Mr. Polaroid
Miami, Florida, 1972.
佛罗里达州迈阿密，1972 年。
The cars, fabulous.
那些汽车，太棒了。
The Dolphins, undefeated.
海豚队，未尝败绩。
The Democratic and Republican conventions had come to town.
民主党和共和党的代表大会已经来到城里。
But the biggest game around was a product launch party – and the thing up for sale was a camera.
但最大的游戏是产品发布会——而出售的东西是一台相机。
RHIANNON ADAM, ARTIST: This tiny little pocket-sized camera, which folded up and this perfect image that came out.
RHIANNON ADAM，艺术家：这款微型袖珍相机，折叠起来就可以拍出完美的图像。
The perfection of that system and how that made photography accessible and portable – that is groundbreaking.
该系统的完美以及它如何使摄影变得易于携带和携带——这是开创性的。
The SX70 instant camera was unlike anything anyone had ever seen – and it was every inch the kind of revolutionary device that Polaroid was already famous for.
SX70 拍立得相机与任何人所见过的任何相机都不一样，它的每一个细节都是宝丽来已经闻名的革命性设备。
DREW THOMPSON, ART HISTORIAN: I can’t imagine a world without the Polaroid.
艺术史学家 DREW THOMPSON：我无法想象没有宝丽来的世界。
AINISSA RAMIREZ, SCIENTIST: Many of my early milestones in my life were taken with a Polaroid camera.
艾尼莎·拉米雷斯（AINISSA RAMIREZ），科学家：我生命中的许多早期里程碑都是用宝丽来相机拍摄的。
First Communion, loss of a first tooth – all are in that white frame.
第一次圣餐、失去第一颗牙齿——一切都在那个白色的框架里。
CHRIS BONANOS, WRITER: Polaroid at its peak was enabling people to make about a billion pictures a year.
作家克里斯·博纳诺斯：宝丽来在其鼎盛时期使人们每年可以拍摄大约十亿张照片。
No one didn’t know what a Polaroid photograph was.
没有人不知道什么是宝丽莱照片。
RHIANNON ADAM, ARTIST: It’s one of the most instantly recognizable brands ever.
RHIANNON ADAM，艺术家：它是有史以来最容易识别的品牌之一。
That sense of playfulness was really at the kind of heart of the brand.
这种俏皮感确实是该品牌的核心。
Behind the magic was the genius of a man named Edwin Land, an inventor who’d been chasing the dream of instant photography since way back in the 1940s.
魔法的背后是一位名叫埃德温·兰德 (Edwin Land) 的天才发明家，他自 20 世纪 40 年代起就一直在追逐即时摄影的梦想。
AINISSA RAMIREZ, SCIENTIST: Land is an icon in his time and today.
艾尼萨·拉米雷斯（AINISSA RAMIREZ），科学家：无论是在他那个时代还是在今天，土地都是一个标志。
CHRIS BONANOS, WRITER: He grasped the way we take pictures now.
作家克里斯·博纳诺斯：他掌握了我们现在拍照的方式。
Take a wallet out of my pocket and perhaps open the wallet, press a button, close the wallet and have the picture.
从口袋里拿出一个钱包，也许打开钱包，按一个按钮，合上钱包，然后拍张照片。
RON FIERSTEIN, WRITER: Steve Jobs would tell you that Land was his idol in many, many ways because he created this technology company that made products that people didn't even know they wanted.
作家罗恩·菲尔斯坦：史蒂夫·乔布斯会告诉你，兰德在很多方面都是他的偶像，因为他创建了这家科技公司，生产人们甚至不知道自己想要的产品。
A camera which you would use not on the occasion of parties only or of trips only, but a camera that you would use as often as your pencil or your eye glasses.
一款您不仅会在聚会或旅行时使用的相机，而且会像铅笔或眼镜一样经常使用的相机。
PARKER SARGENT, FILMMAKER: That Polaroid camera helped expand our knowledge of ourselves, knowledge of our community.
电影制片人帕克·萨金特：宝丽来相机帮助我们扩展了对自己和社区的了解。
And also what we can become.
以及我们能成为什么。
Never before had anything so completely incarnated the idea that a single machine really could change the world.
从来没有任何东西如此彻底地体现了“一台机器真的可以改变世界”这一理念。
For years, Land seemed able to divine what people wanted.
多年来，兰德似乎能够预知人们想要什么。
It was a unique, intoxicating position of power.
这是一种独特的、令人陶醉的权力地位。
And making the impossible possible?
并让不可能成为可能？
That was better than any drug on the planet.
这比地球上任何药物都好。
RON FIERSTEIN, WRITER: He was a bit of an egotist, you might even say a narcissist.
作家罗恩·菲尔斯坦：他有点自负，甚至可以说是自恋者。
RHIANNON ADAM, ARTIST: This person who has been almost hero-worshiped suddenly feels that the brand is him and he is the brand.
RHIANNON ADAM，艺术家：这个几乎被英雄崇拜的人突然觉得品牌就是他，他就是品牌。
That it cannot somehow exist without him.
没有他，它就不可能存在。
PARKER SARGENT, FILMMAKER: For him, the Polaroid camera is something that society needs and he must deliver.
电影制片人帕克·萨金特：对他来说，宝丽莱相机是社会需要的东西，他必须提供。
Every significant invention must come to a world that is not prepared for it.
每一项重大发明都必须来到一个尚未做好准备的世界。
PARKER SARGENT, FILMMAKER: Failure for someone like Edwin Land must seem like death.
帕克·萨金特，电影制片人：对于埃德温·兰德这样的人来说，失败一定就像死亡一样。
Late one summer night in Connecticut, on a backroad in the deep dark, two vehicles were speeding towards disaster.
康涅狄格州的一个夏夜，在漆黑的小路上，两辆车正驶向灾难。
The glare from the headlights was so blinding, there was barely time to swerve.
车头灯发出的眩光非常刺眼，几乎没有时间转向。
A crash would have been a fatal.
如果发生车祸，就会致命。
But in one car, one passenger was more interested in the physics of what had just transpired, than the danger.
但在一辆汽车中，一名乘客对刚刚发生的物理现象比危险更感兴趣。
His name was Edwin Land.
他的名字叫埃德温·兰德。
And he was 14 years old.
那年他14岁。
CHRIS BONANOS, WRITER: Edwin Land was born in Connecticut in 1909.
编剧克里斯·博纳诺斯 (Chris Bonanos)：埃德温·兰德 (Edwin Land) 1909 年出生于康涅狄格州。
He didn’t come from a family of intellectuals.
他并非出身于知识分子家庭。
His father was a scrap metal dealer.
他的父亲是一名废金属经销商。
Land though was, you know, the classic image of the, like, overachieving brainy kid.
不过，你知道，土地是一个典型的聪明孩子的典型形象。
RON FIERSTEIN, WRITER: You’re talking about the World War I era.
作家罗恩·菲尔斯坦：你说的是第一次世界大战时期。
Obviously, there were no computers and no TV screens.
显然，没有电脑，也没有电视屏幕。
Entertainment really consisted of things like the kaleidoscope.
娱乐确实包括万花筒之类的东西。
And he used to love those things.
他曾经很喜欢那些东西。
He became fascinated with optics – and this is as a very young boy.
当他还是个小男孩的时候，他就对光学着迷了。
By the time he was a senior in high school, his science teacher confessed that he had nothing left to teach him.
当他读高中时，他的科学老师承认他已经没有什么可以教他的了。
So at the age of 17, Land enrolled at Harvard – only to drop out after a single semester.
因此，17 岁时，兰德就读于哈佛大学，但在一个学期后就退学了。
RON FIERSTEIN, WRITER: He’s bored with Harvard.
作家罗恩·菲尔斯坦：他对哈佛感到厌倦。
He’s bored with school.
他对学校感到无聊。
He’s bored with the normal physics courses.
他对正常的物理课程感到厌倦。
RHIANNON ADAM, ARTIST: He wasn’t shy of doing things in an unorthodox manner.
RHIANNON ADAM，艺术家：他并不羞于以非正统的方式做事。
And dropping out of Harvard – I mean, that seems like such a crazy thing to do.
从哈佛退学——我的意思是，这似乎是一件疯狂的事情。
In 1927, Land moved to New York City, where he hoped to develop a filter to solve the problem of headlight glare.
1927年，兰德搬到了纽约市，他希望在那里开发一种滤光器来解决车头灯眩光的问题。
And whenever the young inventor needed help, he enlisted girlfriend, Terre Maislen.
每当这位年轻的发明家需要帮助时，他都会找女朋友特雷·麦斯伦帮忙。
Late at night, the pair would sneak into the physics laboratory at Columbia University to conduct experiments with different glare reducing materials.
深夜，两人会潜入哥伦比亚大学物理实验室，用不同的减眩材料进行实验。
Land described it as a “transient, violent need” to create.
兰德将其描述为一种“短暂的、强烈的创造需求”。
The urge was so strong, he explained, “you have a feeling of almost divine guidance.” The solution to the glare problem on America’s roads, Land now believed, lay in a physics phenomenon known as polarization.
他解释说，这种冲动是如此强烈，“你有一种近乎神圣的指引的感觉。”兰德现在认为，解决美国道路眩光问题的方法在于一种称为偏振的物理现象。
CHRIS BONANOS, WRITER: I will preface this by saying that this is a very coarse approximation of the science, but: light rays coming at you are actually quite scattered.
克里斯·博纳诺斯（Chris Bonanos），作家：我会在序言中说，这是对科学的非常粗略的近似，但是：射向你的光线实际上是相当分散的。
It is evident that water waves have an up and down motion, as well as a direction of travel.
显然，水波具有上下运动以及行进方向。
And so it is with light waves.
光波也是如此。
CHRIS BONANOS, WRITER: A polarizing filter, it has – at the microscopic level – slats.
作家克里斯·博纳诺斯：一种偏光滤光片，在微观层面上有板条。
AINISSA RAMIREZ, SCIENTIST: Some light comes in, some light doesn’t come in.
艾妮莎·拉米雷斯（AINISSA RAMIREZ），科学家：有些光进来，有些光不进来。
CHRIS BONANOS, WRITER: You have one polarizing filter.
作家克里斯·博纳诺斯：你只有一个偏光滤镜。
You see – you can see through it.
你看——你可以看穿它。
Second one goes behind it.
第二个在它后面。
Doesn’t change the color much.
颜色变化不大。
Turn it 90 degrees, and it goes to black.
将其旋转 90 度，它就会变成黑色。
It was not until the invention of a synthetic polarizing material by the scientist Edwin H.
直到科学家埃德温·H.
Land that polarized light could be put to work outside the laboratory.
偏振光可以在实验室外发挥作用。
By 1932, Land had founded his own lab in Cambridge, Massachusetts, to refine the manufacturing of thin plastic polarized sheets.
到 1932 年，兰德在马萨诸塞州剑桥建立了自己的实验室，以改进薄塑料偏光片的制造。
Just five years later, it had become a proper company – Polaroid.
仅仅五年后，它就成为了一家真正的公司——宝丽来。
Land’s new polarizing film worked perfectly to reduce headlight glare, but, as it turned out, Detroit would never go for it.
兰德的新型偏光膜可以完美地减少车头灯眩光，但事实证明，底特律永远不会这么做。
AINISSA RAMIREZ, SCIENTIST: The automotive industry decided that too much was required in order to put special films on the headlights and then also retrofit all the other automobiles, so they weren’t really interested.
艾尼萨·拉米雷斯（AINISSA RAMIREZ），科学家：汽车行业认为，在车头灯上贴上特殊薄膜，然后对所有其他汽车进行改造，需要做太多的工作，所以他们并不真正感兴趣。
CHRIS BONANOS, WRITER: It was a great idea and still has not been worked out 80 years later.
作家克里斯·博纳诺斯：这是一个好主意，但 80 年后仍然没有实现。
But Land was undeterred.
但兰德并没有被吓倒。
He had already dreamed up other uses for his plastic polarizers.
他已经为他的塑料偏光镜设想出了其他用途。
Polaroid light control materials will affect the lives of increasing millions in the new world ahead.
宝丽莱光控材料将影响未来新世界中数百万人的生活。
RON FIERSTEIN, WRITER: He used it to make Polaroid sunglasses.
作家罗恩·菲尔斯坦：他用它来制作宝丽来太阳镜。
Camera lenses.
相机镜头。
AINISSA RAMIREZ, SCIENTIST: He made the polarizing films that went into 3D glasses.
艾尼萨·拉米雷斯 (AINISSA RAMIREZ)，科学家：他制造了用于 3D 眼镜的偏光膜。
Special desk lamps that didn’t have glare.
没有眩光的特殊台灯。
CHRIS BONANOS, WRITER: In the 1930s, Polaroid got licensed to make a window for a railcar.
作家克里斯·博纳诺斯 (CHRIS BONANOS)：20 世纪 30 年代，宝丽来获得了为火车车厢制造车窗的许可。
If the sun is directly on you, you can rotate the inner window pane and cut down the incoming light.
如果阳光直射您，您可以旋转内窗玻璃并减少入射光。
AINISSA RAMIREZ, SCIENTIST: So Land is looking at every way that he can use this product – the war starts.
艾尼萨·拉米雷斯（AINISSA RAMIREZ），科学家：兰德正在寻找各种可以使用该产品的方法——战争开始了。
The armies and the military are trying to find every advantage that they can have.
军队和军队正在努力寻找他们可以拥有的一切优势。
And one of them is to block light.
其中之一就是阻挡光线。
CHRIS BONANOS, WRITER: Very quickly became clear during the Second World War that using polarizing filters could make gunsights and bombsights and goggles for pilots.
作家克里斯·博纳诺斯：在第二次世界大战期间，人们很快就清楚地认识到，使用偏振滤光片可以为飞行员制造瞄准器、炸弹瞄准器和护目镜。
RON FIERSTEIN, WRITER: The war effort was a big boost to Polaroid.
作家罗恩·菲尔斯坦：战争的努力对宝丽莱来说是一个巨大的推动。
CHRIS BONANOS, WRITER: The company grew like crazy during the war.
作家克里斯·博纳诺斯：公司在战争期间疯狂发展。
RON FIERSTEIN, WRITER: But Land could see that the war was not going to last forever.
作家罗恩·菲尔斯坦：但是兰德可以看到战争不会永远持续下去。
CHRIS BONANOS, WRITER: And he knew that when those contracts came to an end, that we he was going to have to shrink way down again.
克里斯·博纳诺斯（Chris Bonanos），作家：他知道当这些合同结束时，我们将不得不再次缩减规模。
And he didn’t like that idea.
他不喜欢这个主意。
RON FIERSTEIN, WRITER: So he was trying to figure out, you know, what’s the future going to be for my company.
作家罗恩·菲尔斯坦：所以他试图弄清楚，你知道，我公司的未来会怎样。
CHRIS BONANOS, WRITER: We’re going to have to do something else.
克里斯·博纳诺斯（Chris Bonanos），作家：我们必须做点别的事情。
And he was sort of fishing for what that other thing was.
他正在寻找另一件事是什么。
By December 1946, with the war over and peace now at hand, Polaroid’s reckoning had arrived at last.
1946 年 12 月，战争结束，和平即将来临，宝丽来的清算终于到来。
Land was young, rich, and successful and the truth was he could now take on whatever challenge he damn well pleased.
兰德年轻、富有、成功，事实是他现在可以接受任何他喜欢的挑战。
On stage in a small rented movie theater, he admitted to his employees that he already had a secret project in the works.
在一家租来的小电影院的舞台上，他向员工承认他已经有一个秘密项目正在进行中。
Using all of our scientific background, we are going to realize this new wild dream.
利用我们所有的科学背景，我们将实现这个新的疯狂梦想。
But, for now, it was still the stuff of fantasy, and he could say no more.
但现在，这仍然是幻想，他也不能再说什么。
DREW THOMPSON, ART HISTORIAN: The invention of photography allowed people in ways that weren’t possible before to document their lives and to own something, to hold something.
德鲁·汤普森，艺术史学家：摄影的发明使人们能够以以前不可能的方式记录自己的生活并拥有某些东西，持有某些东西。
RHIANNON ADAM, ARTIST: Photography is incredibly important for us to be able to keep records, to tell our own history, for us to feel that we’re alive.
RHIANNON ADAM，艺术家：摄影对于我们能够保存记录、讲述我们自己的历史、让我们感觉自己还活着来说非常重要。
PARKER SARGENT, FILMMAKER: Rarely do you take pictures of things you hate.
帕克·萨金特，电影制片人：你很少拍摄你讨厌的东西。
It’s always things you love, places you love, people you love, things you want to remember.
总是你爱的事、你爱的地方、你爱的人、你想记住的事。
Even ’til this day as we take our selfies, they really are about capturing that moment and knowing that that moment is going to live on.
即使直到今天，当我们自拍时，它们实际上是为了捕捉那一刻，并知道那一刻将继续存在。
Land had once described photography as humanity’s greatest invention.
兰德曾将摄影描述为人类最伟大的发明。
He believed that it transcended even science itself.
他相信它甚至超越了科学本身。
EDWIND LAND: I can put my eye to that finder and press the button and then I have united once more – the strange aggregation of cells that we are – with the solid and beautiful world around us.
EDWIND LAND：我可以将目光投向那个取景器并按下按钮，然后我再次团结起来——我们是奇怪的细胞聚集体——与我们周围坚实而美丽的世界结合在一起。
To Land, all the world was a puzzle.
对于兰德来说，整个世界都是一个谜。
Looked at the right way, even a broken sink at home was a great mystery.
从正确的角度来看，即使家里的水槽坏了也是一个很大的谜团。
Terre, who’d become his wife back in 1929, would remember, “It’s the bane of my existence.
1929 年成为他妻子的特雷记得，“这是我存在的祸根。
[...] As soon as he understands it he wants somebody else to do it.” Now, Land’s newest passion was photography.
[...] 一旦他理解了这一点，他就会希望其他人来做这件事。”现在，兰德最新的热情是摄影。
And he believed it had one big problem: people were just too far removed from its magic.
他认为它有一个大问题：人们离它的魔力太远了。
DREW THOMPSON, ART HISTORIAN: If we look at early photography we had heavy equipment.
德鲁·汤普森（DREW THOMPSON），艺术史学家：如果我们看看早期的摄影，我们有重型设备。
AINISSA RAMIREZ, SCIENTIST: We’ve got chemicals, tents, tripods.
艾妮莎·拉米雷斯，科学家：我们有化学品、帐篷、三脚架。
You’ve got a whole lot of stuff that you need to carry to take one picture.
为了拍一张照片，你需要携带很多东西。
RON FIERSTEIN, WRITER: You would take a picture, you’d have the negative, you’d have to take the negative in the dark out of your camera, you’d have to put it through a series of baths, all specific chemicals at specific concentrations, and very specific temperatures; develop that negative; once the negative was dry, you could superimpose it on a piece of photographic paper.
编剧罗恩·菲尔斯坦：你要拍一张照片，你要有底片，你必须在黑暗中从相机中取出底片，你必须将它经过一系列的清洗，所有特定的化学物质都处于特定的浓度和非常特定的温度;发展那种负面情绪；底片干燥后，您可以将其叠加在一张相纸上。
Then you had to shine light through that paper.
然后你必须让光线穿过那张纸。
And then, you know, hours later, you would see your picture.
然后，你知道，几个小时后，你就会看到你的照片。
CHRIS BONANOS, WRITER: However, in the days of film, really, the way most people made a picture was you shot your piece of film and you put it in an envelope and you mailed it off to be processed.
编剧克里斯·博纳诺斯：然而，在电影时代，实际上，大多数人拍摄照片的方式是拍摄胶片并将其放入信封中，然后邮寄出去进行处理。
And until the age of the one-hour photo drop, you probably needed the better part of a week.
在一小时照片发布时代之前，您可能需要一周的大部分时间。
Land was convinced that the whole process could be reinvented.
兰德坚信整个过程可以重新发明。
His dream was to create a camera that could give people their photographs on the spot, instantly.
他的梦想是创造一款可以立即为人们现场拍摄照片的相机。
AINISSA RAMIREZ, SCIENTIST: The holy grail for Land is for us to have that darkroom in our hands.
艾妮莎·拉米雷斯（AINISSA RAMIREZ），科学家：兰德的圣杯是我们手中拥有那个暗室。
You press the button, the camera does the rest.
您按下按钮，相机就会完成剩下的工作。
In December 1943, Land officially launched the secret project he code-named SX70.
1943年12月，兰德正式启动了他代号SX70的秘密项目。
And the first member of the team was a brilliant 24-year-old researcher named Eudoxia Muller.
该团队的第一位成员是一位才华横溢的 24 岁研究员，名叫 Eudoxia Muller。
It all started, she remembered, with “a phone call into my little lab.” “Do the following experiment,” Land had said.
她记得，这一切都是从“我的小实验室接到的电话”开始的。 “做下面的实验，”兰德说。
RON FIERSTEIN, WRITER: Land’s concept was to use what's known as a diffusion transfer process.
作家罗恩·菲尔斯坦：兰德的想法是使用所谓的扩散转移过程。
You would take a normal negative, like you would have in a normal camera, put processing solution in between that negative and a piece of photographic paper.
您可以像使用普通相机一样拍摄普通负片，将冲洗溶液放在该负片和一张相纸之间。
Essentially a negative image would transfer and create a print.
本质上，负片图像可以转移并创建印刷品。
Easier said than done.
说起来容易做起来难。
Through nonstop experimentation, Muller managed to obtain Polaroid’s first ever instant photograph.
通过不间断的实验，穆勒成功获得了宝丽来第一张即时照片。
“[Land was] delighted with the rather pale brown image,” Muller recalled.
“[兰德]对浅棕色的图像很满意，”穆勒回忆道。
“[He] transmitted such enthusiasm that it was contagious.”
“[他]传递出的热情非常具有感染力。”
CHRIS BONANOS, WRITER: It looked bad.
作家克里斯·博纳诺斯：看起来很糟糕。
It was sort of yellow-brown, and not very good, but it was a picture.
它有点黄棕色，不太好，但它是一幅画。
It was an exciting beginning, and now they could start to refine everything from the chemistry to the engineering.
这是一个令人兴奋的开始，现在他们可以开始完善从化学到工程的一切。
Land himself sat for hundreds of test portraits.
兰德本人拍摄了数百张测试肖像。
And he’d pull any member of his growing team into the lab to bear witness to the impossible suddenly being made real.
他会把不断壮大的团队中的任何成员拉进实验室，见证不可能的事情突然变成现实。
And to take test portraits of them too.
并为他们拍摄测试肖像。
By February 1947, the technology was still just a prototype but Land couldn’t keep his new invention secret from the world any longer.
到 1947 年 2 月，该技术仍只是一个原型，但兰德无法再对世界保密他的新发明。
The venue was a conference of the Optical Society of America, at the Hotel Pennsylvania in Manhattan.
地点是在曼哈顿宾夕法尼亚酒店举行的美国光学学会会议。
AINISSA RAMIREZ, SCIENTIST: He went to a conference, a science conference.
艾尼莎·拉米雷斯（AINISSA RAMIREZ），科学家：他参加了一个会议，一个科学会议。
CHRIS BONANOS, WRITER: It is not the most exciting setting in the world.
作家克里斯·博纳诺斯：这并不是世界上最激动人心的场景。
AINISSA RAMIREZ, SCIENTIST: Not too many people are interested in going to science conferences.
艾妮莎·拉米雷斯（AINISSA RAMIREZ），科学家：没有太多人对参加科学会议感兴趣。
CHRIS BONANOS, WRITER: But he also knew enough to invite the press and show off this new invention.
克里斯·博纳诺斯（Chris Bonanos），作家：但他也知道足以邀请媒体并展示这项新发明。
They have a large format 8x10 camera rigged up with this new film in it.
他们有一台大画幅 8x10 相机，里面装有这部新胶片。
AINISSA RAMIREZ, SCIENTIST: He had a picture taken of himself.
艾尼莎·拉米雷斯，科学家：他拍了一张自己的照片。
CHRIS BONANOS, WRITER: Comes out of the camera.
编剧克里斯·博纳诺斯：从镜头中走出来。
They put it through a processing rig.
他们将其放入加工设备中。
It’s still experimental.
它还处于实验阶段。
It goes through the rollers and he peels it back.
它穿过滚筒，然后他将其剥离。
AINISSA RAMIREZ, SCIENTIST: He showed his own portrait.
艾尼莎·拉米雷斯，科学家：他展示了自己的肖像。
People lost it.
人们失去了它。
RHIANNON ADAM, ARTIST: You can imagine how shocking and magical that moment must have been.
RHIANNON ADAM，艺术家：你可以想象那一刻是多么令人震惊和神奇。
All the press photographers, they’re watching, they know all the process and they just witnessed that happening in a minute and a half.
所有的新闻摄影师都在观看，他们知道所有的过程，他们只是在一分半钟内目睹了这一切的发生。
RON FIERSTEIN, WRITER: I mean, it was truly revolutionary in the real sense of the word.
作家罗恩·菲尔斯坦：我的意思是，它是真正意义上的革命性的。
It was incredible.
这太不可思议了。
CHRIS BONANOS, WRITER: The Times in the back had been sort of half paying attention and came up and said ‘Do it again,’ which he did.
克里斯·博纳诺斯（Chris Bonanos），撰稿人：后面的《泰晤士报》有点没注意，走过来说“再做一次”，他照做了。
The demonstration was a complete success.
演示活动取得圆满成功。
As almost every newspaper in the country ran the story of Polaroid’s revolutionary new camera.
全国几乎每家报纸都报道了宝丽来革命性的新型相机的故事。
The New York Times remarked that “there is nothing like this in the history of photography.” And at the heart of all the articles was none other than Edwin Land himself.
《纽约时报》评论称“摄影史上从未有过这样的事情”。所有文章的核心正是埃德温·兰德本人。
EDWIND LAND: Photography will never again be the same after today.
EDWIND LAND：今天之后摄影将不再一样。
And he couldn’t have been more pleased.
他非常高兴。
The Jordan Marsh department store was Boston’s oldest.
乔丹·马什百货公司是波士顿最古老的百货公司。
Smack in the middle of downtown, it was a shopper’s paradise, bigger than Harvard’s football stadium, selling everything from women’s lingerie to the latest fashions in fur.
它位于市中心，是购物者的天堂，比哈佛的足球场还大，出售从女士内衣到最新时装的皮草等各种商品。
It was here, the day after Thanksgiving, 1948, that Land’s new camera, the Model 95, was to finally makes its debut.
1948 年感恩节后的第二天，Land 的新款相机 Model 95 终于在这里首次亮相。
CHRIS BONANOS, WRITER: They had a first production run of about 60 cameras, which sounds so tiny, doesn't it?
编剧克里斯·博纳诺斯 (CHRIS BONANOS)：他们的第一批生产大约有 60 台摄像机，听起来很小，不是吗？
Now you would roll it out with a million, but then it was 60 cameras, and it was expensive.
现在你可以用一百万台来推出它，但那时是 60 台摄像机，而且价格昂贵。
It was 89.50.
当时是 89.50。
RON FIERSTEIN, WRITER: In today’s money, that’s about 1,600 dollars, so this was not a cheap piece of equipment.
作家 RON Fierstein：按照今天的钱，这大约是 1,600 美元，所以这不是一件便宜的设备。
This was an expensive thing.
这是一件很昂贵的事情。
But some guy got up there saying “You want to have your picture taken with a Polaroid camera?” And a crowd gathered around and they took the pictures and they started showing this and everybody went wild.
但有人站起来说：“你想用宝丽来相机拍照吗？”一群人围拢过来，他们拍了照片，然后开始展示这个，每个人都疯狂了。
As it turned out, the dawn of instant photography couldn’t have come at a better time.
事实证明，即时摄影的出现恰逢其时。
Across the country, Americans had fallen completely, absolutely, and insanely in love with taking pictures.
在全国范围内，美国人完全、绝对、疯狂地爱上了拍照。
DREW THOMPSON, ART HISTORIAN: By the 1950s photography is a global operation.
DREW THOMPSON，艺术史学家：到了 20 世纪 50 年代，摄影已成为一项全球性业务。
AINISSA RAMIREZ, SCIENTIST: Everyone is bitten by this desire to take pictures.
艾尼莎·拉米雷斯（AINISSA RAMIREZ），科学家：每个人都被拍照的欲望所困扰。
CHRIS BONANOS, WRITER: People had more leisure time than they had before and they had more kids than they had before, and they wanted to take pictures of those, and they wanted to, you know, document the picnics they went on.
克里斯·博纳诺斯（Chris Bonanos），作家：人们比以前有更多的闲暇时间，他们有更多的孩子，他们想给这些孩子拍照，你知道，他们想记录他们进行的野餐。
The growing army of amateurs has built photography into the world’s most popular hobby.
不断壮大的业余爱好者队伍使摄影成为世界上最受欢迎的爱好。
In the United States alone the photographic industry now earns a net profit of about one billion dollars a year.
仅在美国，摄影业现在每年的净利润就约为 10 亿美元。
CHRIS BONANOS, WRITER: And Polaroid came along at just the right time to join in on that.
作家克里斯·博纳诺斯：宝丽莱的出现恰逢其时，加入了这一行列。
The reigning king of the photography universe was a company in upstate New York, founded back in the 1880s by a high school drop out.
摄影界的统治之王是纽约州北部的一家公司，由一名高中辍学生于 1880 年代创立。
His name was George Eastman, and the business he’d created was known as Kodak.
他的名字叫乔治·伊士曼，他创建的企业被称为柯达。
AINISSA RAMIREZ, SCIENTIST: Kodak is huge.
艾尼萨·拉米雷斯（AINISSA RAMIREZ），科学家：柯达是一家很大的公司。
Eastman becomes one of the richest men in the world.
伊士曼成为世界上最富有的人之一。
CHRIS BONANOS, WRITER: Tens of thousands of employees.
作家克里斯·博纳诺斯：数万名员工。
A campus called Kodak Park that is just this giant complex of buildings.
一个叫做柯达公园的校园就是这个巨大的建筑群。
To most people around the country, Kodak meant camera.
对于全国大多数人来说，柯达意味着相机。
But it was their film that had driven the company’s success.
但正是他们的电影推动了公司的成功。
CHRIS BONANOS, WRITER: Film is hard to make, and Kodak was the gold standard for it.
编剧克里斯·博纳诺斯：胶片很难制作，而柯达是胶片的黄金标准。
RON FIERSTEIN, WRITER: Land had no idea how to take Polaroid film from the lab to the marketplace.
作家罗恩·菲尔斯坦：兰德不知道如何将宝丽莱胶片从实验室推向市场。
Where did he go?
他去哪儿了？
He went to Kodak.
他去了柯达。
Scientists from the two companies worked closely together to turn Polaroid’s revolutionary film into something that could be mass produced.
两家公司的科学家密切合作，将宝丽来革命性的胶片变成了可以批量生产的产品。
The saying in Rochester was, “Anything [that’s] good for photography is good for Kodak.” Back in Cambridge Land shared with his team that he was determined to build something miles better than the groundbreaking product they already had.
罗切斯特有句俗话：“任何对摄影有利的事物都对柯达有利。”回到剑桥后，Land 与他的团队分享了他决心打造比他们已有的突破性产品更好的产品。
He wanted better film, faster, completely seamless processing.
他想要更好的胶片、更快、完全无缝的处理。
And at Polaroid, the science was far from the only thing that was revolutionary.
在宝丽来，科学远非唯一具有革命性的东西。
PARKER SARGENT, FILMMAKER: Land included women in his company from really early days.
帕克·萨金特，电影制片人：兰德从很早就开始在他的公司中加入女性。
RHIANNON ADAM, ARTIST: At the time there were not a lot of jobs for women in technology.
RHIANNON ADAM，艺术家：当时，技术领域为女性提供的工作岗位并不多。
PARKER SARGENT, FILMMAKER: He was open to allowing them to take on major projects and to use their own intelligence freely.
帕克·萨金特，电影制片人：他愿意允许他们承担重大项目并自由地运用自己的智慧。
RHIANNON ADAM, ARTIST: He basically said if you’re talented and you can ask the right questions then we have a space for you.
RHIANNON ADAM，艺术家：他基本上是说，如果你有才华并且你可以提出正确的问题，那么我们就会为你提供一个空间。
Polaroid was unique, a place where women could thrive as researchers – and perhaps no single scientist on staff embodied Land’s inclusive vision more so than one Meroë Morse, head of black and white film research.
宝丽来是独一无二的，是一个女性可以作为研究人员蓬勃发展的地方——也许没有哪位科学家比黑白胶片研究主管梅罗·莫尔斯 (Meroë Morse) 更能体现兰德的包容性愿景。
HOLLY FRENCH PERRY, POLAROID RESEARCHER: She was my boss.
Holly French Perry，宝丽来研究员：她是我的老板。
She ran that lab, and she’d never done anything like this before, but she was smart as a whip and creative.
她经营着那个实验室，以前从未做过这样的事情，但她聪明得像鞭子一样，富有创造力。
Back at Smith College, Morse had majored in art history and had never taken a chemistry course in her life, but she was an accomplished painter, an actor – and excelled in everything she did.
回到史密斯学院后，莫尔斯主修艺术史，一生中从未上过化学课程，但她是一位多才多艺的画家、演员，并且在她所做的一切事情上都表现出色。
CHRIS BONANOS, WRITER: She was an artist who also played the harp.
作家克里斯·博纳诺斯：她是一位也演奏竖琴的艺术家。
Who plays the harp?
谁弹竖琴？
That’s an unusual, interesting character, and Land wanted unusual, interesting, smart people around him, and he went out and found them.
这是一个不寻常、有趣的角色，兰德想要他身边有不寻常、有趣、聪明的人，他出去找到了他们。
As the company grew, Land became obsessed with creating a perfect camera.
随着公司的发展，兰德开始痴迷于创造一款完美的相机。
He believed that the whole world was waiting for a device so flawless, so elegant, and ultimately so simple that it would change anyone who used it, forever.
他相信全世界都在等待一款如此完美、如此优雅、最终如此简单的设备，它将永远改变任何使用它的人。
I look forward to the kind of photography that would become part of the human being, an adjunct to your memory, something that was always with you so that when you looked at something, you could in effect press a button and have a record of it forever.
我期待那种摄影能够成为人类的一部分，成为你记忆的附属品，成为永远伴随着你的东西，这样当你看到某样东西时，你实际上可以按下一个按钮并永远记录它。
No one believed the dream more than Edwin Land himself.
没有人比埃德温·兰德本人更相信这个梦想。
He was certain that his machine would usher in a brand new way of life.
他确信他的机器将迎来一种全新的生活方式。
And that he only needed to teach the people how to be ready for that brave new world.
他只需要教导人们如何为那个美丽的新世界做好准备。
TALK SHOW HOST: Now, just like this, Garry, nice smile.
脱口秀主持人：现在，就像这样，加里，笑容灿烂。
TALK SHOW HOST #3: That’s gorgeous.
脱口秀主持人#3：太棒了。
TALK SHOW HOST #4: Pretty terrific camera, isn’t it?
脱口秀主持人#4：相机非常棒，不是吗？
How about that?
怎么样？
Across the country, Americans were embracing Polaroid’s technology.
在全国范围内，美国人都在接受宝丽来的技术。
By 1958, instant cameras were flying off the shelves, though the massive size of Land’s research budget kept any profits razor thin.
到 1958 年，拍立得相机已经售罄，尽管兰德庞大的研究预算使得利润微乎其微。
But business, was the last thing on Land’s mind.
但生意却是兰德最不关心的事情。
AINISSA RAMIREZ, SCIENTIST: Land was a quintessential scientist.
艾妮莎·拉米雷斯，科学家：兰德是一位典型的科学家。
He didn’t really care about money.
他其实并不关心钱。
He was interested in solving a problem in innovation.
他对解决创新问题感兴趣。
CHRIS BONANOS, WRITER: He was a scientist first and businessman second.
克里斯·博纳诺斯（Chris Bonanos），作家：他首先是一名科学家，其次是一名商人。
He liked being in charge but it was all a means to an end of spending time in the lab.
他喜欢掌控一切，但这只是结束在实验室里度过的时光的一种手段。
It was really the thrill of the chase that motivated him, the scientific thrill of the chase.
真正激励他的是追逐的快感，追逐的科学快感。
In the Polaroid labs, Land was at the heart of it all – his eyes on every prototype, his ideas driving every piece of R&D.It was perhaps the only place in America where a picture of a cute kid wasn’t about the child at all.
在宝丽莱实验室，兰德处于一切的核心——他关注每一个原型，他的想法推动每一项研发。这也许是美国唯一一个可爱孩子的照片根本不是关于孩子的地方。
It was pure science.
这是纯粹的科学。
As the boss saw it, every member of the research staff should be experimenting constantly, at work and at home.
在老板看来，每个研究人员都应该不断地尝试，无论是在工作中还是在家里。
HOLLY FRENCH PERRY, POLAROID RESEARCHER: Most of my photographs were just testing.
HOLLY FRENCH PERRY，宝丽来研究员：我的大部分照片都只是测试。
I took so many pictures.
我拍了很多照片。
Trying to figure out the difference between this film when you used it at night, or cloudy day, or a bright day, or a dull day, or a rainy day.
试着找出这部电影在晚上、阴天、晴天、阴天、雨天使用时的区别。
And so it was a combination of science and art, and that was the way Polaroid worked.
所以这是科学与艺术的结合，这就是宝丽来的工作方式。
It was all a great big experiment.
这都是一次伟大的大实验。
And not all the researchers along for the ride were scientists.
并不是所有参与其中的研究人员都是科学家。
Ultimately, Polaroid’s customers were part of the process too.
最终，宝丽来的客户也参与了这个过程。
But their findings weren’t always what Polaroid wanted to hear.
但他们的发现并不总是宝丽莱想听到的。
AINISSA RAMIREZ, SCIENTIST: Over time, they’re noticing that the images that they have are starting to fade.
艾妮莎·拉米雷斯（AINISSA RAMIREZ），科学家：随着时间的推移，他们注意到自己所拥有的图像开始褪色。
CHRIS BONANOS, WRITER: If you were documenting things like your kid’s birthday party or your friend’s wedding or whatever, and suddenly these pictures were starting to fade six months later, that would threaten the entire existence of this company.
克里斯·博纳诺斯（Chris Bonanos），作家：如果你正在记录你孩子的生日聚会或你朋友的婚礼之类的事情，突然这些照片在六个月后开始褪色，这将威胁到这家公司的整个存在。
Despite Polaroid’s popularity, Land had always run his business on innovation…
尽管宝丽来很受欢迎，兰德始终以创新为经营理念……
and faith – perpetually putting it one catastrophe away from collapse.
和信念——永远让它远离一场灾难。
Now, as neither he nor anyone else on staff could understand the roots of the mystery, he needed a fix, and fast.
现在，由于他和其他工作人员都无法理解这个谜团的根源，他需要快速修复。
Meroë Morse attacked the problem as hard as Land himself.
梅罗埃·莫尔斯（Meroë Morse）和兰德本人一样严厉地解决了这个问题。
By now their collaboration had reshaped the company, their names linked on some of Polaroid’s biggest patents.
到目前为止，他们的合作已经重塑了公司，他们的名字与宝丽莱一些最大的专利联系在一起。
“A day is all too short,” Morse would confess to Land.
“一天太短了，”莫尔斯向兰德承认。
“Just …
“只是……
[when we’ve gotten] warmed up to our problems [...] it’s time to quit.”
[当我们]对我们的问题有所了解时[...]是时候退出了。”
CHRIS BONANOS, WRITER: She could keep up with him in terms of workload and in terms of her quick mind.
作家克里斯·博纳诺斯：无论是工作量还是思维敏捷，她都可以跟上他。
They really understood each other.
他们真的彼此理解。
They were really close in a way the two sort of like minds could be close.
他们在某种程度上非常接近，就像两个志同道合的人一样。
Under immense pressure from their customers, Land, Morse and the rest of the team finally found a temporary solution.
在客户的巨大压力下，兰德、莫尔斯和团队其他成员终于找到了临时解决方案。
It was a piece of novel chemistry which internally they called The Coater.
这是一种新颖的化学物质，他们在内部称之为“涂层机”。
AINISSA RAMIREZ, SCIENTIST: In essence, what they figured out is, “What we needed was a coating.” A coating that could be squeegeed on top to prevent the image from fading.
艾妮莎·拉米雷斯（AINISSA RAMIREZ），科学家：本质上，他们的结论是，“我们需要的是涂层。”可以在顶部涂抹涂层以防止图像褪色。
Now, every single pack of Polaroid film came with a small vial full of liquid coater, a squeegee, and intricate instructions.
现在，每包宝丽莱胶片都配有一个小瓶，里面装满了液体涂布机、橡皮扫帚和复杂的说明书。
But perhaps the biggest difference was that for about ten minutes, each and every photograph was absolutely soaked.
但也许最大的区别是，在大约十分钟的时间里，每张照片都完全湿透了。
CHRIS BONANOS, WRITER: And that in turn caused people to start to dry it off, and that’s where the shake comes from.
克里斯·博纳诺斯（Chris Bonanos），作家：这反过来又导致人们开始把它擦干，这就是摇晃的来源。
You still shake your Polaroid pictures, ’cause it used to be soaping wet.
你仍然会摇晃你的宝丽来照片，因为它曾经被肥皂湿过。
Suddenly, instant photography wasn’t so instant, wasn’t so simple – and it certainly wasn’t elegant.
突然之间，即时摄影不再那么即时，不再那么简单——而且当然也不那么优雅。
As hard as Polaroid’s scientists went at the problem, the temporary solution would last more than a decade.
尽管宝丽来的科学家们努力解决这个问题，但临时解决方案将持续十多年。
For Land, something had changed.
对于兰德来说，有些事情发生了变化。
The hunt for a perfect device was no longer just about the science.
寻找完美设备不再仅仅关乎科学。
He’d started to see his cameras differently.
他开始以不同的方式看待他的相机。
As he put it in a hand-written letter to all his employees, “Polaroid is on its way to lead the world – perhaps even to save it.”
正如他在给所有员工的一封手写信中所说的那样，“宝丽来正在引领世界，甚至可能拯救世界。”
PARKER SARGENT, FILMMAKER: He always thought of the potential of connecting with people, how it could help people be their better selves.
帕克·萨金特，电影制片人：他总是想到与人交往的潜力，以及它如何帮助人们成为更好的自己。
CHRIS BONANOS, WRITER: He was idealistic that way.
作家克里斯·博纳诺斯：他在这方面是理想主义的。
He thought, he thought it would draw the world closer together.
他想，他认为这会让世界更加紧密地联系在一起。
PARKER SARGENT, FILMMAKER: But now he starting thinking the more people that have Polaroid in their hand, the more impact Polaroid has on the world.
帕克·萨金特，电影制片人：但现在他开始思考，手中拥有宝丽来的人越多，宝丽来对世界的影响就越大。
He literally said Polaroid photography can cure rifts in contemporary life.
他字面意思是说宝丽来摄影可以治愈当代生活中的裂痕。
That is incredibly powerful from just a little camera.
只需一台小相机即可实现令人难以置信的强大功能。
He must have seemed insane when people were hearing this idea.
当人们听到这个想法时，他一定看起来疯了。
HOLLY FRENCH PERRY, POLAROID RESEARCHER: He was interested in making everything better, always better.
HOLLY FRENCH PERRY，宝丽来研究员：他有兴趣让一切变得更好，而且总是更好。
And I remember where I was standing in his office, and he said, “You can’t ever stop making it better or it’s going to be worse.”
我记得我站在他的办公室里，他说：“你永远不能停止让事情变得更好，否则事情会变得更糟。”
Even if you never owned a Polaroid camera, you remembered the jingle.
即使您从未拥有过宝丽来相机，您也会记住这首歌曲。
Meet the Swinger, the Polaroid Swinger…
来认识一下摇摆者，宝丽来摇摆者……
Barry Manilow helped immortalize Land’s newest – and first ever – low-cost camera.
巴里·曼尼洛 (Barry Manilow) 帮助兰德的最新且首款低成本相机永垂不朽。
It’s more than a camera…
它不仅仅是一台相机……
it’s almost alive …
它几乎还活着……
it’s only 19 dollars and 95.
只要19块钱95块。
…
……
You swing it up!
你把它摇起来！
PARKER SARGENT, FILMMAKER: Polaroid was very unique in that they started to speak to a culture that wasn’t being seen or heard.
帕克·萨金特，电影制作人：宝丽来非常独特，因为他们开始与一种未被看到或听到的文化对话。
And that was the youth in the 1960s.
那是20世纪60年代的年轻人。
So they invented this cute little camera on a string that you could hang from your wrist called the Swinger.
因此，他们发明了这种可爱的小相机，可以挂在手腕上，称为 Swinger。
The year, was 1965.
那一年，是1965年。
And the Swinger was on its way to becoming Polaroid’s best selling camera yet.
Swinger 即将成为宝丽来迄今为止最畅销的相机。
At headquarters, all the news seemed to be good.
在总部，一切似乎都是好消息。
And outside of Cambridge?
剑桥以外的地方呢？
It was becoming clear that maybe Land was onto something real.
越来越明显的是，也许兰德正在做一些真实的事情。
RHIANNON ADAM, ARTIST: I think the most magical thing about Polaroid is the fact that it is such an instant kind of connective tissue between people.
RHIANNON ADAM，艺术家：我认为宝丽来最神奇的地方在于它是人与人之间即时的结缔组织。
You no longer had this process where you had to involve anyone else.
你不再有这个必须让其他人参与的过程。
It was just me and you in a room.
一个房间里只有我和你。
DREW THOMPSON, ART HISTORIAN: In the American South at the time of segregation and Jim Crow, the lab technician might be white and not believe that certain images of Black people should be seen.
艺术史学家德鲁·汤普森：在种族隔离和种族隔离时期的美国南部，实验室技术人员可能是白人，并且不认为应该看到黑人的某些图像。
But with Polaroid you have the opportunity, through the camera, to document your lives.
但有了宝丽来，您就有机会通过相机记录您的生活。
RHIANNON ADAM, ARTIST: You could take a Polaroid without the pressure of anyone external judging or controlling.
RHIANNON ADAM，艺术家：你可以在没有任何外部判断或控制压力的情况下拍摄宝丽来照片。
It came with it sort of freedom to document your life as you were living it.
它伴随着一种记录你的生活的自由。
PARKER SARGENT, FILMMAKER: Through the mid 20th century, being queer is a secret.
电影制作人帕克·萨金特：在 20 世纪中叶，酷儿一直是一个秘密。
Being queer is also a crime.
成为酷儿也是一种犯罪。
So when I look at Polaroid photos of queer people in the 1950s, you see true joy, you see true love.
所以当我看到 20 世纪 50 年代酷儿人士的宝丽来照片时，你会看到真正的快乐，你会看到真正的爱。
Inevitably they wanted that joy that they felt in photographs to exist at all times, and just to not be held down anymore.
他们不可避免地希望在照片中感受到的那种快乐始终存在，并且不再被压抑。
Back at Cambridge, Land was busy building much more than the next camera, and it wasn’t just Polaroid’s customers who felt a new sense of freedom.
回到剑桥，兰德正忙于制造比下一代相机更多的东西，感受到新自由感的不仅仅是宝丽来的客户。
At headquarters, a spirit of nonconformity ruled.
在总部，不墨守成规的精神盛行。
RON FIERSTEIN, WRITER: Polaroid was the Apple computer of the fifties and sixties.
作家罗恩·菲尔斯坦：宝丽来是五六十年代的苹果电脑。
Land created a company of incredible talent.
兰德创造了一家拥有令人难以置信的人才的公司。
It was by far the most special, most advanced, most spectacular technology company in the world.
它是迄今为止世界上最特别、最先进、最引人注目的科技公司。
No one else was competing with them, no one else could do what they could do.
没有人可以与他们竞争，没有人可以做他们能做的事情。
It was really a revolutionary thing.
这确实是一件革命性的事情。
But by the late 1960s, the realities of social change in America were to test Land’s leadership like never before.
但到了 20 世纪 60 年代末，美国社会变革的现实对兰德的领导能力提出了前所未有的考验。
At 5 AM, on April 5th, 1968, the assembly line workers were just finishing up their shift when they got word that Land was on site, and was going to speak to them.
1968 年 4 月 5 日凌晨 5 点，装配线工人刚下班，就收到兰德在现场并准备与他们交谈的消息。
Crowding into the cafeteria, few would have expected what he now wanted to talk about.
挤进自助餐厅时，很少有人会想到他现在要谈论的是什么。
“Martin Luther King is dead,” Land announced.
“马丁·路德·金死了，”兰德宣布。
He called it a “crisis point in American society,” and explained that he intended to bring more Black workers into Polaroid – across all levels of the company.
他称这是“美国社会的危机点”，并解释说，他打算让更多的黑人员工进入宝丽来——公司各个层面。
DREW THOMPSON, ART HISTORIAN: This is the first public and highly political statement that we see from an individual like Land on the occasion of the assassination of Martin Luther King.
艺术史学家德鲁·汤普森：这是我们在马丁·路德·金遇刺之际看到的第一个像兰德这样的个人的公开且高度政治化的声明。
And it tells us something, I think, about the ability of an inventor or CEO to really enact change.
我认为，它告诉我们一些关于发明家或首席执行官真正实施变革的能力。
Land’s commitment that morning would soon translate into the recruitment of more Black professionals into Polaroid’s ranks.
兰德那天早上的承诺很快就会转化为招募更多黑人专业人士加入宝丽莱的队伍。
CAROLINE HUNTER, POLAROID CHEMIST: I went to Xavier University.
卡罗琳·亨特，宝丽来化学家：我去了泽维尔大学。
I majored in chemistry.
我主修化学。
I remember we received a pamphlet that included various corporations with job offers, and we just filled that out by hand – if you can imagine.
我记得我们收到了一本小册子，其中包括各种提供工作机会的公司，我们只是手工填写 - 如果你能想象的话。
Polaroid was well celebrated within the scientific community and it had a reputation of being liberal, so to me it was an easy decision.
宝丽来在科学界享有盛誉，并且享有自由主义的声誉，所以对我来说这是一个简单的决定。
DREW THOMPSON, ART HISTORIAN: To a certain degree, the company itself was a space of social mobility and change.
艺术史学家 DREW THOMPSON：在某种程度上，公司本身就是一个社会流动和变革的空间。
Built into that was I think a kind of notion of social good, and so in some ways that was a testament to Land.
我认为其中蕴藏着一种社会公益的概念，因此在某些方面这是对兰德的证明。
For Polaroid’s thousands of employees, the name itself could be a point of pride.
对于宝丽来的数千名员工来说，这个名字本身就是一种自豪。
EDWIN LAND: We have been writing it without realizing it a tremendous technological symphony.
埃德温·兰德：我们一直在写它，却没有意识到它是一部巨大的技术交响曲。
We are one of the strongest companies in the world in terms of those spiritual and intellectual qualities that lead to human strength.
就人类力量的精神和智力品质而言，我们是世界上最强大的公司之一。
But the reality was, working for a man as brilliant and as demanding as Edwin Land was never, ever easy.
但现实是，为埃德温·兰德这样才华横溢、要求极高的人工作从来都不是一件容易的事。
CHRIS BONANOS, WRITER: It was an unusual place to work in that it was more sort of idealistic and cerebral – and therefore more of a pain in the neck.
克里斯·博纳诺斯（Chris Bonanos），作家：这是一个不寻常的工作场所，因为它更加理想化和理性——因此更让人头疼。
RHIANNON ADAM, ARTIST: This is a time when people were concerned with getting a job for life, where they were just going to put their heads down, do the hours, come home, have some semblance of family structure.
RHIANNON ADAM，艺术家：在这个时代，人们关心的是如何找到一份终生的工作，他们只是低下头，加班加点，回家，建立起某种家庭结构。
And Polaroid asked far more of you.
宝丽莱对你的要求要高得多。
You somehow could not fit in unless you were willing to just say ‘Polaroid is my everything.’
除非你愿意说“宝丽来就是我的一切”，否则你不知何故无法融入。
RON FIERSTEIN, WRITER: Land was dedicated to his research.
罗恩·菲尔斯坦，作家：兰德致力于他的研究。
When he had a problem that he was working on, it subsumed his life.
当他遇到一个正在解决的问题时，它就淹没了他的生活。
RHIANNON ADAM, ARTIST: If Edwin Land had an idea in the middle of the night, he’d be calling up saying ‘I need you right now.’
RHIANNON ADAM，艺术家：如果 Edwin Land 在半夜有一个想法，他会打电话说“我现在需要你。”
RON FIERSTEIN, WRITER: He could be abrupt.
作家罗恩·菲尔斯坦：他可能很唐突。
He could be tough to work with.
他可能很难共事。
Social niceties didn’t occur to him.
他没有想到社交礼仪。
I know in the days when I was there, there were many people who ran around Polaroid scared to death of him.
我知道我在那里的时候，有很多人围着宝丽莱跑来跑去，把他吓死了。
RHIANNON ADAM, ARTIST: His expectation was that you would be there.
RHIANNON ADAM，艺术家：他的期望是你会在那里。
You often did have to make those choices, and sacrifice family and relationships.
你经常不得不做出这些选择，并牺牲家庭和人际关系。
And just, yeah.
只是，是的。
Polaroid was your relationship.
宝丽来是你的关系。
For better or for worse, Land was the same person at work, and at home – as Terre and his two young daughters knew all too well.
无论好坏，兰德在工作中和在家里都是同一个人——特雷和他的两个小女儿都非常清楚这一点。
HOLLY FRENCH PERRY, POLAROID RESEARCHER: One time he was taking them to the movies and they stood out on the front porch while he went to the back of the house to get the car.
Holly Franch Perry，宝丽来研究员：有一次，他带他们去看电影，他们站在前廊上，而他则去房子后面取车。
And he got in the car and he drove down to the lab.
他上了车，开往实验室。
He went right by them.
他就从他们身边走过。
It tells you something about the way he operated.
它告诉你一些关于他的运作方式的信息。
He was very fond of his wife and his daughters, but his focus was on his work.
他非常爱他的妻子和女儿，但他的注意力都放在工作上。
After decades of research, and countless long days and late nights with Meroë Morse and Polaroid’s chemists and engineers, Land’s dreams were finally coming true.
经过数十年的研究，以及与 Meroë Morse 和宝丽莱的化学家和工程师无数个漫长的日日夜夜，兰德的梦想终于实现了。
RON FIERSTEIN, WRITER: In 1969, Land created a prototype of what would become SX-70.
作家 RON Fierstein：1969 年，Land 制作了 SX-70 的原型机。
RHIANNON ADAM, ARTIST: That is what most people most commonly will associate with Polaroid.
RHIANNON ADAM，艺术家：这是大多数人最常想到的宝丽来。
That little square with the wider border at the bottom where you write notes.
底部有较宽边框的小方块，您可以在其中写笔记。
All along, this was the camera that Land had been building in his mind.
一直以来，这就是兰德在他脑海中建造的相机。
At long last, the photographs were in brilliant color, and developed in seconds – no pealing, no coating, no anything required.
最后，照片颜色鲜艳，几秒钟内就可以冲洗出来——没有剥落，没有涂层，不需要任何东西。
The SX70 was nothing short of genius.
SX70 堪称天才。
AINISSA RAMIREZ, SCIENTIST: Most people when they take their Polaroid picture, they're thinking that this is the masterpiece.
艾妮莎·拉米雷斯（AINISSA RAMIREZ），科学家：大多数人在拍摄宝丽来照片时，都会认为这是杰作。
From a scientist point of view, this is the masterpiece.
从科学家的角度来看，这是杰作。
So when you press the button, light hits the surface of the film.
因此，当您按下按钮时，光线就会照射到薄膜表面。
It starts the process for the negative to be created.
它启动了底片的创建过程。
You’ve got these sensitive layers that are sensitive to different colors that are activated.
这些敏感层对激活的不同颜色敏感。
And then there’s also layers of dyes – they start to activate right away.
然后还有多层染料——它们立即开始激活。
All of those things are happening at the same time.
所有这些事情都同时发生。
And then this exposure exits the camera and then at the bottom of that frame, that’s where the special chemicals that are officially called goo are spread onto the different layers and the reaction starts.
然后曝光离开相机，然后在该帧的底部，正式称为“粘性物质”的特殊化学物质被扩散到不同的层上并开始反应。
In less than 60 seconds you have the image.
不到 60 秒，您就获得了图像。
CHRIS BONANOS, WRITER: I, like everyone, like to talk about this as a magic trick.
克里斯·博纳诺斯（Chris Bonanos），作家：我和大家一样，喜欢将其视为魔术。
Of course, look at it!
当然，看看它！
But it’s actually better than magic because it’s human.
但它实际上比魔法更好，因为它是人性的。
This is the product of very, very smart people applying themselves super hard, going at it as hard as they can, working 20-hour days, using science and art together to make something wonderful.
这是非常非常聪明的人的产物，他们非常努力，竭尽全力，每天工作 20 个小时，将科学和艺术结合起来，创造出美妙的东西。
And they succeeded.
他们成功了。
’Cause it’s not mystical.
因为这并不神秘。
It’s brains in tangible form.
它是有形形式的大脑。
It was a triumph, so long sought.
这是一场长久以来所追求的胜利。
Land liked to say that coming up with the idea had taken him an afternoon – and realizing it, almost three decades.
兰德喜欢说，提出这个想法花了他一个下午的时间——而意识到这一点，却花了近三十年的时间。
It would be another couple of years before the SX70 would be ready for the market, but the experiment had, at long last, succeeded.
SX70 还需要几年的时间才能上市，但实验终于成功了。
I look forward to the time a few years from now of starting to use, in its accuracy and intricacy, beauty, our long-awaited ultimate camera that is a part of the evolving human being.
我期待着几年后开始使用我们期待已久的终极相机，它的准确性、复杂性和美感，是人类不断进化的一部分。
But the truth was, no matter how fast Polaroid rushed the SX70 to market, it wouldn’t be quite soon enough.
但事实是，无论宝丽来将 SX70 推向市场的速度有多快，都还不够快。
At the age of only 46, Meroe Morse was losing a battle with cancer.
年仅 46 岁的梅罗·莫尔斯 (Meroe Morse) 在与癌症的斗争中失败了。
Up until the very last week of her life, Morse kept working – pushing forward the technology she’d done so much to help create.
直到她生命的最后一周，莫尔斯一直在努力——推动她为帮助创造而付出巨大努力的技术的发展。
On July 29th, 1969, Polaroid’s pioneering chemist died.
1969 年 7 月 29 日，宝丽来化学先驱去世。
PARKER SARGENT, FILMMAKER: Land was right there with her in the hospital in her last days.
帕克·萨金特，电影制片人：在她最后的日子里，兰德就在医院陪着她。
He was losing someone he considered his scientific soulmate.
他正在失去一个他认为是他的科学灵魂伴侣的人。
For Edwin Land, the things that you loved and the things that you cherished were few and far between.
对于埃德温·兰德来说，你所爱的东西和你所珍惜的东西是少之又少。
And so that must have been very difficult.
所以这一定是非常困难的。
At Polaroid, work had to go on, although for the rest of his life Land would keep Morse’s office untouched, exactly as she’d left it.
在宝丽来，工作还得继续，尽管兰德在余生中不会碰触莫尔斯的办公室，一如她离开时的样子。
Land was on the cusp of achieving everything he’d ever dreamed of, but in reality, America’s most successful living inventor was, more than ever, alone.
兰德即将实现他所梦想的一切，但事实上，这位美国最成功的在世发明家比以往任何时候都更加孤独。
T minus 5, 4, 3, 2, 1, 0.
T 减 5, 4, 3, 2, 1, 0。
Ignition.
点火。
Liftoff.
升空。
As the years rolled on, and the Cold War heated up, as busy as Land was with Polaroid, he was increasingly leading a double life.
随着岁月流逝，冷战愈演愈烈，尽管兰德忙于拍摄宝丽来，但他却越来越过着双重生活。
RON FIERSTEIN, WRITER: Land was the CIA’s number one consultant on the issue of surveillance and technology.
作家罗恩·菲尔斯坦：兰德是中央情报局在监视和技术问题上的第一顾问。
He developed the U2 spy plane.
他开发了U2间谍飞机。
When America was ready to put up its first spy satellites, he was in charge of the technology.
当美国准备发射第一颗间谍卫星时，他负责这项技术。
And he continued to work with the military, with the CIA throughout his career.
在他的整个职业生涯中，他继续与军方和中央情报局合作。
It was sort of like Superman and Clark Kent: privacy, reclusiveness, you know, cautiousness, on the one hand, but the Barnum and Bailey showman on the other hand, who has the next great technological advance that he wants to show the world.
这有点像超人和克拉克·肯特：一方面是隐私、隐居，你知道，谨慎，但另一方面是巴纳姆和贝利的表演者，他想要向世界展示下一个伟大的技术进步。
Land’s secret work never got in the way of his business.
兰德的秘密工作从未妨碍他的生意。
But by the early 1970s, he’d sunk so much capital into making Polaroid independent – and cutting any need for Kodak’s help or film – that his company was now precariously leveraged on churning out a steady stream of successful new products.
但到了 20 世纪 70 年代初，他投入了大量资金来使宝丽来独立，并削减了对柯达帮助或胶卷的任何需求，以至于他的公司现在在源源不断地生产成功的新产品方面岌岌可危。
RHIANNON ADAM, ARTIST: Polaroid has been used from pornography to dentistry and literally everything in between.
RHIANNON ADAM，艺术家：宝丽来已被用于从色情到牙科以及介于两者之间的所有领域。
From high fashion to cutting-edge medicine, Polaroid had never been more places at once.
从高级时装到尖端医学，宝丽莱从未同时出现过如此多的地方。
The full array of its applications, and the devices it now produced, quite simply boggled the mind.
它的全部应用程序以及它现在生产的设备简直令人难以置信。
AINISSA RAMIREZ, SCIENTIST: Now Polaroid decided that it was going to make this wonderful camera that would be great for governments.
艾尼莎·拉米雷斯（AINISSA RAMIREZ），科学家：现在宝丽来决定要制造这款对政府来说非常出色的相机。
It was called the ID2.
它被称为 ID2。
RHIANNON ADAM, ARTIST: The ID-2 is a 23 kilo hulk of a camera.
RHIANNON ADAM，艺术家：ID-2 是一台重 23 公斤的相机。
And it only does one thing: it takes passport photographs.
它只做一件事：拍摄护照照片。
This advanced method known as the Polaroid-Land Identification System simplifies the procedure of identifying people by providing speed and accuracy.
这种被称为宝丽莱陆地识别系统的先进方法通过提供速度和准确性简化了识别人员的程序。
But the simplicity of the ID-2’s processing meant that it was tailor-made to be a wholly different kind of tool – as two Polaroid employees, Caroline Hunter and Ken Williams, were about to find out.
但 ID-2 处理的简单性意味着它是一种完全不同的工具——宝丽来的两名员工卡罗琳·亨特 (Caroline Hunter) 和肯·威廉姆斯 (Ken Williams) 即将发现这一点。
CAROLINE HUNTER, POLAROID CHEMIST: I’m at Polaroid, we’re going to lunch, and we turn around and look at the bulletin board and there was a mock-up of an ID card that says ‘Department of the Mines, Union of South Africa.’ Ken says, ‘Wow, I didn’t know Polaroid was in South Africa.’ And that was the beginning.
卡罗琳·亨特，宝丽来化学家：我在宝丽来，我们要去吃午饭，然后我们转身看布告栏，上面有一张身份证的模型，上面写着“南非联盟矿业部”。肯说，“哇，我不知道宝丽来在南非。”这就是开始。
AINISSA RAMIREZ, SCIENTIST: See, this is 1970.
艾妮莎·拉米雷斯 (AINISSA RAMIREZ)，科学家：看，这是 1970 年。
1969, the year before, the UN says, no company, no country, should interact with South Africa.
1969 年，也就是前一年，联合国表示，任何公司、任何国家都不应与南非进行互动。
It had an oppressive, white supremacist regime.
它有一个压迫性的白人至上主义政权。
And so Caroline and Ken spent two weeks in the Cambridge library.
因此卡罗琳和肯在剑桥图书馆度过了两周。
And this is what they find out.
这就是他们发现的。
Every Black South African had to carry with them a passbook.
每个南非黑人都必须随身携带一本存折。
A passbook is a 20-page document that could tell where this person could go, and where this person could not go.
存折是一份 20 页的文件，可以告诉这个人可以去哪里，不能去哪里。
At the heart of this passbook was a picture created by Polaroid.
这本存折的核心是一张由宝丽莱制作的照片。
Polaroid had neither hidden – nor advertised – its business in South Africa.
宝丽来既没有隐藏也没有宣传其在南非的业务。
Most Americans – even most Polaroid employees – quite simply knew nothing about it.
大多数美国人——甚至大多数宝丽来员工——对此一无所知。
CAROLINE HUNTER, POLAROID CHEMIST: Obviously we were horrified.
卡罗琳·亨特（Caroline Hunter），宝丽来化学家：显然我们感到震惊。
We realized, if our labor’s being used for this, we have to do something about it.
我们意识到，如果我们的劳动力被用于此目的，我们就必须采取一些措施。
In October, Hunter and Williams launched a grassroots movement – only a few months later, they were speaking about Polaroid at the United Nations.
十月，亨特和威廉姆斯发起了一场草根运动——仅仅几个月后，他们就在联合国谈论宝丽来。
I want to say right on, brothers, I’m very proud to be here.
我想说，兄弟们，我很自豪能来到这里。
RHIANNON ADAM, ARTIST: They were incredibly successful.
RHIANNON ADAM，艺术家：他们非常成功。
They called for a full boycott in 1970, and that spread all over the world like wildfire.
1970年，他们呼吁全面抵制，抵制活动像野火一样蔓延到世界各地。
Now, everywhere Land went, his speaking engagements were disrupted by protesters.
现在，兰德所到之处，他的演讲活动都遭到抗议者的干扰。
CAROLINE HUNTER, POLAROID CHEMIST: We decided we were going to protest Land’s presence as the guest speaker at this international convention of American scientists.
卡罗琳·亨特，宝丽来化学家：我们决定抗议兰德作为美国科学家国际大会的演讲嘉宾。
So when he gets on the stage and he has this exchange with Ken, they talk about Polaroid in South Africa.
因此，当他登上舞台并与肯进行交流时，他们谈论了南非的宝丽莱。
Land is very upset.
土地很不高兴。
He says, “Well, I hire more black people than anybody else.” And he rambles on with all of the apologies that the South African government makes for Apartheid.
他说：“嗯，我雇佣的黑人比其他人都多。”他滔滔不绝地讲述了南非政府对种族隔离制度所做的所有道歉。
As the boycott threatened Polaroid’s image – and its sales during the busy holiday season – Land was asked what he thought about South Africa.
由于抵制活动威胁到了宝丽来的形象以及其在繁忙假期期间的销售，兰德被问及他对南非的看法。
“The reason why I’m mad,” he replied, “is because [these protestors] are interfering with my personal goals.”
“我之所以生气，”他回答道，“是因为（这些抗议者）干扰了我的个人目标。”
RHIANNON ADAM, ARTIST: You’re not speaking about someone who’s always ethically minded.
RHIANNON ADAM，艺术家：您并不是在谈论一个始终具有道德意识的人。
You’re talking about someone who is driven by the technology, by doing the things that people thought were impossible.
你谈论的是一个受技术驱动的人，他做人们认为不可能的事情。
For him it wasn’t about ethics, it was about the product.
对他来说，这不是道德问题，而是产品问题。
It wasn’t about whether something was right or wrong.
问题不在于某事是对还是错。
So anyone that was standing in the way – damaging the reputation – it was just barking up the wrong tree.
因此，任何阻碍的人——损害声誉——都只是找错了对象。
By the spring of 1971, Polaroid had fired both Ken Williams and Caroline Hunter.
到 1971 年春天，宝丽来解雇了肯·威廉姆斯 (Ken Williams) 和卡罗琳·亨特 (Caroline Hunter)。
But they refused to give up, and in the end, Polaroid would bow to public pressure, and stop conducting business in South Africa.
但他们不肯放弃，最终，宝丽莱屈服于公众压力，停止在南非开展业务。
For his part, Land never took responsibility for Polaroid’s involvement with the Apartheid regime.
就兰德而言，他从未对宝丽来参与种族隔离政权承担责任。
EDWIND LAND: Perhaps in life there is no such thing as an explicit correct choice.
EDWIND LAND：也许生活中不存在明确正确的选择。
I don’t know.
我不知道。
CAROLINE HUNTER, POLAROID CHEMIST: We said to people, what are you gonna support?
宝丽来化学家卡罗琳·亨特：我们对人们说，你们要支持什么？
What do you believe in?
你相信什么？
But for Edwin Land he pretended South Africa wasn’t there.
但对于埃德温·兰德来说，他假装南非不在那里。
He pretended he had no role in supporting Apartheid.
他假装自己没有参与支持种族隔离。
By the end of the controversy, Land was still as powerful as ever.
争论结束时，兰德仍然像以前一样强大。
But some illusions – and some ideals – had been forever shattered.
但一些幻想——以及一些理想——已经永远破灭了。
“Don’t kid yourself,” one employee remarked, “Polaroid is a one-man company.”
“别自欺欺人了，”一位员工说道，“宝丽来是一家单人公司。”
The Polaroid Corporation plans to put an instant movie picture system on the market later on this year.
宝丽来公司计划于今年晚些时候将即时电影图片系统推向市场。
Yesterday the company showed the system to its stockholders.
昨天，该公司向股东展示了该系统。
From the very beginning, Polaroid’s guiding star had been Land’s seemingly mystical ability to divine and deliver the next piece of tech that Americans didn’t even know they wanted.
从一开始，宝丽来的指路明灯就是兰德看似神秘的能力，他能够预测并提供美国人甚至不知道他们想要的下一项技术。
And now he’d given the world this thing called Polavision.
现在他给了世界这个叫做 Polavision 的东西。
PARKER SARGENT, FILMMAKER: Is Polavision what America needed?
电影制片人帕克·萨金特：Polavision 是美国所需要的吗？
Edwin Land certainly thought it was.
埃德温·兰德当然这么认为。
EDWIND LAND: Not many people can see that something is significant until after it is done.
EDWIND LAND：没有多少人能够在某件事完成之后才意识到它的重要性。
And we have become expert in sensing way ahead of time what is necessary, what is desirable, what will be enjoyable.
我们已经成为提前感知什么是必要的、什么是可取的、什么是令人愉快的专家。
RHIANNON ADAM, ARTIST: So many people said to Land that Polavision was a terrible idea.
RHIANNON ADAM，艺术家：很多人对兰德说 Polavision 是一个糟糕的主意。
They could foresee all of the problems with the product.
他们可以预见产品的所有问题。
It wasn’t great quality.
这质量不太好。
It’s meant to be portable.
它应该是便携式的。
The “portable processor.” It’s really not very portable.
“便携式处理器”。它确实不太便携。
DREW THOMPSON, ART HISTORIAN: It can’t quite record sound.
DREW THOMPSON，艺术历史学家：它不能完全记录声音。
It’s kind of like a silent film.
这有点像无声电影。
RHIANNON ADAM, ARTIST: It was a really quite ridiculous product.
RHIANNON ADAM，艺术家：这真是一个非常荒谬的产品。
Times were changing.
时代在变。
For almost half a century, Polaroid had driven that change.
近半个世纪以来，宝丽莱一直在推动这一变革。
But, now, things were different.
但是，现在，情况不同了。
RHIANNON ADAM, ARTIST: Land was increasingly sort of out of touch with what the consumer wanted, or needed, where almost any idea that he would come up with was something that was worth pursuing.
RHIANNON ADAM，艺术家：Land 越来越脱离消费者想要或需要的东西，他提出的几乎任何想法都是值得追求的。
PARKER SARGENT, FILMMAKER: As you age, you don’t want to be told you don't know what people want.
电影制片人帕克·萨金特：随着年龄的增长，你不想被告知你不知道人们想要什么。
You don't want to be told this isn’t it.
你不想被告知不是这样。
At Polaroid, employees had once called Land “the boy genius.” But he wasn’t a boy any longer.
在宝丽来，员工曾称兰德为“天才男孩”。但他不再是个男孩了。
With its stock in freefall, there were rumblings that Land should step down.
随着其股价直线下跌，有传言称兰德应该下台。
All his financial gambles – once the very measure of his success – seemed to be finally catching up with him.
他所有的金融赌博——曾经是衡量他成功的标准——似乎终于追上了他。
And the news just kept getting worse.
而且消息变得越来越糟。
Since the debut of the Model 95 back in 1948, Polaroid had always been alone in the instant photography market.
自 1948 年 Model 95 首次亮相以来，宝丽来在即时摄影市场上一直独占鳌头。
No longer.
不再。
CHRIS BONANOS, WRITER: In 1976, Kodak finally did it.
作家克里斯·博纳诺斯：1976 年，柯达终于做到了。
They introduced a line of instant cameras and film.
他们推出了一系列即时相机和胶片。
The camera produced a picture that came out with a white tab at the bottom, and again, right out of the camera.
相机拍出的照片底部有一个白色标签，而且是直接从相机中出来的。
RON FIERSTEIN, WRITER: Land took this very personally.
作家罗恩·菲尔斯坦：兰德非常看重这件事。
CHRIS BONANOS, WRITER: He said, “I'm disappointed in them.
克里斯·博纳诺斯（Chris Bonanos），作家：他说，“我对他们感到失望。
They have all these resources, all the money in the world, they’re 10 times our size, all these smart people working for them, and all they could do was rip us off.”
他们拥有所有这些资源，世界上所有的钱，他们的规模是我们的十倍，所有这些聪明的人都为他们工作，他们所能做的就是敲诈我们。”
From now on, the full force of his Land’s intellect – and the entirety of his focus – would be devoted to a new singular task: taking Kodak to court, and making them pay.
从现在开始，他的土地的全部智慧——以及他的全部注意力——将投入到一项新的单一任务：将柯达告上法庭，让他们付出代价。
The patent suits could take years to resolve.
专利诉讼可能需要数年时间才能解决。
At stake is the six billion dollar American photographic business.
价值 60 亿美元的美国摄影业岌岌可危。
RHIANNON ADAM, ARTIST: From the very beginnings of the trial, Land was turning up every single day at court.
艺术家 RHIANNON ADAM：从审判一开始，兰德每天都会出现在法庭上。
RON FIERSTEIN, WRITER: It was his cause.
作家罗恩·菲尔斯坦：这是他的事业。
It was his company, it was his work, it was his passion.
这是他的公司，这是他的工作，这是他的激情。
It was all on trial there.
一切都在那里受审。
CHRIS BONANOS, WRITER: It was righteousness.
作家克里斯·博纳诺斯：这是正义。
He did not just want a settlement where Kodak paid a fee every year.
他不只是想要柯达每年支付费用的和解方案。
He wanted Kodak out of the business.
他希望柯达退出这个行业。
The lawyers kept saying, “We could work this out.” And he said, “No, I want an injunction.”
律师们一直说：“我们可以解决这个问题。”他说：“不，我想要禁令。”
Over the course of the entire trial, Land’s attention never wavered, the minutia of the proceedings obsessing him as just completely as any laboratory mystery once had.
在整个审判过程中，兰德的注意力从未动摇过，诉讼程序的细节就像任何实验室之谜一样完全困扰着他。
RHIANNON ADAM, ARTIST: Instead of delegating the case to a very capable team of lawyers, Land felt that no one else could fight in Polaroid’s corner better than he could.
艺术家瑞安农·亚当 (RHIANNON ADAM)：兰德没有将案件委托给一支非常有能力的律师团队，而是认为没有人能比他更好地为宝丽莱而战。
He was not doing anything else.
他没有做任何其他事情。
So the company just like a ship without a captain.
所以公司就像一艘没有船长的船。
By the 1980s, instant photography remained as popular as ever, but the company that had started it all was struggling to survive.
到了 20 世纪 80 年代，即时摄影仍然像以前一样流行，但开创这一切的公司却在生存中挣扎。
And even good news just couldn’t right the ship.
即使是好消息也无法扭转局面。
The legal action was as complex as the cameras, but there was nothing instant about the outcome.
法律行动和摄像机一样复杂，但结果却不是即时的。
So today Kodak conceded defeat.
所以今天柯达认输了。
Their cameras and films being removed this morning from stores right across America.
他们的相机和胶卷今天早上从美国各地的商店被撤下。
RON FIERSTEIN, WRITER: Kodak actually had to pull all of its camera and film out of the stores even though 13 million Americans already had them.
作家罗恩·菲尔斯坦：柯达实际上不得不将其所有相机和胶卷撤出商店，尽管 1300 万美国人已经拥有了它们。
CHRIS BONANOS, WRITER: They had a big picnic at Polaroid headquarters.
作家克里斯·博纳诺斯：他们在宝丽来总部举行了一次盛大的野餐。
They had T-shirts made up.
他们还缝制了T恤。
They won.
他们赢了。
They won, they won.
他们赢了，他们赢了。
And by then it’s incredibly sad because it was already…
到那时，这真是令人难以置信的悲伤，因为它已经……
They may not have grasped that it was already over, that this fight had been irrelevant.
他们可能没有意识到一切都已经结束了，这场战斗已经无关紧要了。
In Cambridge, the once unimaginable had come to pass.
在剑桥，曾经难以想象的事情终于实现了。
Edwin Land had been pushed out of Polaroid.
埃德温·兰德被赶出了宝丽莱。
His retirement made headlines across the nation.
他的退休成为全国的头条新闻。
The company he’d founded and led for almost half a century would not last long without him.
如果没有他，他创立并领导了近半个世纪的公司就不会持续太久。
As Polaroid’s influence faded, Americans seemed to move on, falling in love with a whole new kind of magic machine.
随着宝丽来的影响力逐渐消退，美国人似乎开始继续前进，爱上了一种全新的神奇机器。
RHIANNON ADAM, ARTIST: So much digital technology has come along, and taken away the kind of reasons for Polaroid for being.
RHIANNON ADAM，艺术家：如此多的数字技术已经出现，并剥夺了宝丽莱存在的理由。
But in actual fact, I think there are very few things in life that are as magical as watching a Polaroid image develop in your hand.
但事实上，我认为生活中很少有事情比看着宝丽来图像在手中显影更神奇。
There’s this little bit of alchemy that makes this beautiful object, which forever ties you to the moment.
这个美丽的物体蕴含着一点点炼金术，将你永远与那一刻联系在一起。
That’s the magic that just endures and will endure forever.
这就是持续并将永远持续下去的魔力。
EDWIND LAND: To take a good picture, you must open your eyes, open your heart, and just look.
EDWIND LAND：要拍出一张好照片，你必须睁开你的眼睛，打开你的心，只管看。
RON FIERSTEIN, WRITER: I’m constantly in awe of Edwin Land, and what he accomplished in one lifetime.
作家罗恩·菲尔斯坦：我一直对埃德温·兰德以及他一生所取得的成就感到敬畏。
HOLLY FRENCH PERRY, POLAROID RESEARCHER: Everything that was new was interesting to him.
Holly French Perry，宝丽来研究员：一切新鲜事物对他来说都很有趣。
What ideas he was creating, and what he saw for the future – it was just thrilling and exciting.
他正在创造什么想法，以及他对未来的展望——这真是令人兴奋和兴奋。
CAROLINE HUNTER, POLAROID CHEMIST: Land’s story is a critical American story, but it has to be told to the full truth of who he was, what he did, and the impact of all of his work, good and bad.
卡罗琳·亨特，宝丽来化学家：兰德的故事是一个重要的美国故事，但必须完整地讲述他是谁、他做了什么以及他所有工作的影响，无论好坏。
DREW THOMPSON, ART HISTORIAN: Land really believed at its core that Polaroid could do good by giving people control to capture their image, but he struggled when the need to do social good intersected with the realities of of running a company.
德鲁·汤普森（DREW THOMPSON），艺术史学家：兰德从本质上坚信，宝丽来可以通过让人们控制拍摄自己的形象来做好事，但当做社会公益的需要与经营公司的现实交叉时，他陷入了困境。
Through it all, Land’s focus was always on his work, on how his next invention might have the power to change people’s lives.
自始至终，兰德的注意力始终集中在他的工作上，以及他的下一项发明如何能够改变人们的生活。
CHRIS BONANOS, WRITER: Land had this idea that you would document your whole life in pictures and your family’s whole life in pictures.
作家克里斯·博纳诺斯：兰德的想法是，你可以用照片记录你的一生，也可以用照片记录你家人的一生。
RHIANNON ADAM, ARTIST: I think if we were to gather all the Polaroids ever taken and we were to put them in one place, we’d actually be able to see a much more nuanced view of humanity.
RHIANNON ADAM，艺术家：我认为，如果我们收集所有拍摄过的宝丽来照片并将它们放在一个地方，我们实际上能够看到更细致的人性观点。
There was no editing, there was no cropping out of that person that you didn’t like.
没有任何剪辑，也没有剪掉你不喜欢的人。
AINISSA RAMIREZ, SCIENTIST: Polaroid was in the business of making us more human.
艾妮莎·拉米雷斯 (AINISSA RAMIREZ)，科学家：宝丽来致力于让我们变得更加人性化。
I mean, instant photography is such a personal thing, because when I take a picture of someone I just saw a moment ago, we’re focusing on things that are going on in the present, but we’re also focused on things that are in the past.
我的意思是，即时摄影是一件很私人的事情，因为当我给刚刚看到的某人拍照时，我们关注的是现在正在发生的事情，但我们也关注的是过去的事情。
Most of us can’t be time travelers, but I think that’s the magic of a Polaroid pictures.
我们大多数人都无法成为时间旅行者，但我认为这就是宝丽来照片的魔力。
At a time when there were few jobs for women in technology, Edwin Land filled the ranks at Polaroid with recent graduates from Smith College, a small women’s liberal arts college in Massachusetts.
在技术领域女性就业机会很少的时候，埃德温·兰德（Edwin Land）用刚从史密斯学院（马萨诸塞州一所小型女子文理学院）毕业的毕业生填补了宝丽来的职位。
The iconic brand’s square frame and white border inspired generations of popular culture.
这个标志性品牌的方形框架和白色边框激发了一代又一代的流行文化。
Most histories focus on the instant camera’s inventor, Edwin Land.
大多数历史都集中在即时相机的发明者埃德温·兰德 (Edwin Land) 身上。
But supporting him behind the scenes was a phalanx of gifted researchers, some of whom may surprise you.
但在幕后支持他的是一群才华横溢的研究人员，其中一些人可能会让你感到惊讶。
Before the iPhone, the Polaroid camera let people instantly chronicle their lives.
在 iPhone 出现之前，宝丽来相机让人们即时记录自己的生活。
Along with instant photo mania, its company culture became the model for Silicon Valley.
随着即时照片的热潮，其公司文化成为硅谷的典范。
Mr. Polaroid is the story of Edwin Land, the man behind the camera.
《宝丽来先生》讲述了相机背后的人物埃德温·兰德的故事。