Silver Shade
PX 100 Silver Shade - PX 600 Silver Shade - PZ 600 Silver Shade
A brand new, monochrome Instant Film for Polaroid SX70, 600, 1200, Image & Spectra cameras.
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Quickstart

9
Impossibly Easy Steps to Optimized Results
Dive Into the Silver Shade Magic

  1. Choose the right film and put it into your camera
    - Polaroid SX-70 camera? - Choose PX 100 Silver Shade or use ND filter with PX 600 Silver Shade
    - Polaroid 600 camera model? - Choose PX 600 Silver Shade
    - Polaroid Image, 1200, or Spectra camera? - Choose PZ 600 Silver Shade
  2. For your first shots, we recommend to shoot at 17-24°C / 63-75°F as the Silver Shade film is very sensitive to temperature
  3. Set the camera's lighten/darken wheel to middle setting
  4. Hold camera stable, especially at low light levels
  5. Make the first magic shot
  6. Shield picture from light immediately (cover with your hand)
  7. Develop the picture upside down for 60 - 90 seconds
  8. Take a deep breath, turn the picture over and inhale your FIRST SILVER SHADE SHOT
  9. Let your images dry properly before storing them cool and protected from light to preserve their original state after exposure longest.

Using Silver Shade
Step-By-Step Slideshow

History
A silver shade Story 1948 - 2010

Impossible's endavours to save analog Instant Photography by producing a new integral film for traditional Polaroid cameras is especially dedicated to Edwin Land. He first conceived of instant photography in 1943 while on vacation when his daughter asked “Why can’t I see them now?” in reference to the pictures he had just taken.

On February 21st 1947 he first publicly demonstrated instant film at the annual meeting of the Optical Society of America in New York City. That was an 8x10” peel apart Sepia tone image.

In 1948 Polaroid released its first analog instant film - Type 40. It was sepia-toned, not yet 100 % on stability and consistency and $ 1,75 for 8 exposures which is $ 15,74 in today's value.

In 1963 Polaroid introduced color film which then became standard and most popular. Only in 1998 Polaroid released another black & white film, but discontinued it only four years later.

Now the Silver Shade is not only referring to the beginning of the grand history of the beginning of Polaroid, but makes it again possible to take breathtaking, monochrome, classy looking instant pictures, which feature a surprising potential of characteristics, tones, moods and astonishing results.

About
A brand new, unique Film Material

Silver Shade films are astonishing, brand new, monochrome film materials for traditional Polaroid cameras. They deliver breathtaking images with an iridescent tone range from black & white to sepia, depending on light conditions and temperature. Silver Shade films also allow various artistic manipulation techniques.

With their sensitivity and flexibility, the unconventional Silver Shade films don't face you with a fait accompli, but with an invitation and the possibility to have a fling with various color shades, results and flavors, all according to your personal taste. Silver Shade films are as individual and exciting as you are. Get to know them well and make them therewith your best friend in order to produce the most breathtaking analog images ever made.

Specifications
The technical Silver Shade Facts

New

PX 100 Silver Shade

Film Speed:
ISO / ASA 150 / DIN 23
Format:
3.5 x 4.3 in. (8.9 x 10.8 cm)
Image Area:
3.031 x 3.125 in. (7.7 x 7.9 cm)
Finish:
Glossy
Exposures per Unit:
8 exposures per pack
Development Time:
3 minutes approximately
Specials:
Original SX70 Cartridge, Special B&W - Sepia Chemistry
Compatible Hardware:
All SX70 series cameras. Also compatible with use in all 600 series cameras, but only with appropriate adjustment of the exposure settings

PX 600 Silver Shade

Film Speed:
ISO / ASA 600 / DIN 29
Format:
3.5 x 4.3 in. (8.9 x 10.8 cm)
Image Area:
3.031 x 3.125 in. (7.7 x 7.9 cm)
Finish:
Glossy
Exposures per Unit:
8 exposures per pack
Development Time:
3 minutes approximately
Specials:
Original 600 Cartridge, Special B&W - Sepia Chemistry
Compatible Hardware:
All 600 series cameras. Also compatible with use in all SX70 series cameras, but only with appropriate adjustment of the exposure settings (ND Filter)

PZ 600 Silver Shade

Film Speed:
ISO / ASA 600 / DIN 29
Format:
4 x 4.1 in. (10.2 x 10.3 cm)
Image Area:
3.5 x 2.9 in. (9.0 x 7.3 cm)
Finish:
Glossy
Exposures per Unit:
8 exposures per pack
Development Time:
3 minutes approximately
Specials:
Original Polaroid Cartridge, Special B&W / Sepia Chemistry
Compatible Hardware:
Polaroid Image, 1200 & Spectra Cameras

Tips & Tricks
Get the most out of your Silver Shade

 The answers below open on clicking
  1. Choose the right film for your camera
  2. Watch Temperature
  3. Set camera's lighten/darken wheel to middle position
  4. Shield picture from light
  5. Store your Silver Shade pictures ideally

HOW TO #1
Choose the right film for your camera


1)
2)
Please keep in mind that 600 and SX70 cameras are each specialized for different ASA (light sensitivity) to regulate/calculate the outcome of your final image's light-balance.

1. The SX70 cameras are specialized on 100ASA. PX 600 film on regular exposure will result in very bright images

2. 600 Cameras are specialized on 600ASA. PX 100 film on regular exposure will result in very dark images

3. Image, 1200 & Spectra Cameras are specialized on 600ASA. PZ 600 Silver Shade is optimized for these cameras
TIP:
This means that it is recommended to use the correct PX film for most balanced results.
Use PX 100 with SX-70 cameras,
use PX 600 with 600 cameras.

HOW TO #2
Watch Temperature


COLD
HOT
The chemistry of the Silver Shade films is very sensitive to temperature.

For most balanced results, it is recommended to provide a medium room temperature of 17-24°C (63-75°F)

In extreme cold (10°C and below), the image will become very light, quickly resulting in almost white tones, erasing most contrast. Use with caution.

In extreme heat (27°C and above), the image will turn very dark and change to reddish, orange, and yellowish shades of extreme contrast
TIP: When shooting in extreme temperatures, you can put the image in your pocket to warm it when out in the cold and keep it in the shade or cool water to avoid too much heat when in hot surroundings.

HOW TO #3
Set camera's lighten/darken wheel to middle position


OVEREXPOSED
UNDEREXPOSED
The Silver Shade films are very sensitive to adjustments of the camera's lighten/darken wheel.

Do always put it to the middle setting for most balanced and optimized results.

Changing the wheel's position into the lighter area will result in overexposed pictures.

Changing the wheel's position into the darker area will result in underexposed pictures.

HOW TO #4
Shield picture from light


OPACIFICATION PASTE
DURING DEVELOPMENT
When the picture exits your camera after its exposure, you will see a beautiful blue surface where the image will appear. This is the chemical paste which shields the exposed image from receiving more light (and thus overexposing).
TIP:

As this paste is not 100% light-proof, it is recommended to shield the developing picture from bright light sources.

1) By putting it into a pocket or box
2) By putting the face of the picture upside down
3) By shielding it with the darkslide

HOW TO #5
Store your Silver Shade pictures ideally

Store your Silver Shade pictures ideally
In order to store your Silver Shade shots in the most optimal way, let your images dry properly before putting them away into a dry box.
As long as the picture has not completely dried after development, the ultrathin picture layer is vulnerable for attacks of the killer crystal that leads to alteration and fading of the image. In order to prevent your images from the killer crystals that cause alteration in the image over the time, we started a series of tests in order to present you a guideline of how to store and protect your images the best way possible and how to ensure that they will last forever.
PLEASE KEEP IN MIND:
The most important thing is
to get HUMIDITY out of the pictures.
The following tips & tricks will help you doing so.
original image
after 60 days
vertical vents horizontal vents
1. CUT ANOTHER VENT
Carefully cut another central vent in the middle of the upper lamination on the backside of the developed picture. This cut is invisible from the front and if it turns out that it will help to fight the humidity, we will also add another vent during future production runs.
original image peeled image after 44 days
2. PEEL THE IMAGE APART
Opening the image by peeling the positive and the negative apart will allow proper drying and avoids the development of the Killer Crystal. Turn your image over to the back, use scissors or a knife and stick the blade under the upper white sealed foil. Open it along the edge and repeat the action along the sides. Now open the image by removing the positive (front transparent foil) from the negative (the emulsion underneath). Don't peel too slowly but do try to peel gently.
check out Chapter 1 of the CrazyLab below, for more information and tips about peeling your PX images
silica gel
3. PUT SILICA GEL INTO YOUR STORAGE BOX
Storing your pictures in a bigger box that also contains a fair amount of Silica Gel will control humidity below 40%. With every order of a PX/PZ 600 film pack you will receive one high quality Impossible Silica Gel.
As a low-tech alternative to the Silica Gel, we have also had positive results using salt or rice as desiccant for PX film.

Webmeister's Crazy Laboratory
Playing around with the PX Silver Shade

Impossible's WebMeister is the guy whose work is usually taking place behind the curtain. He is the one responsible for the browser timeouts when you're trying to buy PX film from the online shop and further inconveniences.

For this issue of our (soontobe) famous Crazylab series he is now finally stepping in front of the curtain once, to show us what happens when his clumsy fingers operate a Polaroid camera instead of a keyboard.

Read all about his mission to investigate how peeling can be used to fight the evil killer-christl and find out what other tricks can be applied to PX Silver Shade film.
Yours, Webbo
Chapter I:
 I love Peelings!
Chapter II:
 Discovering the freezy-peasy way!

Chapter I:

I Love Peelings!

I was lying on the sofa watching my favourite teleshopping channel (the legendary Dr. Schulz from dermTV) when the tickling of the peeling mask in my face reminded me of the mission doc had assigned to me: to find out about the peelability properties of PX Silver Shade film, cause as we all know by now, peeling can not only prevent your images from being attacked by the evil killer-christl but also is a starting point for all kinds of eggziting analog artwork.

How does this peeling
Work?

The main obstacle in the task of seperating the layers of an integral picture is the so-called mask, the white layer around and on bottom of your PX pic, that wraps around the image and glues the whole compendium of layers together.

To overcome this obstacle, you simply turn the developed image around and open the seal where the mask is glued to the negative part on the backside of the image (a sharp knife will help)

fig 1.
separate the mask from the back layer
(LLP will help)
fig 2.
simply cut on top

As soon you loosened the lamination (pun intended) of the mask, you simply pull the backlayer and the frontlayer apart

fig 3.
pull apart the layers
fig 4.
pull gently but determinately

...BUT

What Eggzactly are you
Peeling here?

Since I myself was relatively new to peeling and the internals of an integral pictures before, I think it can't hurt to give a bit of background information to those of you who (like me) only ever peeled bananas and the skin on your cheeks in the past.

Even though an integral pic really contains 983 layers, there are only 4 layers relevant in terms of peeling: negative, dried emulsion, piclayer, mylar (the transparent window on top of the pic)

When I started to play around with peeling, I quickly discovered that there are basically 3 ways an integral image can be disintegrated, and where the 4 relevant layers can end up:

1)
picture layer on mylar
2)
picture layer and emulsion
on mylar
3)
picture layer and
emulsion on
negative
fig. 5
above:
mylar and picture layer
below:
negative incl. emulsion layer
fig. 6
above:
mylar, picture
layer and emulsion layer
below:
the negative
fig. 7
above:
only the mylar, picture
layer and emulsion layer
below:
negative, emulsion layer,
picture layer

Which one of the 4 you're gonna get where is not totally up to you - according to my discoveries it depends on the time passed between shot and peeling, the temperature .. and most probably also moonphase. Zeriously, the key is the state of the emulsion layer - if it's not dry enuff yet, it tears apart and parts of it stay on the negative side, some on the mylar side, if its too dry it tends t stick to the image/mylar layer.
Now my first eggziting discovery when peeling PX600 was that if you separate the layers quickly enuff after development of the pic (first 10 minutes after shot),

PX600 peels easily like a ripe banana with method 2!

No problem, just get rid of the mask and separate the negative from the mylar with the pic and the white emulsion layer. My second eggziting discovery was that (cause I peeled method 2 for the first time) that

I saw the negative of an integral pic for the first time!!

(see lower part of figure 6 above and you will be able to understand my eggzitment).

Read On
About Freezy-Peasy Here

Chapter II:

Discovering the

Freezy-Peasy Way!

Can peeling also avoid this annoying

Red/Brownisation of PX 600?

Now that I found out how much the PX600 accomodates us to fight the evil killer-christl by his high peelability, I wanted to find out if the peeling can also fight the annoying fact that PX film turns rather brownish when shot in warm temperature. It happened to be a rather hot day (over 30° celsius) when I did my eggsperiments and even when peeling a picture super quickly after shot, with this high temperature, the image turned brown immediately.

So my first idea was to develop the picture in the fridge, but I have to admit that I didn't have much suxxess with this - the pictures turned brown even if I ran the 5 meters from the couch in my livingroom (where I took them) to the fridge in the kitchen. After having wasted a couple of minutes trying to move the fridge to the livingroom, smart boy that I am, I moved the couch to the kitchen immediately next to the fridge. But even with this setup I had not much suxxess, even if I put the pic into the fridge a couple of seconds after the shot, the evil brownisation occurred. So (smart boy that I am) I figured that the temperature of the chemicals in the moment of exposure would be the crucial point, so my next attempt was to put the whole filmpack into the fridge for a couple of hours before taking the shot. To make a sad story short, also this approach didn't help much, the pictures still became brown faster than I could turn them around and fetch the knife.. with the additional disadvantage that these pre-cooled pictures were almost impossible to peel - the developing layer always tore apart when seperating mylar from negative - probably some kind of condensation phenomenon (see fig. 9) ..and the pictures were still brown! .. almost as much as my popo, that I wanted to bite in utmost frustration!


fig. 9
broken emulsion layer

But I was possessed with ambition - there simply had to be some way to avoid the brownisation! So if the fridge didn't help, the next logical step was the freezer.
I put anotha pack of PX600 into the freezer for 10 minutes and took the first shot.. the result was rather underwhelming (see upper left of fig. 10), so I put the SLR680 back into the fridge for anotha 10 minutes (didnt wanna loose a pic by taking the film out of the camera). The next shot looked promising, so I repeated the procedure a couple of times, till the electronics of the camera gave up the ghost cause of acute hypothermia (and the chemicals in the pic refused to do their work - see lower right of fig.10)


fig. 10
pictures taken with progressively frozen film
(lower right, development severely handicapped - encouraged by
means of a lighter in the area around the eyes)

I had finished the packs of PX600 I had taken home and was quite happy with the results:
I had found out that PX600 can easily be peeled to prevent the christl - and that the brownisation can be controlled by development in the freezer*
(*note for the sceptic ones: the effect is permanent - I had put the pix into the backoven for over an hour in the hope that they would peel more easily - levels of sepiasation did not change anymore)

More Fun

With the freezer!

A few hours later my wife came home. Now finally having a decent model (everybody who knows me, knows that I hate shooting my ugly face) I was eager to continue the freezer research with PX100 film.
This time I didn't pre-cool the filmpack, but tried to get the picture into the freezer as fast as possible after it had been ejected from the camera (thankgod the couch was still in the kitchen).
Everybody who has ever watched PX Silver Shade develop, knows the wondaful special effects a pic passes through during the process of development, the blue opacification dye (called "Gardinenfarbstoff") slowly vanishing, various otha colors appearing and vanishing again, the phases of solarisation when parts of the image look like inverted... quite a spectacular show. Now I was fascinated by the idea of being able to capture parts of this by slowing down the development process in the freezer and then quickly peeling the image in a state before it was fully developed.
With a bit of practice I managed to seperate the layers even before the Gardinenfarbstoff had vanished (see upper part of fig. 11)

fig. 11
developed in freezer and peeled early

The results were fascinating documents of frozen stages of development - and they were even stable (pics in fig.12 scanned 24 hours after separation) - what supercool fun!

fig. 12
PX 100 frozen

Now having tasted the joy of freeze-peeling, I became even more adventurous. I was fascinated by the potential which the combination of slowed down development and peeling early offered and wanted to test out its limits (since the wife suffered from pneumonia due to the long time in the freezer the evening before, I had to revert to my previous model - my favourite one, as everybody who knows me knows) I played around with cutting the frozen negative, mixing layers of different filmtypes and all kind of otha groovy things that came to my playful mind.

See below for some results of my experimental rush..

fig. 13
shape of glasses cut from the negative and put back onto pic to
prolong development in this area
fig. 14
hybrid develoment - PX 100 image layer on (unexposed) TZ Artistic
negative and vice versa
fig. 15
"hybrid double exposure" - mixing image and negative layers of a
freshly exposed PX 100 and freshly exposed Spectra picture

I don't wanna go into much details about these stunts, let me just tell you that I had a huge lot of fun! So roll up your sleeves, move the couch near the freezer and start having fun too! Sometimes PX Silver Shade film might appear to be a pain in the youknowwhere, but in facts its potential to have fun and live your adventurous spirit out is enormous!

P.S.1:

Don't throw away your PX images that you consider failures too hastily - by peeling the pic and getting access to the backside of the emulsion layer, you get a second chance to produce breathtaking art! "Draw" on the pic by scratching the emulsion or beautify your pic by applying color to the back of the emulsion..

P.S.2:

Also emulsion lift/transfer works like a charm with PX Silver Shade. Read all the details about manipulation techniques

Here
Yours truly,
YOU
1st Hand User Content
& Silver Shade Film

Silver Shade film materials react very easily and sensitive to light and temperature. Users all over the world are currently discovering its characteristics and are therewith finding out how to get optimized and most fascinating results.

Have any Links, Blogs, Tips, Ideas that you want to share with all other SILVER SHADE Lovers?

We are happy to receive your E-Mail via
usercontent@the-impossible-project.com
In the Impossible Spotlight
Our hand-selected recommendations (random order)

Dark Slide Light Shielder

By Rommel

If you have difficulty with the film's Opacification this might be of help!
The fellow photographer explains the best technique to shield the picture as soon as it comes out of the camera.

Solution for PX100 Light Issues

By Jake Messenger

Jake invented a great technique of how to shield the picture from light as soon as it comes out of the camera.
US
The Impossible Online Network
& The Silver Shade Community

Though we may be a crowd of analogue geeks we of course love, embrace and utilize the modern digital ways of getting and staying in touch, being updated and exchanging ideas, thoughts and news with each other. Our customers and fellow Silver Shade Lovers and Impossible Followers are all crowded on the following spaces all over the internet. Feel free to join the different groups, contests and discussions and watch us at:

The Impossible
F O R U M
Also follow us on:
Facebook twitter

Sample Gallery
The Beauty & Variety of Silver Shade

PX 100 Silver Shade

PX 600 Silver Shade

PZ 600 Silver Shade

FAQs

Frequently Asked Questions

 The answers below open on clicking
  1. Why are my pictures so light and low in contrast ?
  2. Why are my pictures so dark and reddish ?
    3. Why do I have imprints on my pictures ?
  3. Why don't I get any picture ?
  4. Why is there an undeveloped patch at the top of my Silver Shade Pictures ?
  5. Why are my pictures losing contrast and getting an orange tint even weeks after exposure ?
  6. Why does my film have developer oozing from the back ?

FAQ #1
Why are my pictures so light and low in contrast ?

1. Check Temperature
2. Check Light Shielding
3. Check Lighten/Darken Wheel
1. Check Temperature - Too Cold

Always remember to develop the picture in ROOM TEMPERATURE between 17-24°C (63-75°F).
In extreme cold (<10°C), the image will become much lighter, quickly resulting in almost white tones and low contrast.
The best trick is to always develop the picture under your jacket with your stable body temperature. But please be ware that direct contact with your skin might be a bit too warm and results in more brownish results.
2. Check Light Shielding

Make sure that you IMMEDIATELY shield the picture as it comes out of the camera by covering it with your hand and putting it in a pocket or turning it upside down.
Otherwise the photo will become lighter, especially in the area of the bottom of the picture which leaves the camera first.
3. Check Lighten/Darken Wheel

The best results are achieved by keeping the wheel in the middle position, 50% white 50% black.
If the wheel is turned to the WHITE side too much, the image will become lighter.

FAQ #2
Why are my pictures so dark and reddish ?

1. Check Temperature
2. Check Lighten/Darken Wheel
3. Check ASA (Light sensitivity) of film & camera
1. Check Temperature - Too Hot

Always remember to develop the picture in ROOM TEMPERATURE between 17-24°C (63-75°F).
In extreme heat (25°C/70°F and above), the image will turn very dark and change to reddish, orange, and yellowish shades of extreme contrast.
2. Check Lighten/Darken Wheel

The best results are achieved by keeping the wheel in the middle position, 50% white and 50% black.
If the wheel is turned to the BLACK side too much, the image will become darker.
3. Check ASA (Light sensitivity) of film & camera

PX 100 Silve Shade + SX70 Camera
The PX 100 Silver Shade has 100 ASA (light sensitivity) and is therefore optimized for usage in SX70 cameras.

When exposing the PX 100 film in 600 cameras you will get very dark images.

PX 600 Silver Shade + 600 Camera
The PX 600 Silver Shade has 600 ASA (light sensitivity) and is therefore optimized for usage in 600 cameras.

When exposing the PX 600 film in SX70 cameras you will get very light images.

FAQ #3
Why do I have imprints on my pictures ?

Check Rollers
Check Rollers

Please be aware of the fact that the camera you are using can have a huge influence on the pictures - most importantly, different cameras have different distances between the rollers.

To prevent imprints from showing up on your pictures, always keep the rollers of your camera clean.

FAQ #4
Why don't I get any picture ?

Check Camera
Check Camera

If you are not sure whether your camera is still working, please test your camera with an empty cartridge. If no mechanical noise can be heard after repeatedly inserting the cassette, your camera may not be working.

FAQ #5
Why is there an undeveloped patch at the top of my Silver Shade Pictures ?

Impossible's Silver Shade Films are based on completely new chemicals with different properties from the ones used in traditional Polaroid film. Thus, in some cases (also depending on the camera used), the chemicals may not spread evenly to the top of the picture.

PX 100 and PX 600 images may thus still show a small undeveloped patch at the top of the image area.
the extent of this problem has been reduced considerably since the First Flush editions but it may still show up in some of the pictures.

FAQ #6
Why are my pictures losing contrast and getting an orange tint even weeks after exposure ?

If images taken on the PX 600 film have not completely dried after development, the humidity contained within the picture may damage and dissolve the picture over time.

In order to prevent your images from the killer crystals that cause alteration in the image, please read our first Guideline of how to store and protect your images the best way possible in our latest Newsletter. We will present all these tips and tricks and all our learnings on this page shortly.
click here to read our tips about the best way to store your PX film pictures after exposure

FAQ #7
Why does my film have developer oozing from the back ?

LLP - Loose Lamination Problem

Due to a new component that was used in our film production for a certain period of time (and is by now of course already replaced) some film packs may show a defect that Impossible calls the Loose Lamination Problem (LLP). Affects are that the so called "rail" can cause the white side boarders of the white frame at the back of the picture to loosen. These loose white stripes on the back of your pictures may cause that developer paste emerges from the loose frames causing leakage.

Possible Solutions

With ordinary strips of tape the LLP can easily be cured without affecting the overall performance and lifespan of your beloved Silver Shade artwork. Furthermore - as we always try to make the best of everything - we may dare telling you that LLP pictures are more than suitable and supportive for the legendary image lift technique and many other creative manipulation possibilities like peelings.

Please also note that our current available stock was produced after the replacement of the critical component and therefore it is in excellent condition, 100% LLP free.