I have several of the old printed version of P Magazine. This use to be sent out by Polaroid, though unfortunately now only happens as an online publication. There are a few methods in there that I thought were very interesting, sometimes for the methods used, though mostly just the nature of the images.
I do exhibit Polaroid manipulations often. In fact, I have received two awards for some multiple emulsion lifts done on glass. While those were challenging to create, my favourite method is using Polaroid 690 for image transfers.
Out of the methods I have rarely done or tried, the pulling apart of the 600 instant film (or older TimeZero) is an interesting alternative. It is not easy to do, though when you pull apart, then rinse the chemicals off, you end up with a distressed looking transparency. The idea is you can get at the back end of the emulsion. I tried one yesterday with some of my remaining TimeZero film, though I think I need to work on this method more.
Another one I thought was cool was the combining of colour and B/W Polaroids, though this is only possible with 8x10 films. Those come separately as Positive and Negative. Then the idea is to use a colour Positive with a B/W negative, or the other way around.
There is also the Positive/Negative Polaroid B/W film. You can use that for a solarizing technique, or create a more distressed looking image by not clearing the gel chemicals for a while. Sometimes I simply enjoy the look unmanipulated, with the irregular edges that are a clear indicator that this film was used.
Other than the odd lifts I did to glass, I mostly present at small framed images my Polaroid manipulations. When I see the works of other Polaroid exhibitors, they are often simply framed. Less often I see something different, like lifts placed onto canvas, or lifts on bottles or cans. It is easier to try variations with lifts than with transfers, perhaps why there are more choices.
When starting out, don't be surprised if you ruin lots of film. However, save all your experiments. Sometimes later on you might go back and find something useful. The other reason to save all images is that at some point, you might be asked to teach others how to do these; then you want to show people what happens when these go wrong.
Ciao!
Gordon Moat
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