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In our modern age of technology, film photography is a dying art, and no more so than the Polaroid. It is no exaggeration to say that this humble little camera was revolutionary. Yet, what was once considered to be a simple, accessible and affordable piece of equipment is now less than convenient. What is it about Polaroid that has appealed to countless artists since its invention? How has a product tailor-made for the mass market ended up in professional galleries? And in the wake of digital, is it no longer of use to us? Two current exhibitions uncover the appeal of this understated art form; a medium which continues to endure, against all the odds.

Polaroid’s great selling point was that it was instant. Digital, of course, has now far overtaken it. But digital is not only instant but disposable. Our new found ability to take thousands of photos and delete them so casually in the quest for the perfect moment can de-value and trivialise the resulting image. The erase button is in some ways a blessing, but is it making us complacent? 

Film cameras, free from the distracting option to view or even manipulate images on the spot allow the photographer to engage more thoroughly with their subject matter. Polaroid’s charm lies in its simplicity. It is nothing more than a ‘point and shoot’ camera; it requires no specialist knowledge of any kind and interesting results often arise from ‘happy accidents’. A wonderful blend of timing, co-incidence, chance and patience is what continues to remain exciting about the unpredictability of this art form.

The lack of perfection that it offers is what so appealed to Helmet Newton, whose Polaroid collection is showing for the first time at Berlin’s Museum für Fotografie. This may come as a surprise for fans accustomed to the trademark immaculate aesthetic for which he owes his fame. Yet, whilst Polaroid may not necessarily demonstrate a high level of skill, like a sketchbook it can offer great insight into the mind of an artist. Newton used the Polaroid most intensively during the 1970s for his fashion shoots as this offered the ability to immediately test the lighting or composition of a situation. The collection here reveals many test shots behind the creation of his most iconic work, producing what may be considered a visual narrative: on the borders of his photographs there are scribbled notes regarding the model, client, location and date. 

Elsewhere Polaroid film has been used extensively as an art form in its own right. An extensive collection of Sibylle Bergemann’s work currently exhibited at the C/O Gallery draws on its unique qualities.

Whilst all photographs are intrinsically unique, it may be argued that the Polaroid image is one of a kind in a more distinct way. Being a material thing vulnerable to decay it fades with time, existing in reality, not virtually. Like time itself the image captured is fleeting and fragile and no more so than in the work of Bergemann, one of Germany’s most celebrated female photographers. Her subject matter is as simple as its form: uncluttered still life, the faces of children, ruined buildings. None of these things are permanent; they are temporary arrangements or exist in a state of incompletion. The ephemeral nature of the Polaroid image serves as a reminder of the transience of youth and beauty, perfectly captured by Bergemann. And yet, her photographs appear to combine the instant moment with a nostalgic sense of the eternal in a way that transports the viewer into a series of timeless spaces, transforming these quietly intimate observations into a series of dreamscapes and fairytales. 

I am not a film photography puritan but I do believe that Polaroid has something special that digital simply cannot replace. These two exhibitions may not be show-stoppers, but that is true to the medium they celebrate. Polaroid film has now been phased off the market but if you look around you’ll notice its importance is clearly still being recognised: there is a shop in Berlin specialising in Polaroid (Brunnenstraße 195) and you’ll even find them amongst the current exhibition at the Martin-Gropious Museum of master photographer Andre Kertesz.

Helmut Newton continues until November. 

Sibylle Bergemann closes on September 4th