Polaroid SX-70 Instant Film Camera Review – The Pinnacle of Polaroid

Polaroid SX-70 Instant Film Camera Review – The Pinnacle of Polaroid

2000 1125 James Tocchio

“You worked at Polaroid?” I asked the question with restrained interest and a hint of weariness.

Living where I live, it’s not unusual to run into old people who spent the prime of their lives in the offices of Polaroid’s Cambridge facilities. I’ve sat and eaten my lunch at the eastern edge of the MIT campus and watched as countless pedestrians stream past a faded and unnoticed sign, with weathered and peeling lettering – Loading Dock. Polaroid. Even being born thirty years late and having no official connection to Polaroid didn’t stop me from working in their former labs back when my day job involved servicing scientific equipment. I’ve weaved through traffic innumerable times down Edwin Land Boulevard, a street named after Polaroid’s founder. Yeah, the original Polaroid is gone, but its ghosts still linger in this city.

But my interest in this guy’s story was guarded, because most often when I run into a former Polaroid employee they tend to have been only minor cogs in the massive machine of Polaroid. And while there’s nothing wrong with being a minor cog in a great machine, these people don’t typically possess the riveting stories or deep insight that light a photo geek’s world on fire.

This guy, though, he was the real deal. Head of security for the global brand, weekly chats with Edwin Land during the heyday of the company, stage-level seat at the famous annual company meetings. “I’ve got a whole closet full of SX-70s.” He said with a conspiratorial lean and squint. “You know those ones? They’re the best ones. Always were. It’s the folding one with the leather trim – you know it?”

I told him I knew it well, and I do. It’s my favorite camera the company ever produced, and even today it’s a magical device. For someone like me, who grew up at the end of the era of blob-ish, plastic-fantastic 600 series Polaroids and who saw the birth and death of all those other Polaroid machines that never caught on, the SX70 is a stunning hindsight epiphany; a masterpiece of industrial design and consumer tech produced during the prime years of a company whose mainspring had nearly wound down by the time I entered existence. Tough timing for me. Luckily, these things still exist.

Just days before meeting my new Polaroid pal I’d spent the weekend shooting the camera he proclaimed to be the company’s best, and the experience was as special as ever.

I breathed in the earthy smell of leather and dust, the SX70 pressed to my face as I focused the split-image mechanism, heard the heavy slap of the reflex mirror, the metallic shwink as the shutter released, the raucous noise and vibration as the motors sprung to life and squeezed the instant print through the tightly spaced rollers. In 1972 there was no camera like it in the world, and there still isn’t. And if not for one gigantic problem, the SX70 might be my favorite camera of all time.

But let’s not get ahead of ourselves. Believe it or not, there are still diehard camera nerds who’ve never seen, held, or shot an SX70. And there’s a whole new generation of kids ready to fall in love with this classic machine – they just need an introduction. For them, here’s a primer.

First revealed by the man himself at the annual company meeting in 1972, Polaroid founder Edwin Land famously pulled the SX70 from inside his blazer, unfolded his masterpiece before those in attendance, and proceeded to shoot five instant photos in just ten seconds. Not lost on the gathered crowd, this was the only Polaroid to that date capable of fitting in a suit jacket pocket, and no other camera in the world could produce instant prints as quickly.

More than just small and fast, the SX70 was bursting with the most advanced tech of the day. Its body was so strong and durable that many people then and now believe it to be metal, a misconception spurred on by the brushed metal finish. But it’s not. The original SX70 was made of an incredibly rigid thermoplastic polymer called Polysulfone, mixed with glass fibers. The metallic finish was achieved by plating this material with a copper-nickel-chromium alloy.

The result is an exceptionally robust shell with a stunning finish. Its body image was further refined by precisely cut cow-hide leather skins, the uniformity of which another Polaroid employee told me was an obsession of Land’s (this employee’s brother owned a leather work shop and attempted to secure the contract to produce the skins, however, the inability to guarantee uniformity in a meeting with Land meant Polaroid sourced them elsewhere).

And mechanical and technical innovation extended deeper than the skin. Polaroid was, after all, a technology company unmatched in its era, and the internals of the SX70 illustrate this wonderfully.

The unprecedented folding SLR body configuration meant countless obstacles needed to be overcome. Its viewfinder and film plane required the invention of new and unusual reflex mirrors in order to produce both correctly oriented images to the shooter and an erect image on the film. Incredibly precise and minute plastic moldings made up a majority of the internal gearing, and a sophisticated-for-its-time electronic system controlled auto-exposure and flash control. To fit into its portable form factor, all of these parts had to be as tiny as possible – no easy task, but one that was achieved through state-of-the-art engineering.

Its lens and exposure system, the heart and mind of any camera, were also engineered to be state-of-the-art. The four-element 116mm F/8 lens was made of glass and engineered for optical excellence. Images produced via this assembly were sharp, contrasty, and imbued with deep, rich color. The auto-exposure system, capable of user compensation for lighter or darker images, was accurate and responsive, and paired with a shutter capable of speeds from 1/175th of a second to more than ten seconds ensured proper exposures in all but the wildest lighting situations.

But all of this impressive technology came at a cost; the machine was expensive at $180, and this high price limited the SX70’s success. In the first eighteen months it sold a respectable 700,000 units. It wasn’t until years later when the SX70’s technology was fitted to a less complicated, bulkier body that the Polaroid SX70 film format really took off.

But regardless of the high price, and perhaps even because of it, the SX70 must’ve been a truly covetous wonder for eyeballs surrounded by the trappings of 1973. Here was a machine that was comparatively tiny, stylish, sleek and elegant, and capable of producing a photograph instantaneously at the push of a button. No chemicals to deal with, no timers to set, no complicated processes to understand. This camera put real photography into the hands and homes of non-photographers, an ethos that still holds immense power today (ever heard of Instagram?).

Even in the era of the Fuji Instax and Leica Sofort, the SX70 is perhaps even more impactful than it was at its unveiling. Today, there’s nothing else like it in the wild. Take this camera into the city or bring it to a family cookout and prepare to be inundated with questions. Next, prepare to be flooded with requests for photos. Once people see it in action, hear those motors whirr, and hold a gorgeous photo, they’ll want more. And shooters will be happy to oblige, since practical use is sublime and effortless.

Peering through the viewfinder provides a massive window to the world that mostly works well. There are moments in which an indirect viewing angle can cause blackout or difficulty focusing, and users with glasses will be slightly more challenged, but once we find the sweet spot, composing and focusing is as effortless as with any other SLR. Adjust compensation for light or dark, press the shutter release, and hold still until the image ejects. That’s it. You’re a photographer. Congratulations. Fold up the camera and the compensation wheel automatically resets, a frame counter on the back of the machine tells how many shots are left in the pack, and reloading is a simple ten second process.

But that’s where the bleak shadow passes over everything so wonderful about the SX70. Real photo geeks will know where this is heading. It’s the film. Polaroid stopped making it years ago, and while the torch was relit and carried by The Impossible Project, which later became Polaroid in name once again, the film is pricey. The economics break down to the hard fact that every shot we take with the SX70 costs three bucks. That’s a pretty penny. For some, this simply will not be worth it, and I understand that. With recent news that Impossible has now officially acquired the Polaroid brand (their name, intellectual property, etc.) there’s hope that the economics of instant film might change; that perhaps instant film for these classic Polaroids could somehow become less expensive. But until that happens (if ever) shooting a classic Polaroid camera will continue to be prohibitively pricey for many photo geeks and casual shooters who might otherwise love the craft.

For me, owning and shooting an SX70 is still justifiable. I limit my exposures (outside of sample shots and product testing). I make sure the image I’m making is one I’m going to want to keep. I don’t waste frames. This, it could be argued, is conducive to improving one’s photography at large. When each shot imposes a financial burden, each exposure becomes more thoughtful. Silver linings, I guess. But the truth remains – because of the high price of film, the SX70 will always be an occasional treat, a camera to be used sparingly and carefully.

A word on variations and which one to buy – the SX70 comes in a number of models, and even the original model can be found with minor variations. If the camera has a brushed metal finish, it’s the first SX70, and the one to own. The easiest way to determine the age of an original SX70 is by looking through the VF – the earliest versions lack the split-image focusing aid in the viewfinder.

The later Sonar autofocus model, while simplifying the process of taking a picture, completely ruins the aesthetic perfection of the camera. It’s hideous. Later models are made of ABS plastic, are less robust, and some even lack true SLR capability in favor of a simple viewfinder hole. They’re also black or white, which can be easily argued is not as attractive as the brushed metal finish of the classic machine. No, for me, the SX70 to own is the original model with the brushed metal finish, if not for aesthetic reasons and superior build quality than certainly for collectibility.

If you’d like to get your hands on one of these incredible machines, there are a few ways to do so and some things to keep in mind. These cameras are old, and unfortunately susceptible to breakdowns. That’s why it’s important to do your research before pulling the trigger on a sale.

Friends of the site, Brooklyn Film Camera, have made a career out of refurbishing and selling guaranteed SX70s. These machines have been calibrated, rebuilt, reskinned, and come with a warranty. Pretty amazing, given that these cameras are more than forty years old. Mint in Hong Kong also produces reworked SX70s with a number of bells and whistles attached, albeit at a high price. And of course, our own F Stop Cameras usually has one or two SX70s in stock.

Wherever you purchase yours, ensure it’s in good condition and guaranteed to be fully functional. Do this, and you’ll own one of the best and most interesting cameras ever made.

I mentioned to my new friend, the former Polaroid employee, that I’d spent a good deal of time with the SX70, and we shared our thoughts on it and the company that produced it. His twinkling eyes were watching me, listening and chatting, but I could see that he was seeing something else. A past that was gone, a career spent with an employer that treated people with familiarity and professional kindness, his prime. He was there at his desk, but he was elsewhere too. Perhaps at that conference in 1972, perhaps at a meeting with Mr. Land. Or maybe he was simply remembering the countless times the SX70 and other Polaroid cameras accompanied him and his family on a walk, at the beach, at Disney World, on vacation.

I left him with a handshake and the suggestion that he dig into that closet full of Polaroid gear. He said he would. I hope he did, if not to relive some of his happy past, to at least shoot a wonderful camera one more time.

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James Tocchio

James Tocchio is a writer and photographer, and the founder of Casual Photophile. He’s spent years researching, collecting, and shooting classic and collectible cameras. In addition to his work here, he’s also the founder of the online camera shop Fstopcameras.com.

All stories by:James Tocchio
  • Wilson Laidlaw June 2, 2017 at 2:38 pm

    I had a brilliant Polaroid film scanner. By far the best film scanner I ever had. It linked in perfectly with Vuescan and had things like IR dust and scratch reduction. Sadly it was SCSI and when I got a new MacPro, no SCSI card was available. I bought a FireWire to SCSI adapter. It was a real Heath Robinson device with an open PCB with chips soldered to it and a SCSI female port, glued to one edge. It did not work very well and eventually the scanner literally went on fire, I assume from overheating of its scan light. I now have a Plustek Opticfilm 7400 and it is a pale shadow of the Polaroid Artixscan, with no IR, no autofocus, and mediocre results. Polaroid’s disappearance is a sad loss to the photographic world. I also have a Polaroid 600 Graflok back for my Graflex Century Crown Graphic. I have tried Impossible Project film but regret not impressed.

  • Michael J. Ricciuti June 2, 2017 at 3:01 pm

    Great piece, James. Nearly every day I walk past that Polaroid sign that you mention. I would love to use my SX-70s more often, but the Impossible Project film quality/price has been an issue. I hadn’t heard that Impossible had acquired Polaroid’s brand/patents/etc. That could be very good news. I could be wrong, but I think that Fuji still owns some of the former Polaroid instant film process patents, though.

  • Nice piece on an iconic camera. I have an SX-70. I get the itch, about once a year, to shoot instant. The itch passes and the SX-70 goes back on the shelf. I can’t get myself to part with it though.

  • I remember when these were introduced. I was 5. And I was rapt. Such a machine! But I came from working-class stock; there would be no such nonsense for us. When my grandparents bought me a packfilm Polaroid for Christmas four years later I was thrilled — and slightly disappointed it wasn’t an integral-film camera. I loved the immediate prints all the same, but always wished I could have an SX-70.

    The pack-film cameras, it turns out, were the way to go for image quality.

    Five years ago I found an original SX-70 in an antique shop, and I walked out with it for $40. I felt like I’d won the lottery! I bought a pack of Impossible film and shot it. Now, one can successfully argue that one pack of film isn’t enough to truly learn a camera. But I do know what I’m doing with gear after 40 years of collecting. Those images disappointed me deeply. Soft, with muddy colors.

    I just shot my last packs of FP-100C in my Colorpack II. Those were wonderful little photographs. I’m going to miss that film.

    Perhaps the films have improved since five years ago. I should give it another go. And I can’t bear to part with my SX-70 simply because it’s such a triumph of design and engineering.

    • I can tell you that Impossible film is improving all the time. Last year they had a definitive upgrade and the stuff they’re selling now is very nice. I think their early products created a reputation that they’ve been struggling to repair. Give it a shot.

  • I recently found my Dad’s old SX70, and bought a pack of Impossible Project B&W film to go with it. Just waiting for the right moment to use it!

  • Cheyenne Morrison June 2, 2017 at 11:29 pm

    Great article James, I bought a 24k Gold SX-70 from a lady who was the assistant to the head of the SX-70 team, she was personally given it by Land as a gift. After I paid her she was so happy that the camera was going to be used again that she gave me 9 more rare Polaroid cameras FREE! It was lovely to speak to her, and after all these years the pride in her voice for having been part of the team that developed this amazing camera.

    I researched and wrote a detailed article about these rarest of all Polaroid cameras…

  • Great article! I’ve been wanting one of these for some time, but I’ve been put off by the price of film. For now I’m sticking to 35mm, and probably medium format next…

    Let’s see if my eye is as good as I think it is- that center console looks like a BMW Z3(probably a fairly early one, based on the seats). Am I right?

    • You know your Roadsters. That’s a Z3 alright. Great fun, unfortunately very much relegated to the garage these days. To your point about film – yes the Polaroid (Impossible) film’s price is certainly the barrier to entry for most people these days. It’s pricey. No denying it. I’m interested to see what Impossible’s acquisition of Polaroid will do for pricing. I don’t know enough about business economics to make any predictions, but if this news somehow makes the price go down I think we could see an even greater resurgence for Polaroid among “regular people”.

  • What about film?
    The magic of a polaroid is that you can literally see the picture in a minute or two. My last experience with Impossible film was that it took at least 30 if not more minutes to show up…sometimes MUCH longer, along with the caveat that it had to be put into a pocket out of the light. It definitely sucks the pleasant polaroid experience of joy.

  • An important omission from your article is how flashes work on these. Back in the day a flash was a luxury. Now every camera has one.

    If you use a flash with pre-Alpha 1 SX-70s it will only fire if ca,era passes a “dark” threshold. Anything less it ignores the flash. So you think it will fire but instead camera gos with 2 second exposure. You end up with blurry shot.

    In 1977 they intro’d the Alpha 1 which uses the flash like today’s cameras. Your odds of producing a good image go up significantly. Very important at the ridiculous price point. $3/shot for muddy orange images vs more widely available Fuji Wide at .70/shot which has MUCH better image quality.

    The Mint Flashbar 2 for $100 or so is not as bright as the old magnesium burning ones, but allows 600 speed film use at half power point or connection to larger strobes through a PC port.

    The ability to do close ups is a huge benefit. Years later Polaroid made a camera called Close Up 600 that could not do as good a job as original SX-70.

  • @j_0photography June 5, 2019 at 1:53 pm

    I have used Impossible 600 color instant film with a Polaroid 600 and it seems to work fine but you have to wait a half hour for the photo to develop, it isn’t exactly the classic shake to develop instant film.

  • Just in case you’ve never seen it before, the Eames Office (designer of the fantastic Eames chair and loads of other really fascinating stuff) promotional film on the SX-70 is informative, beautiful and touching:

  • Request for a comparison of mint’s slr670 series? I’m trying to decide if it’s worth the investment (I mean I’m sure it is for some folks but if it’s worth the investment for me specifically which is one of the things I find your reviews soooo very helpful for) if I already own an sx70. My fingers are crossed that you get your hands on one!!

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James Tocchio

James Tocchio is a writer and photographer, and the founder of Casual Photophile. He’s spent years researching, collecting, and shooting classic and collectible cameras. In addition to his work here, he’s also the founder of the online camera shop Fstopcameras.com.

All stories by:James Tocchio