A Feminist History of the Polaroid Picture

The evolution of photography as an art form is punctuated by moments of innovation that have transformed both medium and practitioner. The Polaroid picture, with its immediacy and distinctive chemical process, marks one such momentous development. Introduced by the Polaroid Corporation in the mid-20th century, the instant camera revolutionised the way photographers engaged with their craft, collapsing the prolonged time between capture and development. This technological shift didn’t just democratise photography for the masses—it also opened up new creative possibilities for artists, particularly those seeking to blur the boundaries between painting, photography, and mixed media.

The birth of the Polaroid camera can be traced to the groundbreaking work of Edwin Land, a visionary American scientist and inventor. In the 1940s, Land set out to develop a camera that could produce instant photographs, inspired by his daughter’s simple question: Why couldn’t she see the pictures right after they were taken? In 1948, the first Polaroid Land Camera was released, capable of developing sepia-toned images in under a minute. This was a radical departure from traditional photography, which required complex processes and long waits to see the final product.

Polaroid’s instant film quickly evolved, progressing from sepia to black-and-white images, and by 1963, Polaroid had successfully debuted colour film. It was at this moment that the Polaroid truly came into its own, offering photographers a new palette of expressive possibilities. The chemistry behind instant photography, particularly the creation of the dye-developer molecules that could simultaneously form both the photograph’s image and its colour, was as complex as it was revolutionary. For artists, this meant not just a new tool, but an entirely new way of seeing and creating—one that allowed for spontaneity and experimentation within moments of capture.

The Polaroid provided women with greater artistic control, offering an accessible format that enabled them to direct photographic production in ways traditional methods often restricted. Without reliance on male-dominated commercial labs, women artists could experiment with their images in private, empowering them to control the narrative of their art. A significant theme within feminist art history is the critique of the “male gaze,” a concept introduced by Laura Mulvey in her 1975 essay Visual Pleasure and Narrative Cinema. Mulvey writes:

“In a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive/female. The determining male gaze projects its phantasy on to the female figure which is styled accordingly.”[1]

The male gaze describes how women in art and media are often portrayed as passive objects for male consumption. Men have agency; women are passive and dehumanised. Polaroid photography, particularly in the hands of women artists, allowed for a reconfiguration of this gaze.

 A pivotal figure in this movement was Birgit Jürgenssen, whose innovative use of photography and self-portraiture challenged patriarchal views of femininity. Birgit, known for her sharp critique of gender roles, utilised Polaroid’s immediacy to create subversive self-portraits that deconstructed stereotypes and explored the relationship between women and domestic spaces. Her use of the format aligned with the feminist reclamation of photography, as she engaged directly with themes of identity, self-representation, and the body.

Another artist who adopted the polaroid as her own was Marie Cosindas – an artist who redefined the possibilities of photography by merging the qualities of painting with the immediacy of instant film. Initially trained as a textile designer, Marie entered the world of photography as a side interest, but quickly discovered the potential of the medium, increasingly so after studying with renowned black-and-white photographer Ansel Adams. Recognising her innate ability to “think in colour,” recommended her to Polaroid’s founder, Edwin Land, when the company sought photographers to test its new instant colour film in 1962.

“Cosindas understood the emotional power of what color could bring as a descriptive force—not color itself but as an additional way of describing the world. In that sense, she’s an important precursor to William Eggleston, Cindy Sherman, and the photographers that came thereafter.” – John Rohrbach

Marie’s painterly still lifes and intimate portraits, developed with the Polaroid 4×5 camera, soon captivated both the art world and Polaroid itself. Her vibrant compositions, influenced by 17th-century Dutch still life painting, alongside her emotionally charged portraits, revolutionised how photography could be viewed, not merely as a method of capturing reality but as a medium capable of deep artistic expression. Her 1966 solo exhibition at the Museum of Modern Art in New York City marked a significant moment for colour photography, as Marie became one of the first artists to elevate it to fine art status. Her work left a lasting impact, not only for her technical experimentation but also for the way she opened doors for future generations of women photographers.

[1] L. Mulvey,  “Visual Pleasure and Narrative Cinema.” Screen (London) 16, no. 3 (1975): 11.

Polaroid’s Legacy in the Hundred Heroines Youth Programme

Marie Cosindas’ pioneering use of Polaroid continues to inspire new generations of photographers through initiatives at Hundred Heroines. Alongside working predominantly with Canon digital cameras, our organisation’s Youth Programme incorporates Polaroid cameras as part of its educational outreach, giving young aspiring photographers the opportunity to experiment with instant film. By providing a hands-on experience with analogue technology, Hundred Heroines encourages creativity and self-expression while connecting participants with the rich history of women photographers who have used this medium to challenge and expand the boundaries of art.

In a world increasingly dominated by digital photography, the use of Polaroid in the Hundred Heroines Youth Programme serves as a reminder of the importance of tactile, analogue processes in fostering artistic growth. Just as Marie Cosindas’ early experiments with Polaroid film opened new avenues for colour photography, today’s young photographers are using the same medium to develop their own visual languages.

The legacy of the Polaroid camera extends far beyond the mid-20th century. The technology, rooted in scientific innovation, became an essential tool for artists who sought to push the boundaries of photographic expression. For women photographers in particular, the Polaroid camera offered a means of exploration and empowerment, allowing them to challenge the male-dominated art world with a unique, personal, and immediate form of visual storytelling. Today, through the work of organisations like Hundred Heroines, the artistic possibilities of the Polaroid camera continue to inspire and nurture the creativity of future generations, ensuring that the pioneering spirit of trailblazing photographers like Marie Cosindas lives on.

By Ruby Mitchell

Today, the doyenne of the Polaroid is Ellen Carey, who uses one of the few remaining 20 x 24 cameras.