Suddenly, and for the first time, you could be a serious photographer without a darkroom. It was a four-by-five-inch packet of film that fit in any view camera - the big old-fashioned wooden kind Adams used, with the cloth that flipped over the back of the photographer’s head - and it could be processed on the spot in 30 seconds or so. So his request was simple: How about an instant film that also produced a real, high-quality, reuseable negative? He asked the question of Edwin Land, Polaroid’s founder and creative force, and in 1961, he got his wish, under the bare-bones name of Type 55. Like nearly all photographers, though, Adams used conventional black-and-white film, not Polaroid, for his major work. He loved instant film: If you were up in the mountains or out in the desert, how else would you know if you got your shot? He’d taken his consulting job seriously, too, shooting pictures all over the world and sending the results back to Polaroid’s headquarters in Cambridge, Massachusetts, with technical notes scribbled all over their white borders. For the past several years, he’d been a consultant to the Polaroid Corporation, testing and analyzing the company’s new film and cameras.
In the mid-1950s, Ansel Adams was perhaps the most famous photographer alive, and he had a request. Shot on Polaroid’s now-discontinued Type 55 film, by Joshua Black Wilkins.
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