Polaroids at the Helmut Newton Foundation

Long before the digital revolution, Polaroid photography transformed the way we captured and consumed images. The process was immediate, the results unpredictable, and the physicality of each print made it an artefact of the moment. From fashion photography to intimate self-portraits, the exhibition showcases the versatility of Polaroid across multiple genres.

Newton himself used Polaroids extensively, treating them as preparatory studies for his meticulously staged editorial shoots. His medium-format cameras were often fitted with instant film backs, allowing him to test compositions, lighting, and poses before committing to the final shot. Over time, these test images evolved into artworks in their own right, some of which have since become collector’s items.

Newton’s Polaroids – drawn from the foundation’s vast archives – anchor the exhibition, but they are only part of the story. The show also includes selections from OstLicht’s extensive Polaroid collection in Vienna, offering a broader perspective on how artists have engaged with the format, including household names like Oliviero Toscani, https://metalmagazine.eu/en/post/oliviero-toscani Sally Mann, Arno Rafael Minkkinen, Luigi Ghirri, Maurizio Galimberti, Pola Sieverding, Marike Schuurman, Sjeila Metzner, Barbara Crane, or Stephen Shore, among others.

Alongside traditional Polaroids, the exhibition also explores experimental approaches — enlargements, hand-manipulated prints, and bound artist books that elevate the format beyond its disposable reputation. American photographer Sheila Metzner’s Polaroids, drawn from Newton’s personal collection, offer a rare insight into her creative process, much like Newton’s own use of the medium.

At a time when photography is increasingly intangible – lost in the endless scroll of digital feeds – the Polaroid format reasserts the value of physicality, imperfection, and presence. Polaroids at the Helmut Newton Foundation is more than a nostalgic retrospective; it is a reminder that photography, at its core, remains a tactile and intimate experience. For those who crave the immediacy of an image but refuse to sacrifice its soul, this is the exhibition to see.