Polaroid Picture Quotes

Do kisses fade like Polaroid pictures if you don't pay attention to them?

As my friend Amy observed: "Divorce is like a Polaroid picture. What truly happened will develop over time and you will see.

If you are lucky enough to have a childhood friend, try your hardest to grow old with them. These friends are a unique, irreplaceable breed. These friends lived through curfews and Polaroid pictures with you. These friends know your parents and siblings because they had to call your house first to speak with you. Your memories are not frozen in time on social media, but live on nonetheless. Most importantly, they remember the person you were before the world got ahold of you, so they have this crazy ability to love you no matter what. They are the living, breathing reflection of where you have been. And so, just when you think you’ve lost yourself for good, they are there to bring you face-to-face with your true self, simply by sharing a cup of coffee with them. As your world grows and becomes larger and more complicated than your backyard, even if you establish a life elsewhere, I hope your childhood friends remain lifelong allies, because mine have saved my life on more than one occasion.

Love is a Polaroid, better in picture, but never can fill the void.

If you were a country," I said, "what would your national anthem be?" I meant a pre-existing song -- "What a Wonderful World" or "Que Sera, Sera" or something to make it a joke, like "Hey Ya!" ("I would like, more than anything else, for my nation to be shaken like a Polaroid picture.")

As late as 2003, the hip-hop star Andre 3000 could sing “Shake it like a Polaroid picture,” in Outkast’s megahit “Hey Ya,” and even young people did not have to ask what he meant.1

i'm holding only one photo now, and I have to force myself, beg myself to look at it, the square polaroid shaking in my trembling hand. It's a picture of a little boy standing next to a little girl. she's sitting in a stairwell. He looks at her as she eats a piece of cake. I flip it over Aaron and Ella

And now a word about librarians. We are all, from our youngest years, warned that the most dangerous, untrustworthy creature is that which stalks our public libraries. We all remember, as children, having this told to us by frazzled men in rumpled suits clutching ancient tomes to their chests. “Aaaarrrruuuggghhh,” they would say, pointing at a diagram that was just a square with the word LIBRARY written neatly in the middle of it. “Ouuugh!” they would continue, pointing at the clearest photograph ever taken of a librarian, which is a blurry and badly burnt Polaroid. “Oh! Oh! Oh!” they would conclude, pointing at the first diagram again. It was always a very short presentation. Then the men would run from our classrooms, looking fearfully around and muttering, “There’s no time, just no time,” and never would be seen again. These warnings, as playfully conveyed as they were, are serious matters that should be applied to your grown-up, serious life. Librarians are hideous creatures of unimaginable power. And even if you could imagine their power, it would be illegal. It is absolutely illegal to even try to picture what such a being would be like. So just watch out for librarians, okay?

All these imperfections we wanted out of our perfect pictures, are, in fact the core of our perfect memories. All these imperfections that are, ultimately, after many cursing and resignation, life; life after all.

Even in pictures of their youth, old people look old. He watched as the pictures moved to crisp black-and-white and then to the bland colour of Polaroids, watched as children were born and then grew up, as hair fell out and was replaced by wrinkles. And all the while Starnes and Mary stayed in the pictures together, from their wedding to their fiftieth anniversary. I will have that, Colin thought. I will have it. I will.

We wanted to take Polaroids of her and all the kids, about eight of them, of all ages, several photos, so we could give some to the family. She grabbed her youngest and asked us to wait. And then like any mother, anywhere in the world—do not let anyone tell you that people are fundamentally different—she combed the child’s hair and changed his shirt before letting him pose for the pictures. The second shirt was slightly less dirty than the first. She wanted him to look his best. That mother could have been in Greenwich, Connecticut, as easily as on the steppes of Mongolia.

SLEEP DIDN’T CURE MY GUILT. It didn’t lessen it either. The mind is nothing but a free Polaroid that never stops taking pictures. And you can’t just throw them away. They won’t rip or cut. Those moments are captured forever. I go through my morning routine like a robot. Shower. Dress. Hair. Make-up. Coffee. Two cups, actually.

Polaroid pictures of them wearing bell-bottom jeans, leather vests, round lens glasses, and headbands.  They were in their teens when I was born and in the partying stage of their lives when I was young.  At the age of five, I opened my parents’ sock drawer.  Instead of socks, it was filled with dead plants.  I didn’t know what it was; I just knew none of my drawers were filled with that stuff.  I never saw my parents smoke pot or do any other type of drug, but I recognized changes in their behavior.  When they had friends over, I noticed everyone would regularly leave the living room and go into the kitchen, followed by an odd smell which permeated the room.  I didn’t know what was happening.  I just knew this only occurred when guests were

It was to be called Polasound, and the idea was truly eccentric: to attach an audio caption to each Polaroid integral picture. The idea seems to have been that you’d clip your picture into a little plastic carrier that held a strip of audiotape. For recording and playback, you’d pop each one into what looked like a small radio with a slot on top. The gizmo never got past the drawing board, but it’s one of the most bewitchingly weird notions Polaroid ever considered.

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.

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.

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.

Auto-Zoomar. Talbert knelt in the a tergo posture, his palms touching the wing-like shoulder blades of the young woman. A conceptual flight. At ten-second intervals the Polaroid projected a photograph on to the screen beside the bed. He watched the auto-zoom close in on the union of their thighs and hips. Details of the face and body of the film actress appeared on the screen, mimetized elements of the planetarium they had visited that morning. Soon the parallax would close, establishing the equivalent geometry of the sexual act with the junctions of this wall and ceiling. ‘Not in the Literal Sense.’Conscious of Catherine Austin’s nervous hips as she stood beside him, Dr Nathan studied the photograph of the young woman. ‘Karen Novotny,’ he read off the caption. ‘Dr Austin, may I assure you that the prognosis is hardly favourable for Miss Novotny. As far as Talbert is concerned the young woman is a mere modulus in his union with the film actress.’ With kindly eyes he looked up at Catherine Austin. ‘Surely it’s self-evident - Talbert’s intention is to have intercourse with Miss Taylor, though needless to say not in the literal sense of that term.’ Action Sequence. Hiding among the traffic in the near-side lane, Koester followed the white Pontiac along the highway. When they turned into the studio entrance he left his car among the pines and climbed through the perimeter fence. In the shooting stage Talbert was staring through a series of colour transparencies. Karen Novotny waited passively beside him, her hands held like limp birds. As they grappled he could feel the exploding musculature of Talbert’s shoulders. A flurry of heavy blows beat him to the floor. Vomiting through his bloodied lips, he saw Talbert run after the young woman as she darted towards the car. The Sex Kit.‘In a sense,’ Dr Nathan explained to Koester, ‘one may regard this as a kit, which Talbert has devised, entitled “Karen Novotny” - it might even be feasible to market it commercially. It contains the following items: (1) Pad of pubic hair, (2) a latex face mask, (3) six detachable mouths, (4) a set of smiles, (5) a pair of breasts, left nipple marked by a small ulcer, (6) a set of non-chafe orifices, (7) photo cut-outs of a number of narrative situations - the girl doing this and that, (8) a list of dialogue samples, of inane chatter, (9) a set of noise levels, (10) descriptive techniques for a variety of sex acts, (11) a torn anal detrusor muscle, (12) a glossary of idioms and catch phrases, (13) an analysis of odour traces (from various vents), mostly purines, etc., (14) a chart of body temperatures (axillary, buccal, rectal), (15) slides of vaginal smears, chiefly Ortho-Gynol jelly, (16) a set of blood pressures, systolic 120, diastolic 70 rising to 200/150 at onset of orgasm . . . ’ Deferring to Koester, Dr Nathan put down the typescript. ‘There are one or two other bits and pieces, but together the inventory is an adequate picture of a woman, who could easily be reconstituted from it. In fact, such a list may well be more stimulating than the real thing. Now that sex is becoming more and more a conceptual act, an intellectualization divorced from affect and physiology alike, one has to bear in mind the positive merits of the sexual perversions. Talbert’s library of cheap photo-pornography is in fact a vital literature, a kindling of the few taste buds left in the jaded palates of our so-called sexuality.

Finding out about a lost niece, raised by wolves in the jungle of a remote French town was weird to say the least. Ordinary for all, but the Joneses, like the strand of hair sticking out from a tight bun, the red eyes that stood out from a Polaroid picture.

The information was far from comprehensive.  Inside the file was a polaroid that looked like it had been taken exactly from where Jamie was sitting. She held it up and matched the outline of the door in front of her to the picture in her hand. In the middle of it was Oliver Hammond. He looked dishevelled and gaunt. Hungry was the word that came to mind. His skin looked colourless and there were grazes and scabs hanging from his cheeks. The heroin scratch. That’s what her dad used to call it. When addicts pawed at their faces. His hair was matted and his eyes sunken, but there was no mistaking him.  Jamie pulled the photo out from under the paperclip and went through the rest of the file.  There was a roughly photocopied form that looked like it had been put together in a spreadsheet. It had been filled in by hand. Jamie closed her eyes and recalled the handwriting on the sign outside. It was different. Oliver must have filled it in himself.  It gave his name, date of birth, emergency contact, and blood type. Though there was nothing filled in under address. It also had two check-boxes under the words ‘Naloxone Allergy?’, and he’d checked ‘no’. Naloxone was used to treat heroin overdoses. There were also questions — ‘How long has it been since you maintained a permanent residence?’, ‘Do your family know where you are?’. He’d written ‘A year’ and ‘No’ for those two. Then came the personal questions. ‘What is your sexual orientation?’, ‘Are you sexually active?’, ‘How many sexual partners have you had in the last 12 months?’, ‘Have you been recently checked for sexually transmitted diseases?’, ‘Have you been diagnosed with any transmittable diseases?’, ‘Are they bloodborne?’. He’d written ‘Straight’, ‘Yes’, ‘1’, ‘No’, ‘No’, and ‘No’. So he’d only been with one girl, and he hadn’t caught anything.

Through the years, companies from Polaroid (Why do we have to wait for the picture?) to Pixar (Can animation be cuddly?21) have started with questions. However, when it comes to questioning, companies are like people: They start out doing it, then gradually do it less and less. A hierarchy forms, a methodology is established, and rules are set; after that, what is there to question?

author of the ransom note. Quoting Steve Thomas (Thomas 2000)[10], “Then, while reviewing a list of book titles from the Ramsey home at the request of Don Foster, I dug out the Polaroid photographs from the Evidence Room. Using magnifying glasses, evidence tech Pat Peck and I compared the titles on the list with what the pictures showed. Entire shelves of books had been overlooked. When we checked the photos from a big manila envelope marked as evidence item #85KKY, I almost fell out of my chair, and Peck inhaled in sharp surprise. A picture showed Webster's New Collegiate Dictionary on a coffee table in the first-floor study, the corner of the lower left-hand page sharply creased and pointing like an arrow to the word incest. Somebody had apparently been looking for a definition of sexual contact between family members. Ever so slowly, our accumulated circumstantial evidence grew.

You’ve put things back in order then? Matches the Polaroids?” “Yes, ma’am, this is pretty close to how we found it. We came in, saw the blood, backed out and started taking pictures. Then we took all the samples. It’s not as much as it looks, and the biologicals were desiccated. Been there for at least a day. Dusted the bed and side table for prints, came up with a few. We’ll get it all into the system, let you know. Soon as you’re ready we’ll finish bagging and cart it out.” Taylor

The days, months, and years eventually reveal, like a polaroid, a clear picture of how significant events and decisions ultimately shape our lives

Finally, she relents. I stand to the side and take pictures with the yellow Polaroid, and I watch Tessa experience adrenaline for possibly the first time. She screams and laughs and everything is a blur of color. It sounds like music, her happy scream. I've never heard it before, but now I want to hear it for the rest of my life.

He sat and smoked deliberately, as if he were finished with his recital. I directed him to tonight’s activities. “Tell me about tonight, Jeff. What happened?” He sat up again and appeared eager to tell me. “Well, Pat, it’s weird. I was out of Halcion, but I still wanted to be with someone warm and alive. I went to the mall downtown and started drinking at a pub on the third floor. I met the guy there; we had a few beers together and talked. I figured that he was a willing prospect, so I offered him fifty bucks to come back to my apartment and let me take some pictures of him in the nude. He agreed. I figured I’d ply him with booze until he passed out and then I would kill him, but this guy could really drink. I was getting drunk and knew that if I wanted him, I would have to try something else. I asked him to let me take some bondage pictures of him, thinking that if I could handcuff him behind his back, he would be mine. Then I could knock him out by hitting him over the head or something, I don’t know. I was drunk and not thinking straight. Anyway, I got one cuff on him but he wouldn’t let me cuff his other hand. I got mad and tried to force his other arm behind his back and into the handcuffs. We began to struggle, nothing big, just some wrestling around on the floor. Even though he was a little guy, I couldn’t get the best of him, so I grabbed the knife to stab him, but he got loose and ran out the door. “I was too drunk to chase him. What else could I do? I don’t really remember what happened next. I think I passed out for a while until I heard a knock at the door. It was two big policemen and they were asking for the handcuff key. I could see the little Black guy behind them. He had the one cuff on and said that he didn’t want to prosecute—he just wanted the cuffs off. I fumbled around but couldn’t find the damn key. The cops were getting impatient waiting at the door, so they entered and began to look around. I think one of them found my Polaroids and said something to his partner. The fat cop walked over to the refrigerator and started to open it, and I knew this was it, so I tried to stop him. I’m not sure what happened next; I just know that I got the shit beat out of me. I tried to fight back but it didn’t seem to faze them, and now here I am with you, Pat.

I’m pretty sure that this is the guy I met the night before Easter in 1989. You see these?” He picked out Polaroids depicting a severed penis, a black male’s scalp with a large Jheri curl still attached, and a painted skull. “These belong to him.” This was the first time he kept his victim’s body parts. He met Anthony Sears at closing time in front of a dance club called La Cage. He was with a friend, a white man, and after accepting Dahmer’s offer to come home with him, the friend gave them a ride to 57th and National. They walked the remainder of the way to Grandma’s, and Dahmer gave him the drink mixed with Halcion. He had sex with him before and after death. On Easter Sunday, while Grandma attended church, Dahmer dismembered the body by severing the flesh, keeping the individual’s scalp, genitals, and skull. He wanted to preserve these body parts, so he went to a hardware store and told the clerk he was interested in drying and treating a wild rabbit pelt. They informed him that acetone would do the trick, and he purchased some. After cleaning the body parts, Dahmer treated them with the acetone for preservation. “It actually worked quite well, as you can see from the pictures. When they were dried, I wore his scalp. It helped me to fantasize and remember the night I was with him. I could suck on his penis and masturbate.

He thought for a while before beginning. “I think it was October of 1990. I was walking on Wisconsin Avenue when I met him. I struck up a conversation and asked if he wanted to come home to my apartment for some cocktails. I also mentioned that I would pay him a hundred dollars if he let me take some nude pictures of him. He agreed, and we walked to my apartment, where we engaged in some light sex and I gave him the drink. Soon he was out, and I made love to him for about an hour or so. I decided that I would kill him, and used my hands to strangle him until he stopped breathing.” Murphy interrupted by placing the Polaroid picture found on the table in the apartment. It depicted the victim straddled on his back over the side of a bathtub. There was an incision made from the bottom of his chin to the top of his genitals. The viscera was pulled out of the body and lying, as if on display, on top of the torso. The colored Polaroid was shocking. The moist, red entrails glistened, revealing the intestines and internal organs. “What’s this all about?” Murphy said, pointing to the ghastly sight. Dahmer picked it up and shrugged. “I wanted a picture of his insides, so I placed him in the bathroom and cut him open. I pulled the viscera from his body with my hands. The look and feel of it gave me unbelievable pleasure, and I masturbated and made love to him by placing my penis in it, like having intercourse.” He took a long, slow drag from his cigarette without looking up as the rest of us sat in silence. We had identified our sixth victim: David Thomas. Murphy, serious as ever, finally broke the silence. “How did you dispose of this one? Did you keep any of his parts?” Dahmer answered that he became leery of placing the bones and flesh in the trash for fear of discovery. This is when he began to use the muriatic acid. He tried to save the skull by boiling it; however, he wanted to speed up the drying process and used a higher oven temperature. The increased heat popped the skull into smaller sections. Because it was ruined, he threw it into the acid. There were no remaining parts of this victim.

Somehow, though, people still think that Polaroid pictures inevitably degrade. It may be that the instant nature of the film makes it seem ephemeral or fragile. A 1980 song by the British singer-songwriter Billy Bragg contains the lines, “The Polaroids that hold us together / Will surely fade away.” They don’t have to, though. Many of the first tests, from 1944, look just fine.

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.

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.

Polaroid fell due to a faulty assumption. Within the company, there was widespread agreement that customers would always want hard copies of pictures, and key decision makers failed to question this assumption. It was a classic case of groupthink—the tendency to seek consensus instead of fostering dissent.

Writing a first draft is very much like watching a Polaroid develop. You can’t—and, in fact, you’re not supposed to—know exactly what the picture is going to look like until it has finished developing.

A letter from Hogwarts? For me?” Hansel said. “It’s got your name on it.” “Did, like, an owl bring it to our window?” “Yup.” “Stop yankin’ my chain, dude.” “I thought you might say that, so I took a picture of the owl!” Tobin reached under his pillow again and pulled out a Polaroid picture. “Here.” Hansel took the photograph and letter from Tobin. He examined the photograph first. It showed a chicken perched on their bedroom windowsill, a chicken with a small warthog head instead of a chicken head.