The polaroids began after my first semester of photography. It was summer vacation and I didn't have access to a darkroom, so I purchased a vintage Polaroid land camera from the late 1960s. For the next year I shot almost solely 3x4 inch polaroids.
The problem was that they were a peel-apart image and you were to throw one part away. It was always that part that I found interesting. After months of experimenting, I discovered a way to make photographs out of the disposable Polaroid negative.
The subjects were usually close friends who allowed me an opportunity to do more than portraits. The work tended to be more about figures in environments. They seem to be a perfect example of a young photographer learning as much as he could about the field of photography with a very limited-use camera. A photographer who ultimately wished he had the discipline to be a painter.
I always appreciated the abstract nature of the works. They seem to represent a time or a space without definition — qualities that still interest me today. They're clearly influenced by the work of Man Ray while working with nude figures, solarization and light. However, were I working on them now, with the technological advances of computers and scanners, the work would, I think, look extremely different.
I'm still fond of them, even sentimental, and if anything documents my coming of age as both a person and as an artist, it's this body of work.