Shooting Polacon with a Toyo Super Graphic and Instax Wide

Shooting Polacon with a Toyo Super Graphic and Instax Wide

2000 1125 Echo Lens Photography

Its been an exciting, instant filled week. While I take a break from 35mm film, I made a foray back into large format with a Toyo Super Graphic that came bundled with three lenses and three film holders. As the title of the article suggests, no 4×5 sheet film was actually shot this week. Thats for another time. No, my return to the large format world began much differently this go around; you could say that I was instantly hooked again, pun obviously intended.

​The Camera and Lenses

Alright gear heads, I hope youre ready; theres a bit to go through before we reach the central theme of this piece. Ill start first with the camera.

If youre thinking to yourself, I dont remember a Toyo Super Graphic, only the Graflex Super Graphic.” You wouldnt be shamed by many people. Toyo purchased the manufacturing rights of the Super Graphic from Singer/Graflex in the early 1970s, with the earliest Toyo versions being produced in late 1973 and early ’74.

The camera body itself is just about the same as its older Graflex brother. They even share most of the same features; a revolving back, electronic shutter release for handheld use, rangefinders with interchangeable cams, and front standard swing. There is also what is called a flash computer, but from what Ive been able to gather, it amounts to a calculator that resides at the top of the body to aid in flash metering.

Both the Graflex and the Toyo require an odd ball 22.5 volt battery for the electronic shutter release. I didnt use it because Im not enough of a mad man to use this camera handheld.

What lenses did I pair with this unstoppable force? I was extremely lucky to purchase this camera with three magnificent lenses, all three of which saw use over this last week.

First, the nifty fifty and the widest focal length of the three, a Nikkor-W 150mm f/5.6. For the uninitiated, calculating the 35mm equivalent of a 4×5 lens is quite easy, simply divide the focal length of the 4×5 lens by 3, and that is your 35mm focal length equivalent. This method is used to determine if youre using a wider angle or more telephoto lens. Since the first lens in the trio is 150mm, divide that by three, and you get 50mm, which is arguably the most standard focal length in the 35mm format.

Next in the lineup is another Nikkor-W lens, the 210mm f/5.6. The optical formula of both of these large Nikkors is comprised of six elements in four groups. A simple, yet effective formula that we have seen in Nikons 35mm glass. Aperture diaphragms on both are comprised of seven blades. Both lenses stop all the way down to a minuscule f/64, a favorite of large format pioneers Ansel Adams and Group f/64.

The 150mm lens takes 52mm filters which is also the same size as my 35mm lens filters. This is an incredible upside since I wont have to worry about investing in a set of filters for at least one of my 4×5 lenses.

Finally, to round out the lineup is a Fujinon T 300mm f/8. Unfortunately, I wasnt able to find much information about this lens. The few various forums that I read that even make mention of this lens just write it off as decent. Which is kind of a shame because the portraits I made with this lens were incredibly sharp stopped down, soft at the edges wide open, and even made for a great lens for architecture and detail work. Once again, longer focal length lenses not getting the love and credit they deserve; where have I heard this before?


The next item on the list, what film did I use? Well, since pack film has rode off into the sunset, Polaroid is not doing Polaroid things (deciding instead to create Bluetooth speakers), and wet plate collodion is chemistry class with a camera, I used the next best thing we have available – a Lomo Graflok Instax Wide back and Fuji Instax Wide film.

This might be blasphemous to the die hard instant shooters, but Instax Wide on 4×5 is near pack film quality. Before Im banished from all instant film circles, let me plead my case.

Instax Wide doesnt usually come to mind when discussing the greatest of the instant films. You usually hear mentions of the various Fuji FP series. Polaroid made its name with SX70, 669, and the multitude of consumer film for which it was world famous. Not to mention, the large format peel apart, namely 4×5 and 8×10. Ansel Adams, as well as many professional photographers loved this instant tool as a means of checking lighting, composition, and a print as well as a negative to use as a reference or a print on its own. Instax Wide has the ability to take the place of those once beloved instant greats.

Lomography graced us large format nerds with the Lomo Graflok Instax Wide back to use on cameras with whats called a Graflokback, otherwise known as a camera with a Graflex style film back. Since my new Toyo is a Japanese Graflex, this makes it perfect for this use.

My experience with Instax Wide on 4×5 has been nothing short of refreshing and humbling. It reminded me that large format is nothing to rush and that a simple mistake can cost an exposure. Since Instax is readily available and significantly cheaper than sheet film, I had no qualms with making a mistake on Instax. After all, its all apart of the process.

The quality of Instax Wide is wonderful. The color film brings vibrancy, pastel if over-exposed just a touch, and the process of watching the image slowly come to life makes even the most casual of instant film shooters smile ear to ear.

Instax Wide is very capable at 800 iso which means you can shoot in broad daylight at f/32 or in low light, so long as you meter for your highlights or shadows. Unfortunately, latitude is not this instant films middle name. You need to meter for shadows and let the highlights be eradicated or meter for the highlights and let the shadows fall into Marianas Trench. Theres hardly an in between. You can do what I did and play around with over or under exposing by a third or two since the apertures on large format lenses are de-clicked which allows for more precise control of exposure.

In case you were wondering about my metering process, I use a Pentax Spotmeter V. As simplistic as it may be, this meter does exactly what I need it to do and thats about it. Most of these new meters are a bit too space age for my taste.


Finally, the main event. I acquired my new 4×5 at peculiar time; one week before Polacon 7. For the non-instant shooters, Polacon is an annual convention that takes place in Denton, TX. Its everything you think it is – photographers who are passionate about the instant film process gather for photo walks, print sales and trades, talks, presentations, comparing notes, lamenting about instant films recent discontinuations, and of course, all of the instant photographs.

To prepare, I borrowed the Lomo Graflok back from a good photographer friend (thanks Jen!) and quickly learned my process for using such a method of shooting.

This year would be my first attending Polacon, so what better way to do it than by attending a morning photo walk on day two of the convention? I showed up with my Super Graphic on the tripod and was quickly met with smiles and greetings. Everyone was welcoming, enthusiastic, and ready to get the instant photos underway.

All instant film types were present, Polaroid 600, SX70, I-type, Polaroid Go, Duochrome, Fuji pack film, and even 8×10 Polaroids! It was truly a sight to behold. However, there were some bittersweet undertones the more I talked to various people. Perspectives ranged from all over as the people I talked to were from various states, Minnesota, California, Florida, other parts of Texas, and so on. Thats right, this instant film convention attracts people from far and wide. Which is a beautiful thing, but the more and more I talked to these various people from different walks of life, they all had the same concerns – how much longer is instant film going to be around? Kind of a buzz kill at a convention celebrating instant photographs, but a valid question nonetheless.

One simply cant put into words the passion everyone had not just about instant film, but the raw process of photography it involves. Instant film isnt the sharpest, the latitude is not great, and sometimes, it down right looks kind of terrible if the exposure just isnt absolutely perfect. None of that matters here. This was an interesting perspective and a refreshing one to embrace since I always second, third, and fourth guess about my compositions and exposures, especially on large format.

At one point or another, weve all experienced snobbery to some degree at a photo walk or meet up; usually a Leica with a persona attached to it. Those Lenny Kravitz Editions are especially guilty. No such snobbery was present at Polacon. Cameras of all shapes, brands, and colors were snapping and clicking away. Images printing out left and right, portraits being taken every couple of minutes. Never have I experienced such a joyous gathering.

The Future of Instant Photography

You may think that since there is a growing convention here in Texas, that should bode well for the future of instant photography. Well, this is where things become a bit pessimistic. Lets recap how we got here starting with the formation of The Impossible Project.

Impossible Project was formed by ten former employees of Polaroid in October of 2008 who were able to save the last Polaroid production plant in the Netherlands. The goal of this team was to reinvent materials for old Polaroid cameras. A task that was deemed seemingly impossiblehence the name of the project.

It was announced in March of 2010 that Impossible was successful in recreating a monochromatic film for certain cameras, a success no one saw coming. Just one year before, in 2009, Fuji announced a discontinuation of FP100B, FP400B, and FP500B with shipments concluding in March of that year. In September of 2011, FP3000B45, the 4×5 version of its famous high speed black and white peel apart film was discontinued with all 4×5 instant pack film being discontinued by 2013. On February 29, 2016, an infamous day to instant film shooters, Fuji announced the discontinuation of FP100C, officially putting the nail in the coffin for the beloved pack film.

That was a condensed version of a long, painful timeline of events, but here we are in 2022. Instant film is still around, Fuji pack film sells for absurd amounts on the internet with expiration dates varying wildly, averaging $150 for a pack of 10 instant photos.

Polaroid markets itself as a lifestyle brand, most recently releasing Polaroid Music, a Bluetooth speaker for which no one was jonesing.

Impossible reached out to Fuji about purchasing one of the machines used to keep the fabled pack film afloat and Fuji essentially told them to kick rocks. Those machines have since been repurposed (more likely sold for scrap) to make cosmetics, which is the primary source of profit for Fuji outside of its digital cameras and Instax film. From what most people have heard whether it be word of mouth or internet conjecture, Fuji is only making pro grade and consumer 35mm and 120 film in the 21st century out of tradition for the absolute die hard photographers.

Just a couple months ago, I acquired a pack of FP100C and FP3000B and put them through my Mamiya RB67 equipped with the Polaroid back. It was a fun, rewarding experience and a way to loosen up and keep the photo-creating process intact without having to burn film that needs to be handled in absolute darkness when developing.

I gave most of my instant pack film prints away, which for some is heresy, but I did that because it excited onlookers to watch me peel apart these two thin pieces of paper and see a vibrant image come to life right before their very eyes. Dont get me wrong, I get as excited as the next person about peel apart film, but its an experience that the uninitiated will remember for a long time. They dont know the heartbreak of the discontinuation.

I implore anyone reading this who has an abundance of pack film stored away in their freezer to do one simple thing: load that film into your holder and shoot it. You are not doing that film any good by keeping it in your freezer or fridge. Its already gone. Ive made my peace by giving away most of my 100C and 3000B prints. The smiles on those strangers faces are worth more than what that instant film could have brought me personally.

I wasnt around during pack films heyday, I was fumbling around with a Sony A6000 at that point. I understand that many people have made memories with pack film and want to extend the supply for that much longer. The more you attempt to extend the supply, the longer you keep it in that arctic dungeon, the less likely that film will look like what you remember. Life is already short, just shoot your pack film and cherish the memories you make while doing so. When its all said and done, not only will you have the memories, but you will also have some priceless photographs. Is that not why we love instant photography?    

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Echo Lens Photography

My name is Echo Lens Photography, at least that is my photographic pen name. My photographic interest began seven years ago when I bought a Sony A6000 for my birthday. Seven years later, I am fully analog with Nikon as my 35mm system of choice and photograph across all formats from 35mm to Super 8. I currently reside in Fort Worth, TX where I am a proud member of Fort Worth Photo Club alongside many talented photographers and wonderful people. I’m very excited to share my thoughts, knowledge, and experience with everyone!

All stories by:Echo Lens Photography
  • Excellent article and nice to see photos of Denton, my old hometown.

  • Great write up, Echo Lens! People must be crazy to keep that fp100 in the fridge like that. 😉 Seriously though, great article!

  • I love your account of Polacon!!! I hope I can go one day!!! I was a LONG time pack film user. My first camera was a Polaroid Colorpak II, I got for Christmas of 1970!!! These days I shoot a lot of Instax as well as Polaroid. I reaay miss the old peel apart film ans well as the type 55 pos/neg film!!!

  • ahhhhh such nice camera and nice stock of film

  • There is now “Type 100” packfilm called One Instant handmade by Supersense in Vienna, Austria. Was launched via Kickstarter in 2019.

  • John M in Illinois December 17, 2022 at 7:02 pm

    Thanks, Echo Lens. I blundered onto your site and _might_ return. Meanwhile, an essay about Graflex, Singer-Graflex, and Toyo brand Super Graphics and such:

    There is an immense amount of information (and some misinformation, surely) online about Graphics, Lomo-Instax, large format, etc. Here’s one view entirely from an old-timer’s limited but well-focused experience.

    The Super was the last gasp of the long-dominant line of U.S. press and general-purpose cameras, 1920s-70s. The famous Speed Graphic was the top model, with a 1/1000 sec rear curtain shutter in addition to the 1/400 front leaf shutter. Graphics were still widely used in 1969 despite surging dominance of 6x6cm and 35mm for mobile work, and true view-camera gear for large format. The Crown Graphic was identical but without the focal-plane shutter, and might be a budget buy even now.

    All were highly usable hand-held, even — if the user was steady — at 1/25 sec. The rangefinder and an open wire-frame sports finder, or an optical viewer, were usually matched to a 135mm f:4.5 or 4.7 lens, slightly short of “normal,” a mixed blessing. That rig allowed quick work on the go and in tight spaces, especially with flash. All press cameras could do _some_ view-camera-like work on tripod, table, or other support. Macro at 1:1, if… For rise-shift-swing-tilt work, the Super’s rotating back helped but it was not a true viewcam.

    The Lomo mask for Instax apparently is about 85×102 mm instead of the 102x127mm of a 4×5″ frame, so the 150 or even 135mm lens is longish for that format, a mixed blessing. The rangefinder would work with the correct cam, but neither the optical nor sport finder would be accurate without a mask. My long unused Super got a last fling in 2017, as a tripod-view rig with a home-made 60×90 mask, to preview for a 60×90 enlarger. Hand dunking sheet film in trays again was fun. Mixed results. Retiree life intruded and I sold.

    For hand-held without electricity, Graphics had a shutter release tab low on the right side. A cable release could be rigged with its push-button end affixed to the body, or not.

    The 22.5v battery system was (a) for a built-in release line to a solenoid to trip the shutter. That replaced the GrafLite flashgun battery pack rig that used three D-cells for solenoid and flashbulbs. And (b) it powered two narrow flashlight light beams converging from the rangefinder for focusing in very dim light. That replaced a klunky FocoSpot gizmo added to older Graphics as-needed. Dark infrared flashbulbs and infrared film made just a bit of pop-hiss, no visible glare.

    The green laser or infrared focusing assist lamps on our modern digital whiz-bangs, and the digital infrared imaging on some high-end systems, are a new version of an old concept.

    Sifting another thousand digital images this week, I pine for single-shot sheet film or peel-offs, again.


  • What a beautiful camera! But dang, it is a press camera and is meant to be hand held. It is its DNA. You are supposed to be running around with it and snapping great people and events (extra points for chomping a cigar at the same time). I am sure you can use a much lighter electronic flash with it. I do with my Busch Pressman Model D which is basically the same as your camera but a decade or two older. A couple of years ago, I got the bug to try 4×5. I picked up the Pressman thinking I would use a tripod and the ground glass. Nope, too much trouble. I find I almost always use the rangefinder. Lots more fun!

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Echo Lens Photography

My name is Echo Lens Photography, at least that is my photographic pen name. My photographic interest began seven years ago when I bought a Sony A6000 for my birthday. Seven years later, I am fully analog with Nikon as my 35mm system of choice and photograph across all formats from 35mm to Super 8. I currently reside in Fort Worth, TX where I am a proud member of Fort Worth Photo Club alongside many talented photographers and wonderful people. I’m very excited to share my thoughts, knowledge, and experience with everyone!

All stories by:Echo Lens Photography