03.07.07
Neko Tech - The Bus – Polaroid 600 SE `Professional`.
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:
-
75mm f5.6 (`wide`), with auxiliary viewfinder.
- 127mm f4.7.
- 150mm f5.6 (`portrait`).
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.