampa is a long way from New York, but our men and women were not parochial. They have been citizens of the entire nation and were so remembered. When you read this impressive list of important people who lived among us, bear in mind that among those who live with us now are others who are just as important. We are not a bunch of has-beens or never-weres. You'll read about us in the Times. Then followed a list of eleven onetime residents whose obituaries recounted the worthy contributions they had made, including a woman who had been a noteworthy missionary in Africa; a painter whose works had been widely shown; a general with many medals; a businessman whose operations had covered a dozen states; a newspaper editor who had fought the good fights and won two Pulitzers for doing so... That led to a discussion of what criteria the Times probably used in deciding which deaths to memorialize and how much space to accord to each. The men also wanted to know why certain obituaries started on the front page and carrier over, while others did not- as, for example, Margaret Mead on front page, full page later; Edward Land full page later but no front page. Here Jimenez volunteered a suggestion: 'Dr. Mead dealt with ideas, Land only with things. His invention of the Polaroid camera was a contribution, but a limited one. Her probing into primitive societies enlightened us all.' The men concluded that an editorial board probably adjudicated placement along the lines suggested by Jimenez. p227