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Photographer James Nachtwey has won the 12th Annual Heinz Award for Arts and Humanities, the Pittsburgh-based Heinz Family Foundation announced today. The award carries a $250,000 prize.
Past winners have included academics, scientists, physicians, and artists. Nachtwey is the first photographer to receive one of the awards. Read the entire article.
The Fuji FP-1 I have been using on-and-off for the last few years was being relocated to Singapore to take up a professional gig there, so I needed a replacement; a full-manual Polaroid pack-film (’peel-apart’) camera. As discussed a few reviews ago, a number of options existed, but with weight & portability a major selection criteria - as I wanted to use it for street work I was left with few options.
The original Polaroid series 180, 185*, 190 and 195 were all considered. The 180 was eliminated because though similar lenses, they are slightly slower than the 190 & 195. The 195 was chosen over the 190 as it seems to come with a clockwork timer instead of the electronic timer of the 190 (those batteries though obtainable, are a bit hard to get sometimes). For assumed costs reasons Polaroid only fitted the Zeiss viewfinder/rangefinder combination to the 180 and 190. The 195 came with the dual-window puppy.
Although the hardcase Polaroids allow some selection of shutter speed, their electric eye control is often fooled by pointing it straight into the setting sun. Along with shooting ISO3000 at ISO75 settings, this was something I often found myself doing. The manual control to 1/500, from f64 up to f3.8 allow for full interpretation of ISO75, 100, 125, and 3000 film speeds.
River Valley House. Type-663. Low light.
While the hardcases will switch to 1/2000s, I’ve not need that fast with manual aperture control as a supplement. The manual aperture control also allows greater control over compositions, including for ISO3000 films which during the day had previously had been confined to shooting at f64. Sometimes infinite DoF was just a pain. For those so inclined, the lens is also equipped with an EV scale, in support of the corresponding EV-graduated matching light meter.
I replaced the curious dual-window native rangefinder/viewfinder combination with a single window Zeiss version from a 350-series camera. Focusing through one window, and composing through another was just not gunna work (says he who is quite happy to gaze through an aux viewfinder for The Sub’s 21mm). This is a popular tweak, driven by both name and function. No screwing or anything hard needed here, just a little flick on the spring-bar with a small screwdriver. As long as you do not let the tension spring launch itself into orbit, putting the new one on is just as simple - literally a 30-second job.
The Zeiss VF/RF combo is nice and bright with a central yellow dot for focusing, and parallax correction frame-lines. It focuses down to just under 1m, almost as good as the FP-1 at 80cm. As well as being X & M synched, it also has a self-timer, a facility I’ve not used but perhaps might on a tripod for some planned night work. The FP-1 does not have a self-timer.
Into the Light - Mitsumineyama. Type-665.
Results? Wow! After using the plastic lensed hardcases for years, I was amazed at the sharp contrasty results from the 4-element (114mm) Tominon on the 195. With RF focusing, and an accurate exposure setting, this bus will freak out anyone used to normal Polaroid attributes. Used with Fuji film, it will give you amazingly sharp, full-ranged grays and gloriously defined colors. Luckily I use it less than diligently, estimating my exposures manually, and often with well expired films, this has resulted in some tremendous effects and some very pleasing (at least to me) results. J-Pop album covers getting that nice retro feel…
Komazawa-Koen. Type-665.
Additionally, I was pleasantly surprised to discover an added bonus of the 195; it also takes square format ‘consumer’ films, as well as the rectangular format ‘pro’ films. A great little party trick, and one I’ve not seen mentioned elsewhere. Does anyone have an original manual? Is this an intentional design feature - I suspect it is as the case-back as an appropriate notch to allow square format packs to be inserted (the lack of which normally does not allow them to be). The viewfinder does not auto-adapt (like the EE66/88/100 and Pro Pack / Reporter series do), but it is not hard to visualize the changed aspect ratio in the VF; and easy kludge to line up a square frame in the rectangular frame lines.
Aka-Bashi. Type-690. Normal exposure.
Overall, the 195 is a very competent Polaroid, as you would hope from what was close to the top-of-the-range unit when made in 1975. The nicely machined aluminum, and collapsable operation make it a great tactile camera to use. Collapsed, with its plastic cover in place (with snappy cold-clip holder), it is a rugged, easily carried set. In mint condition, with accessories in their leather cases, they can exceed USD750. Happily this slightly used one was less than that, and less than the comparable FP-1.
Coca Cola. Type-663. Inside, ultra low light, f5.6
Arigato. Skorj.
*Footnote: in looking for a camera of this type, I came across a Polaroid 185, noticed the electric eye on the front and assumed it was an auto device. Not true it seems. The 185 is a super-rare full manual, but with a built-in light meter. Only a few were supposedly built, as gifts for those close to Edward Land. I let it slip through my fingers.