Polaroid BIG SHOT User manual

KNOW YOUR CAMERA
A. Back lock
B. White tab slot
C. Yellow tab slot
D. Shutter release
E. Lens, single meniscus,
220 mm, fj29
F. LIGHTEN/DARKEN control
G. Flashcube socket
H. Rangefinder j viewfinder
rear window
1. Rangefinder j viewfinder
front windows
J. Development timer
K. Flexible T handle
L. Developer spreader
M. Camera number
IMPORTANT: The developer spreader (L) must be kept clean or you
won't get good pictures . Check it and clean it as shown on page 22.
2

Development timer: To operate it, turn the arrow
clockwise ail the way and let go; the timer will run
for approximately one minute, the recommended
development time for color pictures in ordinary
room temperatures (about 75°F). At lower tem·
peratures you must develop pictures for a longer
time; see the film instructions for details.
LightenjDarken control: By turning the ring (F)
you can
adjust the amount of light reaching the
film to make a picture lighter or darker, as desired,
or to take care of differences in flashcubes or film
packs. When and how to use the ljD control is ex·
plained on page 8. It is shown here set to the
Normal position.
DARKEN
LlGHTEN
YOU CAN MAKE THESE KINDS OF PICTURES WITH THIS CAMERA
COlOR PICTURES .............. load the Big Shot only with Polaroid Polacolor land film packs, Type
108. Do not use Type 107 black and white film with this camera.
FLASH PICTURES .... ........... It is designed to use only the new batteryless Magicubes, or equiva·
lent. Other kinds of cubes won't fit the socket. Pictures made without
flash, even in bright daylight, will generally be too dark.
PICTURES AT ONE DISTANCE. .... The Big Shot's fixed focus lens is set to make sharp pictures when the
subject is about 39 inches from the lens. A simple·to·use but accu rate
one·distance rangefinder puts you at the correct distance. Objects
much closer or further than 39 inches will be out of focus.
VERTICAL OR HORIZONTAL. ...... Vou can hold the camera either way, as shown on page 4; the range·
PICTURES finder works equally weil in both positions.
IMPORTANT. .................. Do not make flash pictures in explosive atmospheres.
3

HOW TO HOlD THE CAMERA
Grip the viewfinder housing firmly with your left
hand. Be careful not to cover the lower window of
the rangefinder (A). If you do, the rangefinder
won't work. When d eveloping pictures, hold the
camera as shown on page 7.
You can operate the shutter release with either
your forefinger or your thumb, as shown. Squeeze
slowly and
smoothly until the bulb flashes. Be
careful not to shake the camera.
HOW TO USE THE RANGEFINDER
Stand about 4 ft. away. Look through the bright spot at the most
important part of your subject (eyes, for example). You should
see two images (four eyes). This shows you are at the wrong dis·
tance . Move closer, or if too close back up, until the two images
in the bright spot become a single, clear image of the most im·
portant part. You are now at the right distance. Disregard other
parts of your subject which you may see in the bright spot.
For a vertical picture
OUT OF FOeUS
....... (two images) -..
Move closer
or back up
....... IN FOeUS -..
(single image)
4

HOW TO LOAD THE CAMERA WITH FILM
The film: Use only Polaroid Polacolor Land film
packs, Type 108. Each pack makes eight pictures.
1. Open the package: Siide the foil bag out of the
box. Handle it carefully and only by the edges. Tear
the bag along the dotted line and remove the pack.
A
2. Unlock and open the back: Push up both ends
of the back lock (A) and open the back ail the way.
4. Check the white tabs (C): Be sure that they are
not caught between the pack and the camera.
6. Grip the black tab: Hold the camera by the
han die and get a grip on the black tab (0) as shown.
The black tab is the end of the safety cover. Pull
the safety cover ail the way out of the camera.
Pull it straight and be careful not to rip it.
Hold
it only by the edges. Oiscard the moisture
absorbing card which is inside the foil bag with the
pack (some packs may not have a card). Save the
box and the foil bag for carrying prints and waste.
Please
read the instruction sheet carefully so
you'II know how long to develop your pictures.
3. Insert the pack: Hold the film pack by the
edges as shown. Push the closed end of the pack
under the light shield (B) against a spring and then
push the pack down into the camera.
5. Close and lock the back: Hold the back closed
and push down on the center of the lock (A). The
black tab on the safety cover (0) should stick out
behind the lock.
7. Look for the white tab: When the safety cover
is removed, a white tab (E) should stick out of the
small slot next to the lock.
If you can see a white tab, you are now ready to
take picture No. 1.
If there is no white tab: Turn to page 23.
5

LET'S MAKE A PICTURE
1. Insert a flashcube: Use only batteryless Magi-
cubes, or equivalent. Press the cube base into the
socket firmly_
2. Check
the LjD control: Ordinarily, it should be
left at the Normal position as shown. On the
back of some color film packs you may find printed
instructions advising you to set the LjD control
one mark toward LlGHTEN for ail pictures made
with that pack. Please follow that advice; it's
important.
3. Get set: Place your subject close to a back-
ground, which should be brightly colored, if pos-
sible. Stand
about 4 ft. away_
4. Look: Hold the camera as shown_ Be careful
not to coyer the lower window (A) of the range·
finder. Look through the bright spot at the most
important part of your subject (eyes, for example).
You should see two images (four eyes). This shows
that you are standing at the wrong distance from
your subject.
OUT OF FOCUS
IN FOCUS
5. Focus: Move closer (and if you get too close,
back up) until the two images in the bright spot
become a single, clear image of the most important
part. You are now at the right distance. Disregard
other parts of your subject which you may see in
the bright spot.
6. Aim and shoot: Make sure your subject is
nicely placed within the bright frame line. Gently
squeeze the shutter release with your forefinger
or thumb until the flash fires. Then let go of the
shutter release, which will pop up again. The
flashcube automat i cally turns 90° after each flash.
After four flashes the shutter release will not pop
up; this is the signal to insert a new cube.
6

HOW TO DEVELOP YOUR PICTURE
FIRST, PULL THE WHITE TAB OUT OF THE CAMERA
1. Let the camera hang freely:
Hold it by the flexible T handle.
Don't hold onto the camera body!
THEN, THE YELLOW TAB
3. Grip the center
of the yellow tab.
2. Pull the white tab
(A) ail the way out of the camera: This causes a
yellow
tab (8) to pop out of a narrow opening in the end of the camera .
IF A YELLOW TAB DOES NOT COME OUT,
DON'T PULL ANOTHER WHITE TAB!
The tab usually gets jammed because of dirt in the developer
spreader. First, remove the jammed yellow tab, as shown on page 23.
Then clean the developer spreader (see page 22).
NEVER PULL A WHITE TAB IF YOU CAN SEE A YELLOW TAB,
OR YOU WILL CAUSE THE FILM TO JAM!
If you accidentally pull a white tab while a yellow tab is showing, don't
pull another. 1 nstead, follow the steps shown on page 23.
4. Pull the yellow tab ail the way out of the camera:
As you pull the tab out with your right hand, pull the camera to your
left with the T handle. Pull smoothly, at medium speed, without slow-
ing down or stopping.
THE PICTURE IS NOW DEVELOPING OUTSIDE THE CAMERA, SO START THE
DEVELOPMENT TIMER RIGHT AFTER PULLING THE TAB OUT . NEXT PAGE, PLEASE.
7

5. Oevelop the picture for the full time given in
the film instruction sheet: Let the film hang from
the yellow tab without moving, or lay it down fiat.
Oon't touch or bend the part where the picture
is developing (A) .
START HERE
DARKEN
LIGHTEN
6.
Separate the print: After the full development
time , quickly lift the print away from the rest of
the paper , starting from the end near the yellow
tab, as shown. Oon't start at the other end ; you
will
get developer chemicals on your fingers.
7. Fold up the negative: To avoid touching chemi-
cals left after the print is removed, fold up the
negative with the moist side in. Please put it in a
wastebasket.
Caution : Please be sure to read the CAUT I ON
notice on page 24.
HOW TO MAKE YOUR NEXT PICTURE
LlGHTER
OR OARKER
If the camera's LIGHTEN/DARKEN control was at
the Normal position, as shown, and if you used the
rangefinder correctly, your picture should be weil
exposed and in sharp focus .
However, variations in flashcubes may cause
some pictures to be lighter or darker than others ,
or you may want a picture to be lighter or darker
for reasons of personal taste.
To make the next picture of the same subject
lighter or darker, adjust the LlGHTEN / DARKEN
control. For a small change, turn it one mark
toward the LIGH TE N or DARKEN symbol; for a greater
change, move it two marks. Don't forget to return
the L/ D control to the Normal position when a
special setting is no longer necessary.
CARE OF COLOR PRINTS
A newly separated color print will look nearly dry,
but it is actually slightly moist and the surface can
be damaged by handling. Don't touch the surface
for a few minutes; it will dry hard and glossy .
Be
sure the print is fully dry before allow i ng it to
touch another print, or the two may stick together.
When the print is dry, protect it against curling,
cracking, etc. by putting it on one of the cardboard
mounts supplied with the film.
The dyes used to form colors in the prints are
long lasting. However, like ail dyes, they will fade
if exposed to bright light for long periods of time .
The best way to protect your prints is to keep them
in Polaroid Picture Albums.
8

TRY THESE 20 IDEAS
FOR BETTER PICTURES
Here are Il pages of Big Shot pictures -
20 examples of the many kinds of beautiful
and exciting color photos it's easy to make
with this camera .
Each presents at least one picture idea.
If you did nothing more than imitate them
(we suggest that you do so) you'd have a
wonderful picture collection . We hope that
your results will make you want to try
many other ideas of your own.
One word of caution: This camera is very
simple to use but, even so, you must know
what to do with it to make pictures like
these. 50, please read the entire instruc-
tion book carefuHy.
FIRST RULE -HAVE A GOOD BACK-
GROUND: Always try to place your subject
close to a good background, preferably
one that is brightly colored. A wall, a door,
a curtain, even a large picture, can make a
good
background. Try to pick one that con·
trasts with the color of your subject's hair
and clothing - that helps to separate the
subject from the background. The top
picture is a good example.
ln the bottom picture the background
was so far away the light from the flash
did not reach it and the outline of the head
is not clear. However, for a subject with
white hair, such a background would not
be bad; try it some time.
9

ADD HANDS TO ADD ACTION
FINGERS WILL DO: Here you see only part
of the man's hand s, but there 's no doubt
about what the "action" is . Whether
they're old and gnarled or young a nd
graceful, hands can add much to portraits.
BE A OIRECTOR: An easy way to get a
more natural 100 king picture is to have
your subjects use their hands for some
simple activity, such as picking up the
phone, or pou ring something colorful, or
holding an ice cream cone, apple, etc.
10

LOOK FOR INTERESTING ANGLES: Heads
and hands don't have to be straight and
upright. The tilted head, the sweep of the
hair, the angle of the hand, and the grace-
fui curve of the finger s, ail help to make
this an engaging picture.
CATCH A FAMILIAR POSE: Does he fre-
quently hold a pipe , or tug at an ear, or
rest his chin on his fist, or fold his hands
behind his head? Many people have charac-
teristic actions that would look good in a
picture . Set the scene, wait for the action
(or ask for it) and shoot the picture.
11

TRY SOMETHING OUT OF FOeUS: The range-
finder is designed to provide sharp pictures
when the subject is about 39 in. from the lens.
Actually, everything from about 36 in. to about
42 in. from the camera will be sharp. Ordi-
narily, you should try to have ail the important
parts of the subject about the same distance
from the camera 50 the whole picture will be in
sharp focus (see the picture at right). How-
ever,
putting part of the subject out of focus
on purpose can improve some pictures. This
is called selective foc us. Much of the impact
of the picture above comes from the horn,
which is blurred because it is too near. Vet,
just because it is unsharp, your eyes are
drawn to the trumpeter. This also could have
been shot with the horn in sharp focus and the
boy out of focus.
12

ENLARGEMENTS ARE GREAT
Your Big Shot pictures can make outstanding en·
largements. Three sizes are available from Polaroid
Copy Service - 5 x 7
inches, 8 x 10, and 11 x 14.
Careful attention is given to faithfully reproducing
your picture and minor retouching is provided
where necessary. Ail sizes come in attractive
salon mounts.
To make really good enlargements you must
start with a sharply focused, weil exposed picture
with pie nt y of color in it. Try to avoid scratching or
fingerprinting pictures that are to be enlarged.
Remember, the better your original picture, the
better the enlargement.
\
l
\
,.
13

TRY SOME HORIZONTAL PICTURES, TOO
MORE ROOM FOR HANDS AND ARMS: For horizontal pictures hold the camera
as shown on page 4. The rangefinder image then moves sideways. The nose is a
good
point to focus on, or one eye. It's particularly easy to focus for profile shots .
BEST FOR BABY PICTURES: Infants photographed alone are generally Iying
down. In the usual vertical picture the face is furthest fram the camera . That's
not good. Instead, place the baby at right angles to the camera, as shown here,
and shoot a horizontal. A bright colored blanket makes an ideal background.
14

INCLUDE MORE THAN ONE
FRAME SUBJECTS CAREFULLY: Fitting
two adult heads into a vertical picture re-
quires some care . Don't be surprised or
discouraged if you have to leave out an
ear,
or part of a hairdo. Vou can still make
a fine picture even if some bits and pieces
1
1
are missing. For two subjects, it's usually
easier to shoot a horizontal picture.
YOU CAN CONTROL THE SHADOWS: To avoid unpleasant edge shadows, keep
your subjects close to the background. If you aim through the viewfinder with
your left eye, any shadow will be cast slightly toward the right side of the subject.
If you aim with the right eye, the shadow will go slightly toward the left side of the
subject. Vou will get the worst shadow (to the left of the subject) in a horizontal
picture when you have aimed with the right eye, as shown below.
15

INCLUDE MORE TH AN ONE (cont.)
PUT BIG AND LITTLE TOGETHER: Contrasts in color add intere st
to
pictures ; so do contrasts in size. Placing the baby's tiny hand
ne xt to the mother's emphasizes how small the infant really is.
And
the little boy's head makes it clear that the dog's head is as
big as a
pumpkin.
16

FOR MORE ROOM, HIGH AND LaW: Two
heads need not be side by side in a vertical
picture. With one high in the picture and
one low there's almost as much room as in
a
horizontal shot.
ADD AN aBJECT FOR A SUBJECT: Want a
second subject to fill the print? Include a
picture on the wall, a piece of sculpture,
a giant doll or animal toy, or a work of art
such as that shown here.
17

PEOPLE AREN 'T THE ONLY SUBJECTS
SHOWTHAT MODEl: If it will fit in a 12 x 16
in. space, you can get it ail into the picture.
If it's too big, like the ship below, turning
it at an angle may make it fit. Or, you may
have to settle for just part of the mode!. If
you have small models, set up a fleet of
ships, a squadron of planes, or a company
of soldiers ready to parade.
18

FAUNA, FLORA, AND OTHERS: Cats are
not quite big enough to fill the picture
area, but bright cushions can supply bulk,
cOlor, and background. Some dogs may
take off when you aim the Big Shot their
way. Flowers should have bright colors and
be in big masses so they'lI show up weil.
And don't forget that stuffed animal toys,
artificial flowers, and similar items can be
wonderful subjects for colorful pictures.
For example, this crustacean happens to
be made of wood.
RECORD ART AND BRIC-A-BRAC: The Big
Shot is great for recording valued and
favorite items. Results can be outstanding
with matte surfaces, such as needlework,
pictures not under glass, and unpolished
wood carvings. Shiny surfaces may cause
reflections of the flash to appear in the
picture; you can cut them somewhat by
shooting fram an angle.
19

WHAT ABOUT TAKING P/CTURES IN DAYLIGHT?
Daylight pictures without flash: This camera is
designed for use only with flash . Pictures made
in daylight without flash usually will be too dark . If
the subject is in bright sunlight, as on a beach,
and if the L/D control is turned ail the way to
LlGHTEN it is possible to produce interesting and
attractive pictures. However, we do not recommend
thatyou tryto take pictures this way unless you are
prepared to do some experimenting and perhaps
waste some film. For consistently good results, ail
Big
Shot pictures should be made with flash.
Flash
combined with dayJight: There is no reason
why ail Big Shot flash pictures have to be made
GENERAL CARE OF CAMERA AND FILM
Protect film and camera from heat and humidity:
Extreme heat can damage your film, even if it is
in a sealed package, and high humidity can cause
corrosion and other damage to your camera. After
the film pack has been placed in a camera, both
the film and the camera can be damaged by ex·
cessive
heat and humidity.
Don't remove film from its sealed bag until you
are ready to use it.
Don't leave a loaded camera or packages of film
in direct sunlight. Remember that the glove or
luggage compartment of a car can get as hot as an
oyen.
If you store film or a loaded camera in a
POSSIBLE PICTURE PROBLEMS
White spots: Some fairly large whi te spots scat·
tered over the picture area usually indicate that
you pulled the yellow tab out much too slowly.
However, a large
number of small white specks at
one end of the picture usually are a sign that you
pulled
the yellow tab out much too fast .
It should take about as long to pull the yellow tab
out as it takes to say "Pull it". Always pull the
yellow tab out smoothly and steadily, without
stopping or slowing down.
Two yellow tabs out at same time: Vou pulled two
white tabs in a row without pullin g a yellow tab.
Both pieces of film will be ruined.
If you don't mind losing a third piece of film , the
quickest way to correct this is to open the back
door, remove the pack, pull the two jammed
yellow tabs out of the spreader and discard those
two films. Then replace the pack and close the
back door . The next piece of film was light·struck
indoors. Vou can shoot them on a covered porch,
or elsewhere in the shade, or even outside on a
bright day . However, you will have to experiment
with the LlGHTENjDARKEN control to get a weil
exposed
picture; the brighter the daylight, the
further you will have to turn the control toward
DARKEN. Interesting, colorful backgrounds are
just as important for flash / daylight pictures as for
those made with flash alone.
IMPORTANT; Development of Polacolor pictures
is strongly affected by the temperature at the
time of development. If it is less than 75°F you will
have
to develop for a longer than normal time. See
the film instructions for details.
closet, keep
it near the bottom where it's cooler.
If you live in a hot , humid climate, particularly
if close to salt water, it would be advisable to write
to Customer Service, Polaroid Corporation, Cam·
bridge, Mass. 02139, and ask for the special in·
structions for the care of cameras and films in
tropical climates.
How to clean the Jens: Breathe on it to da mpen
the surface, th en wipe it lightly with clean, dry
absorbent cotton. Never use silicone coated eye·
glass tissues. Clean the rangefinder windows in
the same way.
when you
removed the pack, so pull both tabs
and discard it.
Vou can save the third piece of film by the
following procedure , which is more troublesome .
Grip both yellow tabs firmly, pull them both
out together, and discard both pieces of film. This
may cause developer to be spread around the
inside of the ca mera back. Open the back of the
camera and, without disturbing the film pack,
remove the developer spreader . Carefully clean it,
the yellow tab slot , and any other areas that need
cleaning. (see page 22). Never pull a white tab if
you can see a yellow tab.
Overall bJuish or reddish tint: Pictures developed
for too long a time will look blue overall. Pictures
with a
definite pink or reddish tint probably were
not developed for the full recommended time. See
the film instructions for details.
20