The days of the in your face - no touch-up's - crappy lighting - crappy paper - instant photograph have come to a close, as Polaroid ascends to the big darkroom in the sky.I could write about the history of Polaroid, but then you could Google it if you were really interested. And you should because it's pretty good reading. Instead, today, I'm going to tell you the story of Amelia.
Amelia was just ten years old when I was a volunteer at the Bancroft School in Haddonfield NJ, a residential/boarding school facility for children and adolescents with mental and emotional disabilities. I was seventeen and working toward community service hours, spending Tuesdays and Thursdays at the facility after school. Amelia was there for lack of a better place to stash her because, while her parents had means, they had neither the time nor inclination to take proper care of a deaf child.
On my second Tuesday there, I was assigned to over-see the residential pod where the girls slept and hung out while not in school. There were perhaps fifteen girls to the pod, all of varying levels of disability ranging from proufound Autism to mild social adjustment disorder.
Amelia had neither. She simply couldn't hear, and henceforth, had never learned to speak.
Having gone to sleep away camp, I'd learned how to sign the alphabet and I attempted to communicate with her as well as I could, spelling out entire words instead of proper signing with symbols and such. And being a 1970's hippy, I carried a napsack instead of a purse and Amelia, like any pre-adolescent, was curiously curious about it's contents and immediately wanted to see what I had inside. What was inside was a camera- A Polaroid One Step. The picture would come out and develop right there in front of your eyes.
I took her picture and let her watch it come to life. Mesmerized, Amelia had never seen such a thing and I must admit, I thought it was pretty cool too.
I handed her the camera and let her shoot. Her first shot was of the ceiling of the dorm. Having no idea why she would shoot a picture of the ceiling, I let her continue, figuring that she was having fun and who really cared what she was shooting. The next was of the corner of the hallway near the bathroom door. Then more. I reloaded the film and let her have at it. There were probably ten to twelve photos in all, not counting the ones that were blurry.
I took the photos and placed them on her bed, one next to the other, and we looked at them. Touching them ever so gently with her fingertips, she held them up to me and smiled, pointing to the places in the photo she wanted me to notice. I focus in, then, I see it. Little black spots in the ceiling that look like a constellation. She shows me a book she has under her pillow. It's a book of planets and stars. She opens it to the page of constellations and shows me Orion's Belt. It looked just like the pattern of the little black stains on the ceiling of her dorm room. She points out the photo of the wall near the floor by the bathroom door. There are scratch marks. Many of them. I come to learn later it is in this corner they sit for time out.
Each photo, a story in it's own right. There was the photo of the empty bed, the bed of a girl who went away. Story was she had a seizure and choaked on some food and that was it, but they just told the kids she went away. The kids knew better though. Even the ones you couldn't really reach.
She picked up two of blurry photos and held one in each of her hands. Stretching out her arms like the wings on an airplane, she began to spin around and around. She spun for a few moments and then flopped on her bed and laughed a deep, gutteral laugh. She signs to me the letters for DIZZY, and points to the blurry photos. I come to realize that the blurry photos are how she feels when she spins. I get it. I nod and sign YES, and smile. She smiles, takes my hand, and shows me the proper sign for I Love You.
A photograph. A connection. A link between two people in diametrically opposite worlds.
I leave my camera with Amelia and bring her some more film the next time I come by. After a few weeks I am transfered to a different pod and then school is over and that is that.
I don't see Amelia again.
Then, In 1994 I receive an email. She'd found me.
Some years after I'd left, during a showing of some of the Bancroft student's art for a fundraiser, a few of Amelia's photos caught the eye of a teacher from the Moore College of Art, who, after some string pulling, arranged a grant for Amelia to attend some classes on campus. It was there she met a student professor who, as it turns out, had been raised by a hearing impared single mother. They date for five years and in 1988, are married in a small ceremony behind the Philly art museum, overlooking the Schuylkill River and a backdrop of vintage boat houses.
Today, Amelia teaches hearing impared children in a small town in Maine and helps her husband (the student professor) with his photography business on the weekends. They have two adopted sons, both hearing impared, and one biological daughter with no hearing disability. The family is happy and thriving.
It is with a heavy heart that I have come to accept Polaroid's imminent demise, but in the words of Bob Dylan, 'The Times They Are A Changin'. And while we can't interfere with progress, I take this moment to raise my glass and bow my head to Polaroid and it's legacy - for it has done far more than just capture moments, it has in many respects, set spirits free.
Namaste, Polaroid. Gone but not forgotten.