20×24 Studio bio picture
  • 20×24 Studio, the Home of Large Format Instant Photography

    The 20×24 Studio announced in June of 2016 that it will be ending production operations near the end of 2017. The company has been operating with film stock purchased in 2009 from Polaroid Corporation as it exited the film business. Executive Director John Reuter, who began working for Polaroid in 1978 stated that “our original business plan was for five years with the inventory purchased and for a variety of reasons we have not worked through the material. Instant film will not last forever and despite storing the film stock in cold storage and mixing the chemical reagent only as needed the studio projects that they can maintain the quality for two more years.” “Our hope now is that we can work on some great projects with many of our legacy clients as well as new artists who have yet to experience the ultimate in instant analog image making,” says Reuter. The Polaroid 20×24 camera stands apart from all other large format experiences because it delivers an instant finished photograph. The artist is able to react to the subject matter in a manner unlike any other photographic experience. Digital technology may rival it in resolution and instant playback but it cannot match the experience of having the final complete artwork on the wall in ninety seconds for all to see. The team of John Reuter, Nafis Azad and Ted McLelland has worked together for nearly ten years to provide access to this venerable technology. Together the three of them are working to produce the finished product that over a dozen people once accomplished at Polaroid. Azad and Reuter are also the film crew, operating cameras and lighting in New York, Miami and on location anywhere in the US.
    In addition there are cameras in San Francisco and Dusseldorf, Germany. To learn more about renting one of these cameras while the film lasts contact the 20×24 Studio at info@20x24studio.com.

"Prom", ©2012 Mary Ellen Mark

On Friday, March 30, 2012, Lens featured a series of portraits from Mary Ellen Mark’s new book, “Prom,” with a clip from the accompanying film by Martin Bell. The portraits also appeared in the Sunday Review over the weekend. The images were made using the Polaroid 20×24 Land Camera and Polaroid PolaPan 20×24 film. In our conversation last week, we asked Ms. Mark about the camera. Featured here is a selection of additional images she has made using the 20×24.
Read the full story here.

Nile Rodgers, 2011

The We Are Family Foundation (WAFF) is an American 501(c)(3) nonprofit organization founded in 2001 by songwriter, musician, and producer Nile Rodgers in the wake of the September 11, 2001 attacks. Its mission is dedicated to the vision of a global family by creating and supporting programs that inspire and educate people about mutual respect, understanding, and appreciation of cultural diversity – while striving to solve some of our biggest global problems at the same time.

The foundation began on September 22, 2001, when Rodgers and Tommy Boy Music president Tom Silverman brought 200 musicians, celebrities, and personalities together in New York City and Los Angeles to re-record Rodgers’ hit song “We Are Family” (best known in its 1979 hit version performed by Sister Sledge) to start the healing process after the events of September 11. Director Spike Lee filmed the “We Are Family” music video, and director Danny Schechter filmed a documentary entitled The Making and Meaning of We Are Family, which depicts the recording session. The documentary was chosen as a Sundance Film Festival Special Selection in 2002.

The 20×24 Studio is proud to help support the We Are Family Foundation



The hulking dinosaur of a camera that photographer Elsa Dorfman has based her career on for over 30 years could soon become extinct. Dorfman, now 74 and living in Cambridge, was first introduced to the 20″x24″ Polaroid in 1980. She had been invited by the company to try one of the 240-pound behemoths that had originally been built in 1976. Simply referred to by the size of the prints it makes, the 20×24 was like a much larger version of the Polaroid cameras most people were familiar with (the camera and Dorfman are pictured above). It only took a few shots to get her hooked.
“From the minute I used it I loved it,” she says.

Read More at Wired OnLine

The legendary 20×24 camera is now available for private portrait sessions in the flagship studios in New York, Boston, and San Francisco. Bring your family, friends, lovers and pets to document them on the ultimate one-of-a-kind analog photographic process, the 20×24 Polaroid camera. The clarity and detail are unsurpassed, even when compared to recent digital advances. The negative is the same size as the positive, 20 inches by 24 inches, and this large format contact print captures the details and nuances of any event placed in front of it. The color film is Polacolor, optimized for skin tone rendition, but with life like detail that creates a treasure for future generations. The Black and White Polapan provides the classic look of traditional studio photography. It has been said that Polaroid 20×24 portraits document a reality on par with realist oil painted portraits, but created in an instant by a highly skilled technical and photographic staff.

Contact the 20×24 studios for more information:

20×24 Studio, New York, 212-925-1403 info@20x24studio.com

Elsa Dorfman Photography, Cambridge, MA, 617-876-6416, http://www.elsadorfman.com/

20×24 Studio West, San Francisco, 415-902-0320, http://www.mammothcamera.com

©2012 Jennifer Trausch

©2012 Jennifer Trausch


©2009 Tracy Storer

©2012 Tracy Storer

Tracy Storer Photography

From the 20×24 Archives, Jack Butler’s provocative exhibit from 1991:

The images in this group of 20 x 24 Polaroid’s are conceptually related to the subjectivizing power of domestic life. They are indicative of an investigation into the cyclictic nature of life and familiar (family) mores. The systematic association of 40’s and 50’s societal imagery with contemporary media based phraseology accomplishes what has been described as “time-bridging connections”.

My childhood serves as the experience for the emotional and psychological foundation of this work. Each piece is physically made up of four 20 x 24 Polaroid photographs. The images suggest “instant photograph” yet the scale and content deny that fact. Each piece is intended to pose a question, “to what extent have we internalized the rationalizations of false hope and expectations, and with them, the self-victimization that entails” and how does this manifest itself now in our current social existence.

The work has been critically described as “a valuable contribution toward demystifying a social climate in which a “return to family values” has coincided with an unprecedented and unimagined trend toward domestic maladies” and “opening the tightly sealed Tupper-ware world of socially supported physical and psychological violence within the American family”.

at Fahey/Klein and in With the Media, Against the Media at the Long Beach Museum of Art

Jack Butler’s recent Polaroid works provide us with a visual groundwork toward a genealogical investigation (in the Foucaultian sense) of the subjectivizing power of domestic life. White, middle-class family spectacles of private acts, tacit negotiations, and child abuse are among Butler’s concerns. In perceiving the cyclical quality in the evolution of social mores, Butler links imagery from the ’40s and ’50s (culled from Life and The Saturday Evening Post) together with a passive latter-day phraseology to draw time-bridging connections, as in “Getting Past the Present”. Collectively, the pieces mount a visual polemic against the uses of typecasting, from the stereotype to the Weberian ideal type. The quaternary panels reconfigure the relations of power required in sustaining social essences and ideal and general types (Words of Fantasy/Melody of Truth ) At stake are the forms of rationalization embodied in the deployment of ideal types. In its own way, each piece poses the question: to what extent have we internalized the rationalizations of false hopes and expectations, and with them, the self-victimization they necessarily entail?

These pieces represent a sustained attack on what Foucault has called “the government of individualization,” that is to say, those social practices that impose a determination on the individual and tie him or her to a constraining identity. In juxtaposing images and text, Butler draws out the operations of “disciplinary technologies” within the workshop of the home, in the production of the “docile body” (in both genders, as he points out, and with special emphasis on childhood and adolescent development) concurrently with the “productive body” (both sexually as well as materially). The texts are imbued with a contemporary banality (The Mind of a Failed Father ) and must be read not as illustrative of the images, but as equally symptomatic of the strategies of, rationalization in relation to excesses of power. Overall, Butler’s work makes a valuable contribution toward demystifying a social climate in which a “return to family values” has coincided with an unprecedented and unimagined trend toward domestic violence and homicide.

—G. Daniel Veneciano
You can see more of Jack’s work at Jack Butler’s Art.