I was debating to myself whether this camera belongs in the “Tuesday Titans” series. Half of my mind says no, but the other half says, well, this IS a rather big and awkward camera to use, once unfolded out of its protective shell. However, it is not heavy, where most of the Titans reviewed before are. Ah well, what’s done is done I guess.

I’ve wanted one of these for a long time. I’ve played with them, seen prints from them, but never owned one till recently.

I got one through a trade deal which involved me getting rid of some digital gear and a lens. Now it would seem perplexing, maybe even dumb to get rid of digital gear which I could use for a long time for an instant film camera whose main “food” is the recently discontinued Fuji FP-100C, which was the last remaining production instant packfilm made.

But most of you who follow this blog already know I have a habit of doing things that you, nor I, would ever expect. Not that this is something to brag about, it’s just the way I do things.

THE POLAROID 180 LAND CAMERA BODY

The Polaroid 180 is much like other Land Cameras that came before it. It’s a simple but delicate mix. The bellows is probably the most delicate part of these cameras.

I used a Polaroid 360 that was given to me by a friend in college many years back, but I never really liked it. The fiddly operation, the slow f/8.8 lens was disadventageous to me as someone used to 35mm, medium format, and digital cameras.

Plus I have to admit, I was never a huge fan of the Polaroid lo-fi look. I think it only works well for certain subjects, and for a select group of artists of which I am not one of them.

I started enjoying instant cameras more in the late 2000’s when I got myself reacquainted with the medium through the Polaroid 600SE which is probably one of, if not the most desirable packfilm cameras. I really enjoyed the prints I got with this camera and Fuji FP-3000B, also now discontinued.

The Polaroid 180 is also very high on the list of desirable Polaroid cameras. The camera body is genuine Polaroid unlike the 600SE which is really a Mamiya Universal clone, but with an incompatible lens mount to the 600SE.

The 114 f/4.5 Tominon lens on the 180 however was made by Tomoika of Japan. It is roughly the equivalent of a 35mm lens on  full frame camera. At f/4.5 the lens is one of the fastest available for instant packfilm cameras. Only the f/3.8 Tominon on the Polaroid 190 and 195 is faster. Needless to say these lenses are still no f/1.2 speed demons, but in the Polaroid world of f/8 and up, yes these lenses are “fast.”

While many see the 195 as the highest model, I prefer the 180 due to its integrated rangefinder and Zeiss finder. The 195 has separate viewfinder and rangefinder windows, much like the old Leica screw mount cameras, which to me makes it more inconvenient, certainly less speedy to use although I’ve heard some people say they prefer the 195’s arrangement because framing may be more accurate.

The 190 is probably the ultimate because it combines the 180’s finder with the 195’s faster lens.

All these cameras are fully manual and do not need a battery conversion, which a camera like the heretofore mentioned 360 Land Camera does.

The 180 offers aperture settings from wide open at f/4.5 to f/90, shutter speeds from 1 second to 1/500 plus bulb. There is a lever near the lens for M (bulb), X (flash), and V (self-timer).

IN USE AND ISSUES

As mentioned earlier, the 180, while well built has a bit of a delicate feel, but this is due to the nature of the beast, as with many folding cameras. To open the camera, you need to pull out and extend the top “arm” until it makes a noticeable click. You need to be careful not to poke or damage the bellows in any way or you will have light leaks.

The Polaroid 180 uses rangefinder focus and many of you are probably familiar with this, but for those who are not, you simply move the sliding focus bars on the camera until the image in the center is aligned to achieve focus. You cannot focus by physically moving the lens on this camera.

Especially if buying from eBay, you should right away upon receiving the camera, check the overall structure of the camera to ensure that there is no physical damage. Next check the rangefinder and see if it’s aligned. It should give you a good idea, although the real test is with some film in the camera. Check the aperture and shutter speeds, make sure they’re working properly. And check that bellows for any pits, holes, or wrinkles.

It’s a simple camera to use, although somewhat awkward at first if you’re not familiar with the Land Cameras.

As I completely forgot about the way these cameras worked, I lost a couple of shots due to film jamming in the camera back. That seems to be the main issue with this camera. If you run into this issue, this remedy works nearly all the time…

After you take a shot and pull the film tab, if there is a lot of tension, do not force it or you will most likely break the tab and lose the first and/or second shot. Instead, if you pull hard and it does not seem to be moving, open the bottom of the camera very slightly, then pull again until you feel it move. Once you do feel that movement, close the back again and pull until the film comes out. You need to close the back because the film has to come out through the rollers to “distribute” the chemicals that will develop the film.

Do not be afraid that you will ruin the film by opening the back slightly. If you do it right, there won’t be any issues. Admittedly, this requires some practice so be ready to lose a few shots. I know it’s not easy as packfilm is now so expensive! For extra safety measures, you can try to do this in the dark or subdued light if you’re really worried, but I’ve done it in daylight with no light leaks or film fogging.

The problem with film jamming apparently has to do with the metal clips inside the film back putting so much tension on the plastic that Fuji’s packfilms are encased in. Some have had success by pushing the clips in and in some cases, completely removing the clips. I really didn’t want to butcher the camera.

Also, when pulling out the film, I prefer to collapse the bellows back into the camera before proceeding as it keeps the bellows safe during a potentially “violent” experience of pulling out that film 🙂

A good practice is to clean the rollers with a napkin before loading each pack of film. No need for super wet cloth, just a dry or slightly damped napkin will do. This should keep film coming out smoothly.

When folded, the camera is very compact for a camera of this size, and it’s not a heavy camera the way the 600SE is.

IMAGE QUALITY

I’ve been shooting the 180 with expired FP-3000B. I have yet to put FP-100C in it. I find the lens quality of the Tominon to wonderful for what I want, probably very good to excellent if you want a more magazine friendly description.

The lens has a good soft/sharp quality wide open and becomes very sharp as you stop down, as with most lenses.

The Tominon seems to have lower contrast than many of you may want, especially when compared to modern lenses, but this actually works very well for black and white images. Plus you can always add more contrast during your post processing workflow if you’re planning on posting your images online or just like a higher contrast look.

The results on FP-3000B have that classic look that I’m a big fan of. Again, this may not be everyone’s cup of tea, but I fell in love with photography by seeing black and white prints from my parents photo albums back in the 70s and 80s and a camera like the Polaroid 180 is capable of giving me that look straight from the camera.

BOTTOM LINE

Why did I get rid of digital gear for the Polaroid 180 which could be a camera living on borrowed time? Because I have other digital gear which makes it redundant.

Plus, I have hope that even if packfilm goes extinct, these cameras are too good not to have someone come up with something to keep them running.

As many of you know, Impossible film’s co-founder Mr. Florian Kaps (who is no longer with the company) recently met with Fujifilm’s representatives in Japan trying to save Fuji FP-100C. While I don’t believe there is a definitive answer yet, I’m not really holding out for Fuji. I thinking of new companies and new films for the future.

The Polaroid 180 Land Camera is an instant film Camera Legend and as I said, this camera is too good to let die.

Just like the innovative Cubans who drive around in classic American cars of the 50s and 60s, I do believe someone will come along with a solution to keep these cameras running. Whether it’s new packfilm or modifying them for convenient use with Instax film, I believe it may take some time, but it’s going to happen. Fingers crossed, of course! 🙂

WHERE TO BUY

If seeking one of these prices are trending on eBay at $200-600, with $600 being on the high end, and $300 being average. On the low end of the price spectrum, it seems to be for body only. On the high end, it seems to be the complete kit with the add on portrait and close-up lenses, plus case and extras. I’m talking about a genuine Polaroid 180 Land Camera, not one of the many modified “tribute” clones you see on eBay.

The most abundant place for these cameras is eBay. You may also find them from time to time HERE.

The gear I traded for this camera comes down to under $300, and for that price I got the whole shebang, portrait/close-up lenses, case, so I’m very happy with this trade. I could easily make this money back if and when I sell it.

But make no mistake, this is not an easy camera to sell as it serves a niche, but very dedicated market. I know of camera dealers who slashed prices on these cameras the week that Fuji discontinued FP-100C film. On anonymous dealer told me: “It’s very hard to sell a camera that they don’t make film for.”

So unless you’re foolish and a hopeless romantic like me, this is actually a very good time to SELL your Polaroid 180. Even as I hold out for hope, there is still the very real possibility that there will be no film left for these cameras in the not so distant future.

If that happens, well, I got my stock of packfilm and I will use it with reserve until it finishes. That means no test shots of brick walls, no focus test on trees or nearby buildings. I will most likely use the camera for portraits of my kids because they are my most precious gifts in life and I would like them to someday look back on these prints and know their images were made on something classic and historic and hopefully relive the magic of instant photography. And if you’ve got one of these babies, don’t forget to stock up on that film before it’s all gone!