Polaroid film camera — anything from the vintage SX-70 /600-series or the new I-Type /Go . I have not tested this with Instax film, so I can not recommend those cameras for this experiment.
Polaroid Color ( 600 /I-Type, Go, or SX-70 ) or Reclaimed Blue film . This effect does not work with black and white Polaroid film, nor will it work with Duochrome film. Reclaimed Blue film will work because it uses colour film negatives.
Your Polaroid film should be exposed. Any photos you took within the past 5-10 years will work. New Polaroid photos will also work very well.
You’ll also need scissors, black tissue paper, and frosted tape.
✪ Note: Once you’re done working with your materials, you will need to leave your Polaroid prints untouched in the sun for at least two months for best results. I’ll explain how below.
Why no Duochrome or black and white film / how does Sol Printing work? Sol Printing relies on specific chemicals within Polaroid frames changing their colour due to exposure to sunlight.
Polaroid recommends hiding prints from the sun and the UV rays. Photographers recommend UV-protective archival glass for displaying your photos but warn that even then, the images may fade quicker than in full shade.
I’ve had one of my photos degrade after hanging in the sun for a few months, which didn’t feel good.
But film damage is just another type of change. And it can be turned into a creative tool once properly harnessed.
So I ran a long-term experiment with Betty ’s paper pattern cutouts on top of four types of Polaroid film: Duochrome Green, SX-70 B&W, 600 Round Frame Edition, and SX-70 Color.
Six months later, I noticed that paper cutouts did an excellent job of shading select portions of the film while exposing the remaining image to the bleaching effects of the sun. This left a well-defined pattern that matched paper cutouts.
However, the effects didn’t manifest on all film types equally. The colour 600 and SX-70 series worked very well, whereas Duochrome Geen (above) and the black and white film frame showed little to no changes.
It’s safe to say that all colour Polaroid film will yield this effect as the 600 emulsion is identical across their entire colour range with the exception of SX-70 Color frames, which had also demonstrated results.
How to make a Sol Print: design & installation. Betty’s tissue paper cutouts followed the classic snowflake design, where you fold a square piece a few times to make a triangle and cut designs on its edges before unfolding. You should size your paper so that it wraps around the Polaroid frame comfortably, and you don’t need your “snowflakes” to be round — so there’s no need to cut the top layer.
Polaroid 600 Round Frame film works well with the “snowflake design.” Images with minimal geometry and dark colours will show a stronger effect.
Of course, your paper mask does not have to be a snowflake. Feel free to get creative with advanced cutout designs. You may even use a die-cutting machine to create an intricate transfer.
It would be a good idea to spend extra time planning an appealing design that matches your image’s theme, pattern, or feel. It’ll take at least two months until you start seeing results; this is not a process you can iterate quickly .
Your next and final step would be to use the frosted tape to fix your paper designs to your Polaroid photos and find a free space on your sunniest window. Again, since it’ll take a long time to make your Sol Print, consider paying additional attention when centring your paper perfectly.
I live in Vancouver on a street that faces a hill with some trees. This means I don’t get a lot of sun in my apartment, especially in the winter. But when it shines, it shines strong. August is one of our sunnier months, and yet, its entirety wasn’t enough for a good Sol Print effect. The scans you see in this article have been hanging in my window for six months , which bleached the exposed parts of the image by about 50-60%. Perhaps you’ll get the same effect in half the time if you live in a desert, but that’s still three months.
Please also note that the prolonged exposure to light and heat will affect your entire image by yellowing it slightly and possibly adding cracks:
Taking Sol Prints a step further. The next thing you can try is overlaying monochrome transparencies over your Polaroids instead of paper designs. This could be other photographs to create a double-exposure effect or any idea of your choosing.
I suspect that black and white photographic film is more resilient than Polaroids against UV damage, but I wouldn’t recommend doing this to important negatives.
Since the sun-bleached parts of the image will be the brightest parts of your Sol Prints, you should overlay positive transparencies rather than negatives if you’d like to see a positive image form.
Of course, our sun can bleach many materials and pigments, not just Polaroid film. For example, you may try this experiment with clothes dyed in colours known to fade.
I would love to see your results if you ever feel like sharing them with me or the world — perhaps sometime next year?
