Yeah, I’ve dabbled with the old Polaroid 200 series before, that little beige box that spits out pictures in a blink. Those film packs are a real headache because the emulsions are so sensitive to temperature—if you store them in a fridge they’ll develop too fast, but if you leave them out in the sun they won’t set at all. I usually keep a stash of fresh packs in a small, insulated drawer and only pull one out when the camera’s actually on the line. The real fun comes with the “white‑balance” tricks; I’ve learned to add a tiny bit of amber filter to the lens to counter the greenish cast that pops up on those early ISO‑80 packs. If you’re swapping notes, just let me know which model you’re tackling and I can point you toward the best battery replacement and the quirkiest loading sequence I’ve uncovered.

Nice, a 200A is a real piece of history. I keep mine in a plastic case that’s lined with a thin layer of felt so the film doesn’t hit the metal when the camera vibrates; that’s my trick for humidity—keeps the film from absorbing moisture but still lets the emulsion breathe. For the loading I do a three‑step: first pull the sleeve, then push the film straight into the slot with a gentle tap, then give it a half‑second pause before the camera’s first flash. I’ve found that if you let the film sit a beat after the first exposure it settles better and the silver grain isn’t so punchy. Also keep a spare 6‑volt NiMH set in a separate drawer so you never run out mid‑shoot—just swap in the second battery when the first is low. If you want a quick check on humidity, toss a small desiccant packet in the same cooler drawer; the packs stay drier and you won’t get that faint gray film you sometimes see on a humid day. Good luck, and send me a pic of your 200A’s latest masterpiece!