04.14.07
Posted in Technical, Articles at 3:39 am by filmwast
Together with the 690, the SLR 680 was the last gasp for Polaroid’s high-end consumer cameras. Based on the stylishly popular SX-70 chassis and Single Lens Reflex function, this was the form factor for the first integral film camera from Polaroid. Prior to 1972, all Polaroid film was first roll-film, then pack-film peel-apart. With the release of the ground-breaking SX-70, integral film eliminated the sometimes messy other half of the peel-apart process.
1992 Polaroid SLR 680 SE.
As covered in some of my previous Polaroid entries, peel-apart film though still available, its range is steadily decreasing. Such is life in the modern world. So, the SLR 680 & 690 make a good alternative for those wanting to enjoy the creativity of instant photography. Unfortunately, Type-600 film does not respond to manipulation like SX-70 `Time Zero` film, so that avenue of expression has gone too. Sniff.
The SLR 680 was available from 1982 through to about 1994, first as the plain-Jane 680, then as the SLR 680 SE. Though I’ve looked for manual shutter & exposure control on my SE, the only difference I can see is with the name.
The 690 followed the SLR 680 in some markets, and being made in Japan, it was also on sale here until at least 2005, well after distribution stopped elsewhere in the world. Due in part to their ability to use readily available Type-600 film, MiB examples of the last-of-the-range 690s command prices approaching USD1000. During its last days, the 690 sold in Japan for JPY98,000, the present day equivalent of about USD1000. Reasonable examples of the 680 and 690 can be found in Tokyo shops, and in on-line auction houses for JPY30,000 - JPY50,000.
If you are however prepared to trawl second-hand shops, garage sales, and other places that sell old sundries, both can be had for well under USD100. Like the rest of their sister SX-70s, the 680 & 690 have a 116mm lens / f8 glass lens. Shutter speeds are controlled electronically to coincide with auto aperture selection from f8 to f22. I assume the smaller apertures are used when flash is engaged. The flash autofocuses for closer subjects.
Normal Focused Flash.
Close Focused Flash.
While later model SX-70s use a rather nice split-image focusing system (them being largely manual), the 680/690 uses a flat ground-glass focus screen. Not nearly as sexy perhaps, but with the sonar autofocus engaged, it’s a 100% accurate solution. Like the Auto Sonar SX-70, both the 680 and the 690 have a switch to disengage the mechanical autofocus cog from the focus wheel, and in doing so, you can obtain full manual control of focus. This switch re-engages to ‘On’ mode when the camera is closed, as does the Light/Dark control too if you move it off-center…
Manual Focus Switch - SLR 680 SE.
The sonar autofocus makes a great mechanical whirr noise that adds to the very 1970s camera experience. Though, with the print eject noise, it does make this type of camera not very effective for stealthy street work. It is more a party machine, and judging by the millions of photographs of this type on websites, that is something it does rather well too.
Unlike the normal 600-series cameras, the SLR 600s eject their photographs in the SX-70 stealth mode, from an indiscernible slot in the base cover. My 680 is popular at parties too, and often catches unfamiliar users with the photograph ejecting into their ill-prepared fingers. With the scare, no one has dropped the camera yet though…
Both SX-70 film and Type-600 film (named I assume as everyone knows after their ISO values) have gone through a number of improvements. SX-70 to `Time Zero` version for example, and Type-600 with a variety of variations to its borders, a matte version, a write-on version, a B&W, and a sepia version too.
The present version of Type-600 film is thinner too than the original version. Grain is finer, development artifacts less, and color rendition too is more accurate - all of which demonstrate Polaroid’s process of continual improvement, and to a certain extent the elimination of Type-600’s Polaroidness; the sweetness of muted colors and ambient temperature-based color shifts.
600-series film - 1980.
600-series film - 2007.
While the high-end consumer SLRs are no longer manufactured, Polaroid continues to make other 600-series cameras. The Spectra or 1200-series are also still available in Japan, as are a range of professional cameras, including the Macro SLR 1200 range; used for medical, scientific and legal purposes. Just as easy as digital photographs can be manipulated, evidence integrity guidelines are easier to maintain with Polaroid integral film - as a result, the manufacture of at least one type of integral film should remain on Polaroid’s agenda for at least another few days.
Arigato.
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03.07.07
Posted in Technical, Articles at 12:55 pm by filmwast
Removable back, interchangeable lenses, what more could you want from a Polaroid camera? Errr… how about a gross weight something less than the Queen Mary?
Polaroid 600 SE `Professional` - The Bus.
However, if you want to ditch your automatic, and want something that allows full manual control over your Polaroid photography, then the 600 SE is a great alternative to the 180/190/195 series cameras.
If you still want to go for a 195, check out: Polaroid 195
The 600 SE has a great bright-image, coincident rangefinder, with adjustable framelines for the native 127mm and 150mm lenses. Lenses available are:
I’ve not seen or heard of any other lenses fitting the SE body. Note the difference between the 600 SE and the plain-jane 600 is the lens interchangeability.
Lens comparison photographs follow, all shot with Fuji FP-400B (f16 at 1/60s), on nothing much more interesting than my street (or one a few streets away if you’re an internet stalker), as I could not be bothered lugging three lenses anywhere further – did I mention everything is very heavy?
75mm.
127mm.
150mm (and my neighbor).
While the 75mm has half the focal length of the 150mm, it lacks the wide wideness I was after. Still, each lens still has enough individuality, and one or two should make any SE shooter happy.
75mm for wide-mode.
The 75mm aux finder, with its curious parallax compensation dial (which tilts the finder, from parallel to down as the focus gets closer), is accurate and represents the film image very well.
Aux Finder.
None of the 600 SE lenses are as fast as the 195’s f3.8, but this is small loss of functionality compared to the benefits of the multi-lens system, and being able to swap film types mid-shoot.
I do miss the depth-of-field the 195 makes at f3.8, but with ISO400 and ISO3000 B&W film freely available, the speed loss is not too much of an issue.
The SE can also be fitted with 120-format back, and the holy grail, a sheet film adapter (such as the 545/545i/545pro), to allow me to continue to shoot Polaroid pos/neg film, as Type-55 will soon be the only type available (with Type-665, and Type-85 no longer being made). Extension tubes (I’ve seen two lengths), and a ground glass back are also available for macro work.
545 Back.
It does not accept square format pack film, like the 195 does, only rectangular stuff (from Fuji or Polaroid). Flash-synching of some sort is available too, but I do not use that.
It also has two tripod mounts, one for portrait and one for landscape orientation. This is needed, as tilting your tripod head horizontal with the SE sitting sideways, is a sure way to break even Manfrotto carbon legs – the SE is that heavy.
Tripod Mounts.
No metering is provided. If you’re going to carry one around, make sure you’ve got one of those nice fat foam carry straps, as the SE can sometimes feel quite heavy.
Thick frame lines contribute to weight.
Problems? Did I mention it weighs a lot?
Changing backs in the field is an OK process, but with my set being the later model (with the external plastic catch), not the early (internal wire catch), the catch can get caught on bag/pants/zippers on the way to the camera, and this results in –invariably- a full pack of film being scattered across the floor of someone’s bedroom.
A lost neko lay down on the tatami to die in the cold alone. Type-665. (75mm).
The back locks can be a little stiff sometimes, and are certainly not as smooth as the Mamiya Universal on which the 600 SE is based. They do however lack a locking function – which I’ve never found as a problem. A light lube fixes sticky back locks in a flash.
The 600 SE back mount is not unique, and can also be found on other removable back cameras such as the Mini Portrait, and the Studio Express (4-lens) – both a useful source of spare backs as these passport photograph cameras are considered junk by many. The mount is similar to the Mamiya Universal, and while 600 SE backs will drop straight onto a Universal, the Universal back will require its mount tang to be notched (I’ve not done this myself).
600 SE Mount.
Mamiya Universal Mount.
Be careful if you are buying a Mini Portrait or Studio Express for spare backs though, as I think the early Mini Portrait has a Graflok back, as does the two-lens Studio Express.
Lens interchangeability is a snap, with the bayonet lock & mount smooth and accurate. Rethreading the pistol grip’s shutter release cable can be fiddly, especially with a lens hoods mounted. As I quite like a bit of flare, and because of this, I’ve ditched my hoods.
Forgetting to remove the dark slide is of course an issue for those not used to this function as part of your shooting routine. `Remove-before-flight` hanging tags eliminated this issue for me.
Full System.
Summary: a very versatile system, sure to build muscles in any street photographer, and probably more suited to a studio as a proofing camera. A great built-to-last tool, but a system I am yet to fall in love with…
Next: who knows as I’ll have to buy something else. Arigato.
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