Un mundo real que siempre ha sido sinónimo del aburrimiento más atroz. Algo a lo que David Sylvian y los suyos se declaran alérgicos de manera definitiva. O eso diría yo ante el festival de polirritmias, soniquetes de dudosa procedencia y títulos tan explícitos como «Burning Bridges», «My new Career» o «Methods of Dance».

Elementos disuasorios para cualquier rockero empedernido, pero por supuesto elementos que llamarán la atención inmediata de cualquier melómano que se precie de serlo.

Porque este cuarto álbum no es un disco fácil. Parece que sí, que con un par de escuchas lo hemos entendido todo. Y no nos gusta, claro, porque en realidad debajo hay mucho más de lo que parece. Cosas que se van revelando con los intentos, con todas las rendiciones y todas las victorias que nos va a regalar un álbum extraño, evocador, casi incomprensible, pero por todo eso también magnético.

Published

Господа, возьмите… Японца.

Преисполнившийся в своих начинаниях гений бас-гитары Мик Карн как всегда неподражаем в деле, являясь одной из самых могущественных сторон группы: его отстраненно-пульсирующие партии с прохладным тоном дают необходимый жизненный импульс песням, а внедрение такого прекрасного инструмента как саксофон хоть и не является чем-то исключительным, все-таки здОрово позволяет разнообразить общую музыкальную панораму, деликатно добавляя в нее нотки элегантной роскоши, и ярко подчеркивая нуарную эстетику записи.
Очень интересно, как над всей работой тонкой красной нитью витает явный дух Брайана Ино, при том что никакого участия в процессе создания альбома он не принимал… и весь этот футуризм дополняется присутствием ощущения загадочной атмосферы, которая особенно проявляется на погружающей в трансцедентный опыт эмбиентовой зарисовке

Боуи, Ино, Roxy Music, то, сё… Уфф, да, всего до кучи, но при всем этом альбом не звучит как «доедающий крошки с барского стола», безуспешно барахтаясь между авторитетными вдохновениями, а весьма напротив — он расширяет вобравшее в себя амплуа вышеперечисленных артистов, ухитряясь под этим грузом достойно сохранять собственное оригинальное лицо, и с лихвой вознаграждая благодарного слушателя в меру самобытной музыкой — но к сожалению впоследствии теряясь в блестящей куче одноразовых безделушек и дешёвок…

Published

This review was originally for an album exchange. I was more proud of this review than most, although who I was writing the review for called it «one of the worst reviews I have ever read», so the verdict is out for that one.

Gentlemen Take Polaroids [Japan] track-by-track

Initial thoughts: I’ve wanted to get into Japan for a while now. They’re a band I’ve heard of and heard good things about them, but I didn’t want to end up disappointed like I largely am when it comes to fairly big synthy artists such as Pet Shop Boys or Duran Duran [which is to say I still like them, just not as much as I thought I would]. The cover art I initially liked but am going off; it looks a bit too comped together for my liking. Track lengths are longer than usual which I don’t tend to have good experiences with but we’ll see. I would have listened to the YouTube Topic playlist but the tracks with video are also the single edits of those tracks so I have instead gone to a different playlist; this means I’ll be listening to the base 8 tracks without the extra two that the Topic playlist adds on the end.

1- We start with what feels like two different melodies over each other backed by a drumbeat that is a bit too egregiously 80s even for my liking. Two more layers join on that include a juicy fretless bass that is somewhat understated by the overzealous flange on the drums, and then joins the vocals that I take quite a bit of issue with. They sound like a pale, ineffective Gary Numan clone [although whoever got to this specific sound first I don’t know the point is that Numan did the genre so right for me that this feels like something inferior]. In fact, as this track goes on it feels overwhelmingly Numan, especially the bass being straight out of Music for Chameleons, although that did come out later so my point there is moot. Nonetheless, my point is that so far this track just feels like Numan but worse and, while — if overbearing — it is a serviceable track, I would just prefer to put on Replicas. This may be a harsh rating out the gate but I’m giving it a 4/10; I just don’t enjoy it much at all and it is outshone by what is yet to come [which I also hope holds true to this record].

2- It’s an atmospheric start but it isn’t doing much for me, and then everything comes crashing down and a very unfocussed and rather disjointed section starts. It may just be the specific remaster I got [’03] but the mixing feels suffocating. Two minutes in practically nothing has stuck with me and the majority of the instruments feel clumsy, which is then exemplified by how full-on they are. This track is just a complete mess; hookless and amateur. 2/10

3- We begin with a section that would be interesting were it not to my brain just a worse version of the start of David Bowie’s Andy Warhol, which I admit is a bit of a dickish point to hold the track to but my brain doesn’t mind about that. Add on that it lasts a full minute before switching to another, largely boring atmospheric segment. Chords begin and the third one caught me off guard to the point I almost spilt my drink, it really felt like the keyboard player messed up. It’s an unconventional progression that follows, but a slow one that strays a bit too far from normalcy. It does at the end of the section have a genuinely good idea that is then immediately undercut by a very ’80s saxophone and an arpeggio in the background that doesn’t want you to pay attention to it because it isn’t good but that isn’t readily apparent. In the last minute where I thought we were winding down the vocals pop in to mumble and slur a few bad lines. This was a strange track and I still don’t have a grip on it, although not in a way that this could turn out positive; it is too slow for me to like it and I don’t want to spend the time trying to force myself to bump up my opinions of it when I could just as easily be listening to something better. 4/10.

4- The first start to a song that has somewhat gripped me; the melody is still clumsy and throws about unconventional notes with feckless abandon but aside from that it is rather catchy. There seems to be a bit of the puzzle missing as the vocals join, but again this is by far my favourite track so far, and as the next section shifts us up a semitone for the first time it all actually feels fairly natural weirdness instead of anything else. While I pointed out the very ’80s sax last song I admit I don’t mind it much, and it does work well here too as it is rather understated, which is something this album doesn’t do much. Also, the vocals are a bit less mopey than they were in the other tracks which does a lot for its favour. The string section just really does everything right, if not excellently, and we move to finish out a good track. 8/10, even if it possibly deserves a 7.

5- I have an inherent repulsion to this type of synth but I’ll listen it out. A saxophone plays notes at random before going into a verse that would be completely unnotable if not for the one instrument that is straight out of a Sonic game. A very limp section ensues with a female voice almost as bad as Sylvian’s egocentric moping; although that may be an unfair judgement as she’s so quietly mixed I didn’t even notice she was there to begin with. Repeat all from verse. A breakdown happens that took a moment for me to realise it was the breakdown. This track is just miserably vapid. 2/10

6- A middling drumbeat kicks us off into something that just feels lazy. It’s music that makes me zone out and want to ignore it, I write realising I’m suddenly halfway through the track and I need to write something instead of looking at Sylvian’s Wikipedia article, ain’t that peculiar. Fuck you, 1/10.

7- Piano starts, mediocre but not bad — just generic boring melancholic. As Sylvian’s vocals begun I almost couldn’t keep a straight face; without the effects to hide behind they are fucking atrocious. There was one single bar of syncopation in the piano line, which was strange, and what I assume is the chorus has a great piano line completely hampered by David Fecking Sylvian. Strangely enough, as the song whimpers along in a self-pitying wreck, I don’t outright hate it. There’s good in there and Sylvian is good to laugh at if nothing else, so this is getting a 5/10. Again, probably deserves a 4 but fuck it.

8- It doesn’t feel like we’re at the final track. Some embarrassing synths happen and then they stay, which is annoying. As I can feel my eyes glazing over again I will say that this kind of inane track makes it very hard for me to see how anyone likes the artist. There’s good ideas in the soup which is more than can be said for other tracks on this album but they always evade being prominent enough to make up for the worse ideas that are on display, making a very slippery and overall highly unimpressive experience. 4/10.

Mean score: 3.75/10
Overall thoughts: Oh, we’re over. That felt like there should have been more tracks before the thing ended, but I suppose there must be scenarios for the phrase ‘not a bang, but a whimper’ for it to exist in the first place. 3/10; If I could use one word to describe this album I’m not sure what it’d be but the one that immediately jumped to my mind was flaccid so I guess I’ll go with that. A slippery, flaccid, limp, short and unimpressive experience. You can finish the joke.

Published

Outside there’s a world waiting…

Well, I guess the best place to start if I can recall correctly is the intrigue and curiosity I got from the album cover. The mysterious pale wraith looking figure glowing amidst the rain and lightning. I interpret it as a depiction of an estranged outsider. At the time of first listening to this, I was 16, at the peak of adolescent insecurity, with a terrifyingly unknown future ahead of me. I had just gotten my drivers license and my very own car, the world had vastly expanded. To this day, I find a lot of symbolism in this record that continues to resonate with me.

At the time of first discovering this band (for me it was 2004) I remember some of their albums were available for download online but not this one. I can’t remember if it was thru iTunes or something else but I remember I had already downloaded the song «Quiet Life» and had listened to samples of their other songs. I still wasn’t used to downloading music digitally at the time so I preferred buying CD’s. I read a few reviews online and decided this was the album to settle with and bought the Caroline Blueplate edition of the CD which included 2 additional instrumental tracks — «The Experience of Swimming» and «The Width of a Room», uniquely arranged as tracks 4 and 9.

I remember eagerly waiting a full week for it to get delivered in the mail to my childhood home in Michigan. At the time ordering esoteric things online had a sort of sentimental value. I was having a strange unclaimed artifact delivered to me from a distant place. I think it was shipped somewhere from either Europe or Asia. I had a nice ritual (which sadly I have not kept) of listening to new albums from start to finish in bed on my portable CD player with the lights out before going to sleep. I wouldn’t play any songs during the day while doing things, I would only listen to the music when I was alone in my room at night with the lights off and with my headphones on. I would only listen to CD’s in my car once I felt I had truly absorbed the album in it’s entirety. This served as a pleasant means of temporarily escaping the reality of the world around me.

I remember with this album, upon first and second listen, I hadn’t quite wrapped my head around what it’s intentions were but upon third listen the pieces of the puzzle came together to form a musical experience beyond anything I had comprehended. The cover artwork was and is still very intriguing but the music certainly outmatches it in quality.

Going into this, I think I was just hoping for a couple catchy tunes but what I got instead was a complex, atmospheric record filled with diverse instrumentation and innovative song structures. The first thing that stands out when playing this record is the production quality. Going into this with the knowledge it was recorded in 1980, one can only imagine how the clear, organic sound was achieved and how it’s sharpness was maintained to stand the test of time so well. I remember I once played this record to a group of my brothers friends in the late 00’s and they weren’t even aware this band was from the 80’s. They just thought it was an underground indie band from present day.

The feeling of authenticity is also very evident in both the song compositions and singing. Lead singer, David Sylvian’s unique crooning vocal style could easily be conveyed as too cosmetic and insincere but somehow, maybe in its careful execution, it sounds legitimate. A lot of the new wave, synth pop bands from early 80’s London seemed to have a similar look and aesthetic they were going for. I feel like there was always a missing element to the vision they had in mind. With Japan, specifically with “Gentlemen Take Polaroids”, the music feels genuine and pure, whereas many other bands from the same era feel counterfeit, I consider Japan to be the Rolex of their time.

One thing I’ve come across many times in other reviews are comparisons made between Sylvian’s singing style and that of Bryan Ferry. At the time of Japan’s rise, some critics remarked that the band were merely imitating Roxy Music and that they weren’t original. I think it’s likely that Sylvian was influenced to some degree by Bryan Ferry but I also think he took an idea that was partially started by someone else and improved on it. I can just picture him listening to Roxy Music, thinking, that was interesting but if it was me I would have done it this way. At the end of the day, the winner from my perspective is the person who did the thing best, not the person who did the thing first.

I would say Sylvian mastered the crooning vocal style on “Gentlemen Take Polaroids”. His approach involved more distinct pronunciation and an effortless yet more expressive, almost slow witted tone while at the same time sounding sheek. The slowness and naivety in his voice might just be a major contributing factor to the albums authenticity. The lyrics appear simple at first but have little complexities and implications scattered throughout that add to its depth. The songs are mostly about common things but make heavy usage of topics involving weather, traveling and the passage of time. “When the evening fires burn, the daylight dead and gone, with you beside me we can run”. The lyrics are brilliant in how they contribute to the landscape of each song. They’re simple yet powerful and symbolic. I think they can be related to by a large audience while still maintaining a mysteriousness in certain areas involving details that only the songwriter would know. “Could I ever explain, this feeling of love, it just lingers on”. The amount of memorable lines scattered throughout this diamond of an album further cements it into being what I consider the top tier of musicianship.

The title and opening track “Gentlemen Take Polaroids” starts things off in an upbeat fashion showcasing the bands advanced instrumentation and the singers unique vocal style. It has a very cool melody and is among the best pop songs on the album. There’s a noticeable balance between each instrument and band members role in the music. It sounds like everyone’s on board and in full participation, from the synthesizers to the drums to the bass to the vocals, it doesn’t sound like it’s lacking in one area or excessive in another but in perfect agreement with each other. Unlike many other bands from the synth age, Japan did a great job of complimenting the electronics with other instruments. Real unity is heard between the players in this track. It also includes the classic opening line “There is a girl about town…” sung ever so eloquently.

“Swing” is the next song and continues in a similar direction as the first. It’s pop friendly in a commercial sense with each instrument once again sounding in perfect harmony. The more progressive aspect of the song involves the slow ambient drone noise at the beginning that slowly draws near before taking a quick turn into a sea of heavy bass and synth that make up the melody. The song (just as the first) is of noticeable length at over 6 minutes and fades out to Sylvian’s dream like chanting of “Whisper in the wind”. I read in an article that album producer John Punter considered this song to be Japan’s finest moment, I don’t agree with that but I do think it’s another brilliant song that contributes to the momentum of the album.

The next song is where the album decides to venture into avant-garde territory. After demonstrating the glamour evident in the first two pop oriented songs, Japan descend into the gloom with “Burning Bridges”. A haunting piece that begins very slowly with strange electronic noises and slowly builds blending ethereal keys with jazzy saxophone to create a dark, celestial orchestration that pulls you into a sort of trance, without noticing the missing vocals until all of sudden they arrive. Nearly the entire song is instrumental until the very end when the familiar voice heard earlier in the album surprisingly returns when you least expect it to drop a few vague lines that mention a river and a fire. At this point the listener might be confused about what to make of the albums direction. Expecting the whole album to be a fun and predictable pop rock experience is not what Japan have in store if that’s what you’re looking for. I remember at the time when I first listened to this, I was caught off guard and didn’t get it. After further analysis and a few repeated listens I fell in love with it. To this day, it’s a very progressive piece and a testament to Japan being innovators.

Following the gloom of the previous track is “The Experience of Swimming” which this time is a full instrumental. The song was written by keyboardist Richard Barbieri, one of the few tracks not composed by Sylvian. It’s a full out synthesizer piece that has a very appropriate title for the atmosphere it creates. The melodies by Barbieri don’t sound as computer based as most other synth pop acts of the time, there’s a sort of organic feel to them. It makes me wonder if it was the result of carefully planned programming that was done deliberately. It’s a melancholic, gorgeous piece that pulls you deep into the depths of the album.

I would say the segue from track 4 to 5 is among the most anticipated moments of the album. It has a delicate transition that’s very apparent. After what seems like a long time in the shadows, Track 5 “My New Career” pulls you right back into the glam with arguably the catchiest tune in Japan’s catalog. There’s something seriously breakthrough about the synth melody and how it dances with the chorus. Over the years this song in particular has had a strong nostalgic affect. It conjures feelings of hope and optimism in the face of uncertainty.

After gaining some momentum, next comes “Methods of Dance”, a huge, high energy anthem layered with diverse sounds and foreign influences. Japan are now in full force with their progressiveness. By this point, if you haven’t noticed, the saxophone player is phenomenal. Mick Karn brings a winning ingredient to the mix with his jazzy, avant-garde playing laid atop the always on point synthesizers and drums. The complex chorus involves yet another twist with the inclusion of female backing vocals. Sylvian’s deep crooning intermixed with the oriental sounding pitch of the guest singer further adds to the rich musical atmosphere that the album immerses you in. Another stellar, extremely progressive song for 1980 and at 6 songs in, the album is still flawless, not a bad moment yet.

This leads us to #7, the one cover song, “Ain’t that Peculiar”, written by Motown’s Smokey Robinson. An odd song choice but nonetheless performed expertly by Japan. For a while, it was the only track I was unsure about. I originally wrote it off as being a filler in the same vane as the covers done on prior records but after listening to the original version, I learned just how different Japan’s cover of the song is and as a result respect it more. Being from Michigan I do appreciate the inclusion of a cover by a Detroit based musician.

At last, after the demonstrated shine and pop stardom presented in prior tracks we reach the quintessential song of the album, the beautifully dark, introspective piano ballad “Nightporter”. With a nod to classical music, the song is a gothic sounding piano composition performed by Sylvian that delivers a bleak message of despair and regret. The song has a mesmerizing chorus that capitalizes on the feeling of aloneness and the belief of being an outsider in society. The lyrics are executed perfectly and I believe most people who have ventured to listen to this are able to resonate with it immensely. It’s such a classic, timeless composition, it’s difficult to imagine what things were like before, without it. It’s a valid, direct musical statement expressed with melodic perfection that remains convincing to this day. The lyrics do a fantastic job at painting a portrait of the mood being expressed, “Here am I alone again, a quiet town where life gives in”. I still listen to this song and feel to some extent like it’s about my life. It’s that powerful. I can’t say it’s for everyone but with me it struck gold. Listening to this song is like opening an old expensive bottle of wine, you save it for a special occasion, it’s otherworldly. The song ends by fading out to (at this point on the album) Sylvian’s trademark humming with the last piano keys being pressed slowly and delicately before finally reaching silence.

After the long, dark climax of the album we’re left with another instrumental track “The Width of a Room” which serves as a holding ground for the listener to reflect on what they just heard. Another song not composed by Sylvian, it was written by Rob Dean who would leave the band shortly after the albums release. It’s a synthesizer piece, similar to “The Experience of Swimming” only much more bleak and with a heavy emphasis on evoking a feeling of isolation. As the song slowly fades, we begin to reach a light at the end of the darkness. What could be next?

After journeying thru the many peaks and valleys of “Gentlemen Take Polaroids” and surviving the blackness of “Nightporter” we have now arrived at the conclusion of the album, Track 10 “Taking Islands in Africa”. The song starts with some lightning beam electronic blasts unlike any of the synth keys heard previously which upon first listen made me nervous as I wasn’t sure what direction the song was going in. Up to this point, the album was perfect so I was a little afraid of how it would end, what the final statement would be. With a sharp turn into the final chorus, “Outside there’s a world waiting, I’ll take it all by storm”, the album had found resolve. I still remember on the third listen to this album, when I was 16 years old lying in bed, how I had decided with that final chorus that this album was perfect. The last song ends the album with a theme involving hope and perseverance and does so in a way that sounds inspiring. The closing statement, before this masterpiece finishes, “The wind blows hard into my sails”.

Having this CD in my possession made me feel like I had obtained some sort of supernatural power and gained wisdom that everyone else around me was unaware of. I’ll alway remember driving around in my first car, a 2001 blue Chevy Malibu with this CD playing. I remember how at the time I first listened to this I was a sophomore in High School and for one of my classes I had to participate in community service with the salvation army. It was November 2004 and I remember there was heavy snowfall for that time of year. The community service location was far away, somewhere like Pontiac and I had to get up early in the morning to drive about an hour which at the time was my longest journey in a car. Listening to this record while driving in the wintry landscape of Michigan created an unforgettable experience with this album and the atmosphere it created. To this day, I can still feel a little bit of that nostalgia when I hear it.

After 40 years, “Gentlemen Take Polaroids” still sounds fresh and progressive even by today’s standards. It’s an album that speaks volumes to me symbolically and spiritually. It’s a cutting edge, hidden gem of a record from a distant time when artists were devoted to pushing the boundaries of what could be done with pop music. Japan had already demonstrated their pop rock expertise in the albums leading up to this but with this release they transcended into the heavens as masters of their class. It’s interesting to me how an album like this is so relatively unknown and somehow slipped under the radar commercially. It’s such a remarkable find as I can very easily imagine it not even existing. It’s almost too great to be real. It’s extremely inspiring and a privilege to identify with something of such magnificence. This album is a triumph not just for Japan but for music in general as it showcases the great atmospheric depths that can be reached. This is among the greatest records I know of. If you haven’t heard this, give it a listen, you don’t know what you’re missing.

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Выцветают ли полароидные снимки? – Legacybox

Главная /Наука / Выцветают ли полароидные снимки?

Диллон Уоллес

В эпоху, когда энтузиасты затвора могут делать любые снимки по своей прихоти благодаря бесконечной прощаемости камер смартфонов, безумно верить, насколько далеко продвинулась фотография.

Однако это не означает, что старое обязательно забыто. По крайней мере, не совсем. В сегодняшнюю постоянно растущую цифровую эпоху пленка полароид по-прежнему занимает особое место в сердцах многих любителей стрелков. Почему? Потому что есть что-то прекрасное ностальгическое в том, что вы можете сделать снимок, проявить его за считанные секунды прямо у вас на глазах, а затем уйти с ним как памятный подарок на память.

Будь то доза ностальгии по возвращению к поколению X или вновь обретенный интерес к винтажу для поколения Z, Polaroid возвращается. Но как долго? И они физически исчезают со временем, как причуда? Давай выясним.

Задолго до того, как Outkast сказал нам: «Встряхивайте, встряхивайте, встряхивайте, как снимок Polaroid», пользователям камер Polaroid приходилось ждать ровно 60 секунд, прежде чем снять негативную подложку изображение, чтобы показать их снимок. Но фраза «Подожди, подожди, подожди и очисти свою полароидную фотографию» звучит иначе, понимаете?

Трудно поверить, но первая камера Polaroid поступила в продажу почти 75 лет назад, в 1948 году. Она называлась «Модель 95» (супер запоминающееся название) и была распродана в единственном бостонском универмаге за считанные минуты. И зря! Изобретатель Эдвин Лэнд создал что-то совершенно новаторское, революционизировав традиционный процесс фотографии, сжав утомительные процессы фотолаборатории в считанные секунды.

Полароиды пользовались таким огромным успехом у любителей видеосъемки, что их популярность сохранялась спустя десятилетия после их появления, пока в конце 90-х – начале 2000-х годов на сцену не вышла цифровая камера. И хотя у вас или ваших родителей (даже бабушек и дедушек) могут быть старые добрые папки с тремя кольцами для фотоальбомов, полные полароидных снимков, важно, чтобы вы знали, что эти фотографии тускнеют со временем отца.

В конце концов, фотографии (независимо от того, проявляются они традиционным способом или моментально) являются чувствительными изображениями, очень восприимчивыми к повреждениям от элементов. Слишком много солнца здесь… или слишком много влаги там могут испортить отпечаток. И хотя вы можете чувствовать, что ваши полароидные снимки и другие фотографии в их альбомах в целости и сохранности, правда в том, что они тоже тускнеют. Просто медленнее и с изяществом. Но как однажды пели Cranberries: «Не позволяйте этому гореть. Не позволяйте ему исчезнуть… Вы должны позволить ему задержаться?» (песня полностью о стареющей фотографии…). Есть шаги, которые вы можете предпринять, чтобы ваши полароидные снимки не задерживались.

Солнце, влажность и колебания температуры в помещении — три фактора, виновных в порче поляроидных снимков. Итак, давайте разберемся, как защитить ваши мгновенные отпечатки от троицы смерти и других потенциальных фейдеров памяти.

• Избегайте их немедленного хранения. Несмотря на то, что поляроиды моментальные, химическим веществам в них требуется больше времени, чтобы осесть, чем несколько встряхиваний. После того, как вы сделаете снимок Polaroid, вы должны подождать около 4 недель, прежде чем хранить его в обложке любого альбома. Если необходимо, храните свежие полароидные снимки в фотобоксе в течение примерно 30 дней, прежде чем переносить их в альбом.
• Где вы их храните, так же важно, как и как вы их храните. Полароиды ничем не отличаются от обычных фотографий с точки зрения времени и износа. Вот почему все сводится к безопасному хранению для увеличения срока службы, в том числе избеганию хранения таких материалов, как магниты или пластиковые альбомы, которые могут преждевременно помешать химическим веществам Polaroid и вызвать их пожелтение с течением времени. Вместо этого выберите бескислотные чехлы и контейнеры для хранения, чтобы ваши полароидные снимки выглядели четкими и яркими.
• Пропустить ножницы. Вы знаете эту узнаваемую белую рамку, которая обрамляет каждый полароид? Да, не обрезайте это, чтобы добиться более цельного вида. Если вы это сделаете, вы в конечном итоге сломаете защитную пленку отпечатка, и воздух попадет внутрь.
• Держите их плоскими. Хранение Polaroid в горизонтальном положении — лучший способ предотвратить воздействие гравитации на них. Если вы храните их на боку, у них больше шансов получить желтый оттенок по краям.
• Используйте белую рамку, чтобы удерживать их. Обращайтесь с полароидами так же, как со своими виниловыми пластинками (если они у вас есть). Старайтесь не прикасаться к фактической поверхности печати и не подвергать поверхность воздействию натурального масла от пальцев. Это, казалось бы, безобидное пятно может притягивать грязь, пыль и другие ухудшения изображения.
• SPF 40 для ваших поляроидов. Итак, на самом деле вы не собираетесь втирать солнцезащитный крем в свои полароидные снимки, но так же, как ваша кожа нуждается в защите от солнца, ваши фотографии тоже нуждаются в ней. Если вы непреклонны в демонстрации своих фотографий, подумайте о том, чтобы приобрести акриловую или стеклянную рамку с защитой от ультрафиолета, чтобы выставлять напоказ свою ретро-коллекцию Polaroid.

 

 

Оцифровка – это будущее ваших Polaroid

старые и новые отпечатки Polaroid, то единственный верный способ — оцифровка. Со временем ваши фотографии тускнеют (извините, это наука), но это не значит, что вы не можете сохранить их воспоминания навсегда.

 

Несмотря на то, что вы всегда должны делать все возможное, чтобы сохранить исходный отпечаток в хорошем состоянии, в долгосрочной перспективе вы мало что можете сделать. Таким образом, вы по-прежнему можете встряхивать свои новые Polaroid под мелодию «Hey Ya», но также не забудьте оцифровать (или отсканировать) свои Polaroid, чтобы убедиться, что все эти мгновенные снимки навсегда останутся в памяти.

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Кадры из величайшей в мире коллекции изображений Polaroid

Коллекция фотографий корпорации Polaroid — это крупнейшее в мире портфолио изображений Polaroid . Начатая основателем Polaroid Эдвином Лэндом и фотографом Анселем Адамсом , коллекция теперь включает около 23 000 изображений, сделанных сотнями фотографов со всего мира , включая работы, подобные Дэвиду Хокни , Энди Уорхол и Жанлу Сифф .

The Polaroid Book погружается в эти архивы, отдавая дань уважения , средству, которое продолжает бросать вызов цифровому веку . Подобно большому пакету фотопленки Polaroid, эта коллекция включает в себя работы как светил, так и неизвестных, прославляя безграничные возможности, которые раскрываются в белых границах оригинальной моментальной фотографии.

Особенности:

• более 250 работ из коллекции Polaroid
• эссе Барбары Хичкок из Polaroid о зарождении мгновенной фотографии и истории коллекции
• глава, посвященная различным типам камер Polaroid

Автор

Барбара Хичкок — директор отдела культуры Polaroid Corporation в Уолтеме, штат Массачусетс.

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