You are currently browsing the category archive for the ‘20×24’ category.

Untitled, from Asser Levy Pool. 2010.

Here is your opportunity to see, in person, the Asser Levy 20×24 Polaroids I have been telling you about.  They will be on view in the back room at +Kris Graves Projects, 111 Front St., Gallery 224, DUMBO, Brooklyn, starting Tomorrow, Sept 2 until Oct 30.  Also showing in the main room is the dark landscape work of Andreas Gehrke so you don’t want to miss this one.  I will be attending the opening tomorrow from 6-8:30.  If you are reading this, you are invited.  Seeing the 20×24 Polaroids in person is nothing like seeing them as jpgs, believe me.  I still can’t take my eyes off them.

Untitled #1, from Asser Levy Pool. 2010. 20x24 Polaroid.

Here are the results of my 20×24 Polaroid shoot last Friday.  I took the legendary camera to the Asser Levy Pool on 23rd St and the FDR Dr. in Manhattan where I had photographed 15 years earlier.  We were there for 6 hours.  I shot a total of 9 sheets of 20×24 Polaroid, 6 different situations and represented here are the 4 that I consider to be… well.. good.

Untitled #2, from Asser Levy Pool. 2010. 20x24 Polaroid.

Untitled #3, from Asser Levy Pool. 2010. 20x24 Polaroid.

Untitled #5, from Asser Levy Pool. 2010. 20x24 Polaroid.

In typical NY fashion, most people at the pool couldn’t have cared less that there was this ginormous camera pool side.

L to R: Yours truly, Jennifer Traub and Nicole Cooke, photographs by Amy Skinner.

L to R: Jennifer Trausch, Barbara and Beba.

A wonderful byproduct of shooting with the huge Polaroid was that the people I photographed could see their pictures right then and there.  And not a tiny LCD image on the back of a camera, the huge show-stopping 20×24 print!  It had the weight of a historic moment.  When we pulled the first one (the one of the pregnant woman) everyone stared at it for a few minutes silent before saying anything.  Just the sound of children in the pool behind us.  It was really incredible.

Silence.

The next shot.

Nicole removing excess chemistry.

Ryan, Tyler, Nicole and the camera.

End of the day back at the 20x24 Studio.

When we arrived back at the studio and unloaded, we were exhausted in the best way I can possibly imagine.  The wheels are already turning to figure out a way to do this again.  It was quite an honor to shoot with the camera.  In the meantime, the original Polaroids will be exhibited at Kris Graves Projects in DUMBO Brooklyn in September.  Details to follow…

Clockwise from upper left: Jennifer Trausch, Me, Robert, Georgia Williams, Nicole Cooke, Zach Gross, Ryan John Lee and Tyler McGuckin.

I would like to thank everyone who came out to support the whole endeavor:  mainly Jennifer Trausch who was the inspiration for me to shoot with the camera, Zach Gross, Nicole Cook, Tyler McGuckin, Elliot Goldstein, Amy Skinner, Georgia Williams, Ryan John Lee, Mae Ryan and last but not least, Robert Pattison (our intrepid truck driver that saved the day).  Also a special shout out to Andrew Hetherington, who put my blog on the map by giving us a plug and came all the way over to check it out.

All content and photos unless otherwise noted © Greg Miller.

The peeling of the first Polaroid, Asser Levy Pool, July 30. Photograph by Amy Skinner.

Not to intentionally build suspense, but I am still reeling from Friday and will post about it soon.  But in short, photographing with the 20×24 was like photographing a person and 5 generations of their family in the same moment.

All content and photos unless otherwise noted © Greg Miller.

The 20x24 Polaroid Camera. Photo courtesy 20x24 Studio.

On Friday, I will be taking this huge camera to a NYC public pool to continue a personal project that began in 1995.  Last Fall, Jennifer Trausch, Director of Photography at 20×24 Studio, and I began talking about me shooting with one of the few 20” x 24” Polaroid cameras still around.  In case you don’t know of it, 20×24 Studio is the famed Polaroid studio where the likes of Chuck Close, William Wegman and many others, (including, most recently, Lady Gaga)(!) have created the large, familiar instant photographs.  When Polaroid went defunct, 20×24 Studio purchased one of the five 20×24 instant film cameras in existence, the remaining stock of instant film and rights to the chemical formulas.

Untitled, from Asser Levy Pool. 1995.

Over the last few months I have tried to imagine what I would shoot with this camera.  Considering the preciousness of every sheet, I wanted the relative security of pointing the camera at stuff I knew would be interesting, but with that security comes the risk of the picture becoming staid and predictable.  I considered (briefly) shooting in the studio, but luckily, Trausch, an intrepid photographer in her own right was totally game for doing several locations on the street and encouraged me to continue considering uncontrolled situations.  I have been wanting to revisit my Asser Levy Pool series, shot in 1995 at the public pool by the same name on 23rd and FDR Dr in Manhattan.  Shot all in black and white, the series has always been close to my heart as it was the first project that I photographed with an 8×10 camera.  Half thinking the Parks Dept—notorious for denying permission to the public pools—wouldn’t go for it, I submitted the permit with examples of the work from 1995 and was thrilled when they approved my permit for this Friday.

Untitled, from Asser Levy Pool. 1995.

I remember how awkward an 8×10 camera seemed to me back in 95, trying to capture moments at a NYC public pool.  I imagine after this Friday, my 8×10 will seem like a toy.  Btw, from my understanding, the challenge in shooting outside with ultra large Polaroid in direct sunlight—especially at a pool that has glare from the water bouncing up from below—is that the camera has to be opened to cut the roll and handle the chemicals inside.

We plan on shooting roughly from 1pm to 4pm this Friday, July 30 on the corner of 23rd St and the FDR drive.  So if you are in the city, come and check it out!

All content and images unless otherwise noted © Greg Miller.