Silverbased

In 1963, The Polaroid company introduced a new system of 3.25″ x 4.25″ film packs. These are informally known as the “peel apart” pack films, since the print must be separated from the negative after a specific length of development time. The new emulsions included a 3000-speed B&W film which was startling for the time, as well as color types. These packs could be used in Polaroid’s accordion-folding amateur cameras; in professional modular studio backs; and in technical products like microscope and oscilloscope cameras.

In today’s dark times waiting for the End of Polaroid, pack film may be our one remaining bright note. Because Polaroid’s older patents have expired, Fujifilm was able to introduce a line of instant films that are drop-in replacements, fitting all the same cameras and backs. And better yet, they’re cheaper than most Polaroid options.

One of Polaroid’s peel-apart film types, number 669, is cherished for its odd color tonality and workability for emulsion-lift techniques—regrettably there does not seem to be any direct Fuji replacement for this. But otherwise, my early tests with Fuji’s FP-100C color packfilm seem promising. I have heard much praise for their B&W emulsions too, but have not tried them myself.

We can’t know how long Fuji will continue making these films, of course. But my speculation is that with their setup costs already paid and their only competitor leaving the market, Fuji’s packfilm will be the one remaining “Polaroid” material available in the coming years.

As I’ve complained before, most of the amateur-grade cameras sold by Polaroid itself were rather uninspired. Most featured slow, pedestrian-quality lenses and have no option for manual exposure control. Polaroid did make a handful of “professional” manual-exposure models like the 180 & 195; Or the 600SE (basically an adapted Mamiya press camera). But the relative scarcity of these models keeps their prices high on the used market even today.

However, the company produced millions of consumer folding models—all of which used essentially the same standardized film back and bellows assembly. Just start looking around at yard sales and camera swaps, and you’ll find numerous 100-, 200-, 300-, and 400-series cameras, generally at giveaway prices.

Polaroid sold many variations on this basic design; here a Model 104

Considering their ubiquity and low value, there’s no need to feel guilty about cannibalizing one for other purposes. Other possible lens-shutter combinations can be adapted to replace Polaroid’s original; all that’s needed is an image circle covering the 120mm print diagonal (or just close to it, if you enjoy some vignetting). People have even adapted Holga and Diana lens/shutter assemblies to work!

But to me, the main reason to make such a conversion is to gain full manual exposure control with true f/stop and shutter-speed settings; and perhaps to use a focal length never available from Polaroid’s own offerings.

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