Update September 2017: The Impossible Project has renamed itself ‘Polaroid Originals’ as part of a major rebranding effort. The film itself is still the same, so for our purposes in this article the Impossible Project and Polaroid Originals are the same. To clarify,
‘Polaroid Originals’ are the films and cameras developed by the Impossible Project, while just ‘Polaroid’ refers to the original instant film line that was discontinued in 2008.
Troubleshooting Polaroid cameras is often a rather expensive proposition, and it can be especially frustrating when a camera has mysteriously died right in the middle of shoot. Many people often inherit or purchase cameras that they don’t know work or not. How do you make sure the camera works? Is it the film causing trouble, or the camera itself?
Unfortunately, shooting Polaroid means working with cameras that are decades old, and any piece of technology with that many years on it is going to be prone to causing trouble. I’ve spent many, many hours trying to figure out why a camera isn’t spitting out an image, firing off countless ruined shots in the process.
In order to hopefully make your troubleshooting process easier, here are a few pointers and the step-by-step process I use to figure out what’s wrong. Hopefully this will help you find the problem quickly and with a minimal amount of ruined film.
First, Some Tips and Important Information
Regardless of your specific problem, here are some things you can do to prevent problems from arising in the first place and how to deal with the ones that will inevitably occur.
Use 600 or 1200/Image instead of SX-70
I know, I know, the rainbow stripe SX-70 camera looks awesome. And the SX-70 SLRs are the OGs of the film world. But using SX-70 film is setting yourself up for a potential world of pain. Generally all SX-70 cameras are older than 600 and 1200/image cameras, and that much more prone to breaking. Second, SX-70 film has a very low ISO/ASA rating, which means it either needs an extremely powerful flash (not built into these cameras, you have to get one separately) or shoot in bright daylight. Indoor lights, normal studio lights, or even cloudy days aren’t going to cut it.
Newer Cameras Are Better than Old Ones
This goes with what I mentioned above. If you’re trying to pick between two cameras that are very similar models, just go for the newer body. With a bit of quick Googling (or even just inspecting the design) you can tell which camera is newer. I’m not saying all older cameras are going to break, or that new ones aren’t, but it’s always helpful to have the odds in your favor.
Always Use New Impossible Project Film
The vast majority of problems with Polaroid cameras actually have more to do with the film rather than the camera. Polaroid cameras are powered by their battery packs, so without a fresh, new pack of film it won’t even turn on. You might find an old Polaroid camera with an ancient pack of film stuck inside of it with a battery that’s long dead. Now that we’re eight years past Polaroid selling off its last stock of film, nearly all genuine Polaroid film is long expired. (Don’t worry, the film is still good, but not for troubleshooting purposes here).
The Impossible Project makes new film for Polaroid cameras with packs that have fresh batteries. The best place to buy Impossible Project film is straight from their website. Old Impossible Project film has a multitude of problems, and many third party resellers have old stock that hasn’t been properly refrigerated. Feel free to use this stuff, but if you’re trying to figure out if a camera works or not, buying the correct, newest version of the film straight from the Impossible Project’s website is an absolute must. It’s not cheap, but there’s nothing about instant film that is.
Use Multiple Cameras on Important Shoots
If you’re using Polaroid cameras on a shoot, it’s important to always have at least one backup. I’ve been halfway through a shoot when a camera starts acting up, and rather than losing more photos and time trying to fix it, I just hop right to the next camera and save the troubleshooting for later. Used Polaroid cameras can be quite affordable, sometimes even cheaper than the film it uses, so there’s no reason to not have a backup. You may have an expensive SLR or refurbished as your main camera, but there’s no reason not to have a cheapie as a backup. Just make sure your backup uses the same film as your main camera. That means that if a Spectra AF is your main guy, use another 1200/image camera like the older Spectra System as your backup.
If a Camera is Broken, Let it Go
This is a hard one, but an important one. If you have a plastic SX-70 camera that’s not working, and it’s constantly ruining film and shorting out packs, it’s best to just move on. For the vast majority of Polaroid cameras out there, it’s cheaper to buy a replacement rather than try to repair it. Personally, I don’t know anywhere that works on Polaroid cameras (if you do, let me know!), but camera repairs are never cheap. Pretty much the only cameras worth it are the great SLR type Polaroids. Unfortunately, SLR type Polaroids also love to break due to their complex design.
Rather than get attached to any specific one camera, have a small fleet of them ready to go. You don’t want to lose a moment because a camera is acting up and you don’t have a backup.
The Troubleshooting Process
Now, with those tips in mind, let’s walk through the troubleshooting process and see if we can isolate whatever may be wrong with a misbehaving camera.
Like any troubleshooting process, the goal here is to isolate the problem. That means getting rid of variables and checking off a list. This guide won’t necessarily solve your problem, but it’s extremely helpful to know what you’re up against, and if you need to give up on a camera or not. Also, once you know your camera is not at fault, it is easier to troubleshoot problems with the film itself.
Polaroid cameras are usually all or nothing, meaning they either work perfectly or not at all. There are rare cases otherwise, but as we’ll see throughout the troubleshooting process, most often the problem can be traced to the film itself if the camera makes it past the first few checks.
Step 1: Insert a New Pack of Film – Does it Spit Out the Dark Slide?
This is the most important test, the one that tells you the most, and it also happens to be the easiest.
In order for this test to work through, you absolutely MUST use brand spankin’ new Impossible Project film. Don’t use old Impossible Project film. Don’t use Impossible Project film purchased from other vendors or other third parties. Especially don’t use expired Polaroid film packs. Once you know that a camera works, buy film from wherever you want, but for troubleshooting we need to eliminate all other possible problems.
I’ll repeat: you MUST use brand new film purchased directly from the Impossible Project’s website for troubleshooting. Too much can go wrong otherwise.
Got your new pack of film? Great! Now take the old cartridge out and put in the new pack of film. (If you don’t know what I’m talking about, you can catch up with the terminology on my guide to using Polaroid cameras. Don’t worry, I’ll wait here.) When you close the camera, it should immediately spit out the dark slide, which is a little film-sized piece of cardboard that protects the pack from light.
If you put in the fresh pack of film and nothing happens, the camera is almost certainly dead. This is why it is critical to use a new pack of film instead of one that might have a dead battery. If you use bad film, you might have a perfectly good camera that simply isn’t getting power from the cartridge.
If the camera spits out the dark slide, we know that it’s functional. There might be other problems, but now we know that the electrical components are doing their thing, and the ejection module is also working on as well.
If no dark slide has been ejected, you can try another pack of film to see if it works. In this case, I often pull out a pack I know worked in another camera to see if it works in the troubled camera. If it doesn’t, you have a dead camera. Sorry, without repairs of some sort, it’s not going to work.
If the camera is spitting out the dark slide, but you still have problems, let’s continue moving on to next step.
Step 2: Take a Picture in Optiomal Conditions – Inspect for Errors
If the dark slide has popped out, now we know the camera is at least semi-functional. Now, let’s see how it takes pictures properly.
To remove as many variables as possible, let’s remove all the elements that cause Polaroid cameras and instant film to expose improperly. This means we need ideal light and temperature conditions. Yes, temperature actually matters.
Remember, I’m operating on the assumption that you’re using brand new Impossible Project film. Otherwise, there are a thousand problems that old film can bring to the table and make this an exercise in futility.
First, make sure the flash is on. For most cheap 600 type cameras, the flash is always on, so you’re good. Some SLRs and Spectra/Image/1200 cameras give you the option to turn it off or on, so just flip the switch to on. For SX-70 cameras, you’re going to need a flashbar. Old flashbars had ten single use bulbs, but there are newer reusable ones that work as well.
It’s important to have the flash on because the camera won’t struggle with exposure if it has a guaranteed light source. That gets us to the next thing: temperature. It has a huge effect on the film chemistry, and I’ve had SX-70 cameras that inexplicably refuse to work in temperatures cooler than 50 degrees Fahrenheit. So shoot inside, where (hopefully) your home is somewhere around 70 degrees.
Take a photo of an object or person in a well-lit room approximately 6 feet away with the flash on. Make sure your exposure compensation is dead center. It’s not going to be an exciting photograph; we’re just trying to make sure this thing works.
After taking the picture, the photo should pop out the same slot the dark slide came from. Obviously, if no picture comes out, we have a problem. It’s not terribly uncommon for a camera to be able to spit out a dark slide, then fail to actually process a picture. If this happens with two different packs of good film, most likely there is something wrong with the exposure mechanism and the camera is toast.
Another than that could happen is that the gears to eject the film grind on endlessly, but no picture comes out. This has happened with a few of my SX-70 cameras, and there’s no way to stop it other than yanking out the film pack to kill the battery. This is typically a fatal mechanical problem, but I’ve heard of crafty people repairing folding SLRs with this problem by taking them apart.
If a photo popped out like it is supposed to, now we can wait for it to develop to see what we got. Ideally, in ten minutes to an hour you should have a boring, harsh-but-well-exposed shot of a plant or something.
If the picture didn’t come out, let’s double check a few things. If the picture is completely blown out make sure that the exposure switch wasn’t set anywhere other than the middle, and make sure that if you’re using an SX-70 camera that you’re not using 600 type film.
If the picture is too dark, make sure that the flash is on and uncovered, and that the object you’re taking a picture of is close enough for the flash to reach it. Also, if you’re using an 600 type camera, make sure you aren’t accidentally using SX-70 film.
If after checking those things and taking a few more pictures with the same results, it might mean that something is wrong with the exposure detection of the camera if pictures are continuously blown out or dark. However, this is fairly rare, which means that if under other conditions (outside, without flash, in cold weather, etc) you’re getting blown out or underexposed images it doesn’t necessarily mean the camera is broken. That’s why it is important to do this all in a controlled setup. If this setup gives you a well exposed image, but when you go outdoors it’s blown out, we’re probably looking at a problem with how the film is being shot rather than the camera itself.
If you’ve taken a picture and it looks fine, congraluations! Your camera works. However, if you’re still having problems elsewhere, now we can shift our troubleshooting to the film itself, which is where most of my problems typically occur.
Troubleshooting Film Packs
I always put my primary cameras through the above troubleshooting steps to make sure they work. That way, when I’m playing with expired Impossible film or old Polaroid film I know the camera is never going to be at fault when something does go wrong.
There are tons of issues that can happen with instant film outside of the controlled tests that I can’t cover here, so be on the look out for a follow up article about troubleshooting film packs and cartridges. There we’ll deal with more exposure scenarios, unexposed portions of the film, roller issues, and more!
In the meantime, good luck with your camera! If you do end up needing a new one, why not check out my guide to buying Polaroid cameras for a few suggestions?
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