Photographer: Jennifer Rumbach's Series A Day Full of Wonders

Jennifer Rumbach is a professional photographer based in Cologne, Germany. She works in various fields in the photography industry: when she is not shooting commercially, she documents the monument preservation for the Cathedral of Cologne and organizes shows of individual pieces and full-scale exhibitions. Rumbach's views Polaroid film as her liberator; she has been addicted to instant film for over a decade because to her, "there are no rules with this medium." She feels freed from the conventions of contemporary photographic standards, allowing her to be centered only on her motives and photographic intuitions. Rumbach has used a variety of instant cameras, from medium format with Polaroid back to an SX-70 or SLR-680.

She started her education as a photographer in 2001 and quickly recognized that photography was a great way of learning, meditatively, to keep her eyes open and find calm. She became more aware and attentive to the objects and events surrounding her. Rumbach discovered the joy of instant film in 2002 and immediately fell in love. To her Polaroid film, with its playful experimental nature, is an adventure that awakens the inner child. Rumbach comments on her instant film images: "...in the end one realizes how much they manage to express, what one hoped or dreamed for." Her current work focuses on people - showing their wishes, thoughts, moods, and humor. She uses instant film, for example, to create colorful, lively scenes in her series "A Day Full of Wonders."

"A Day Full of Wonders" was created in March, 2010, near Cologne. Rumbach shot with her brother, his dog, and a friend, all out walking. It was one of the first beautiful days of the year, and through their journey and Rumbach's documentation, they will live in the spring seemingly forever.

Find Rumbach's pictures on her website: www.jennifer-rumbach.de

Photographer: Enrique Viera's Reality Bending Polaroids

Enrique Freaza Viera's is a Spanish photographer currently based in Berlin, Germany. Connect with Enrique on his Website.

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"According to Quantum Physics, the Universe is quantified in packages of indissoluble units, small bricks that conform our reality. And according to this theory, not only matter, but also time is quantified. Therefore, if we perceive our reality as a function of time, and if this one only exists as a succession of moments, then our reality is made out of instants and instantaneity is the only truth. Polaroids burst the barrier between the photographic act and the photographic piece, turning a moment into something real and tangible. It produces unique, non-reproducible pieces allowing their direct manipulation, to turn the photo into an experience beyond the simply seen and more referred the perceived thing. The limits of this paradoxical combination, the pure realism of the moment and the capacity to manipulate it, is what makes instant photography such a powerful medium." - Enrique Viera

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Would you mind telling us about how you came up this project of bending Polaroid realities?  
To say an image consists of many layers sounds very obvious, but I do believe instant photography has one extra layer, which is the physical one. Even more than film in general, Polaroids are objects that you can hold. As a Polaroid photographer once said, when you see a Polaroid you know the photographer, and most likely everyone appearing on it, touched it. They passed it around and looked at it and reacted to it. It's a fetish in the animistic sense of the word. The power of instant photography lays in the delivery of a full object where all layers are crushed together: the subject photographed, the emotional state and associations of the photographer that lead him/her to choose it, the light hitting on it, hitting on the sensitive surface, the chemical layers that conform the image, the emotional state and emotional experiences of the viewer... All together crushed into an entity, that is so true, so real that you're actually holding it. The notion of blending realities came from an attempt to intervene all of those layers at the same time.

I read about the Kuleshov Effect. In his experiment, Kuleshov edited together a short film in which a shot of the expressionless face of an actor was alternated with various other shots (a plate of soup, a girl in a coffin, a woman on a divan). The film was shown to an audience who believed that the expression on the actor's face (always the same) was different each time he appeared, depending on whether he was looking at the plate of soup, the girl in the coffin, or the woman on the divan. The viewer projects him/herself and his/her own feelings on the image. He/She makes half of the work in constructing the image. To reach the viewer, ideally, a Polaroid should be meant not to build an image but a perception.

How do you come up with your image ideas?
Ideas come from everywhere, that is a massive cliché, but actually true. There are things that you want to say, even if you're not aware that you want to say them. And sometimes this themes appear again and again, subconsciously, only in different shapes. Ideas can come from the work of others, from stories, from dreams or from a poster that you see everyday on your way to work. Main thing is that in my case they must come from the outside, if I just look inside me i end up in a loop.

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