Cat - I fear you're expecting magic, and it's just not how recording works.
You have a list of microphones - in general, applied to practically every mic made they differ in only a few areas.
Pickup pattern. Remember the two general rules. The direction of maximum sensitivity aims at the wanted sound source, and you look for the nulls - the directions with the least sensitivity must aim towards the noise source.
In the case of directional mics, you have the increase in bass response as the sound source gets closer. At worst, it gets muffled, at best you could call it warmer, or more intimate but in essence its a change in EQ, so will work for or against you.
Sensitivity. Condensers are in general more sensitive, so require less gain because of the electronics. Dynamics, because they convert changes in air pressure to electrical energy by moving a heavier diaphragm than in a condenser, are less efficient devices, and need more gain from your preamp, which causes as you know, hiss.
Some dynamics have VERY low sensitivity, like the SM7B, but they have a nice sound (to many people's ears - not me, I'd add, and I have one). The bass tip up when you get in close is managed quite well.
You also need to remember that practically all the microphones that are shaped like ice cream cones have the windshield on the end because people use them close. The basket serves 2 purposes. The obvious one of removing wind noise from the breath and nose, but the important secondary job of being a barrier that stops your lips getting too close. Back in the 70s, SM57s were very popular for singers in loud bands. Lips closer than possible with the singer designed SM58. Inverse square law again meant that feedback was less likely because the gain required was low, so the leakage was lower from the PA and on stage noise. Pops and blasts happened but were understood, and with a loud singer, less of a problem than you would imagine.
Now the big thing that makes people like or hate microphones. Not a technical feature, or something even possible to put in the specs. Timbre - or tone, if you prefer.
Each mic has it's own character, and this character works for you when the sound source and the mic match, but fight like mad when the two are not complimentary.
Over the years, it's the memory of different mics that sticks in your head, BUT, often it is lacking the reason for the dislike. Perhaps you remember hating the sound, but it could have been the voice or the instrument. This means my dislikes are very subjective and not objective - based on my own opinions. Often, you have in your hands two microphones with virtually the same published frequency response, but you like one, and hate the other.
You need a microphone that can cope with your voice. You need one that works - and your 6" distance may simply be too far away for many - not for their sound, but because the unwanted noises are not attenuated enough. Simple things could be tried. I like those round clip on pop shields. Not for removing pop, but for being a barrier people can touch with their lips, and it keeps them the same distance away. Did you try 4" or 2"? Changes of distance change the sound quite radically that close in, so the pop shield becomes your tape measure.
Remember too that hyper cardioids have their least sensitivity in a different place to a cardioid. You need to get to know the mics.
Your list of mics is very strange - but I guess based on what is available to you. I have used many of them, so I've added my own comments which are how I view the mic. Keep in mind that many I have only used live, not for recording. Some I happily use for both, but others are fine on stage, but I never seem to use them in the studio. I'll comment in capitals to make it easier to read.
Sennheiser E825-S Cardiod Dynamic with On/Off Switch. CHEAP - RATHER LIGHTWEIGHT IN SOUND. NOT NICE ON FEMALE BVS. OK WITH QUITE BRUTAL EQ - MIC SWITCH IS NOT EASY TO USE - SLIDES STRANGELY
Sennheiser E835-S - WARMER SOUNDING - MUCH NICER THAN 825. YOU NEED TO GET THE BASKET ON YOUR LIPS - THINNER USED FURTHER AWAY
Sennheiser E 845-S Dynamic Super Cardioid Microphone. I LIKE THE SOUND, AND THE EXTRA TIGHTNESS GIVES A BIT LESS SPILL
Behringer dynamic, XM 8500 NOT AS BAD AS YOU'D IMAGINE - GOOD FOR ANNOUNCEMENTS. POOR ISOLATION FROM HAND HELD NOISE. NOT GOOD FOR SINGING, UNLESS YOU ARE A COLLEGE/SCHOOL AND NEED A CHEAP DISPOSABLE MICROPHONE. JUST A CHEAP SOUNDING, BUT RELIABLE MIC AT THROW AWAY PRICE.
Rode M1 Dynamic Vocal Microphone - NEVER USED OR HEARD ONE.
Sennheiser e935 Cardioid Dynamic Handheld Mic SMOOTH AND NICE IN THE HAND - A NICE ALTERNATIVE TO A BETA 58 IN TIMBRE, BUT CARDIOID, NOT NARROWER.
AKG D5S Professional Dynamic Stage Vocal Microphone NEVER USED OR HEARD ONE.
AKG D 8000M handheld dynamic ($44.95 mic is available at $176.37 without warranty) SOUNDS LIKE A SLIGHTY LESS GOOD SM58, AND ODDLY FEELS MADE OF SOMETHING LIGHTER THAN THE SHAPE SUGGESTS.
Shure SM57 and SM58 - THE STANDARD MICS FOR EVERYDAY USE. NOWHERE NEAR PERFECT, BUT A CLEAR STANDARD TO COMPARE TO. THEY DO NEED TO BE CLOSE THOUGH TO GET THE WARMTH THEY ARE KNOWN FOR. USE AT 6" TO 12" THEY ARE A LITTLE WEEDY, BECAUSE THE LF ROLLS OFF, SO OK FOR SPEECH GENERALLY, BUT YOU'D NOT USE THEM AT THIS KIND OF DISTANCE FOR A SINGER.
Shure PGA48-LC Cardioid Dynamic - LIKE THE CHEAP SENNHEISER, JUST A BIT LESS THAN GOOD. I FIND THEM RATHER DULL AND A BIT MUFFLED WHEN YOU GET IN CLOSER.
I honestly think the majority of your problem is NOT the mic, but your voice, your technique and your recording space. I've lost count of how many sessions I do where I hear a quiet noise in the background and we stop to find it's a creaky sole on a shoe, or somebodies phone vibrating in a pocket. Dogs have ruined loads of takes. I get musicians kicking stands, or noisily swapping between clarinet and sax. I'd love to be in the room with you. I'd probably immediately move the mic, or move you AND the mic. I'd be moving the mic and listening on headphones while you speak. Only having one mic would not drive me mad, I think I could with position and eq make almost anything work. I still think the real problem is distance and your voice level.
If I had your list to buy a dynamic, I'd go for the SM58, or the Sennheiser 935 - I like both, and wouldn't worry which one. For you though, I'd scrap a dynamic totally and look for a warm condenser. Assuming we're talking lower end. I've picked a few that I have used over the years that have shone against others when used by students in a college. Mics that stand tough treatment but produce useful audio without needed special eq or treatment.
Samson C1 - A ROUNDER, MORE PLEASING ON THE EARS SOUND FROM A BUDGET MIC - SURPRISINGLY WARM CLOSE IN
Rode NT1 - the current one - NOT AS WARM AS THE ORIGINAL BUT AN EASY TO EQ MIC HAPPY CLOSE IN WITH A POP SHIELD.
THOMANN - T-BONE SC-450 QUITE BRIGHT BUT AGAIN, WARMER CLOSE IN WITH A POP SHIELD.
AKG C3000 - A BIT BRIGHT BUT EQ SEEMS TO TAME IT.
There are plenty of others, but they're very expensive or a bit like Marmite - you either love it, or hate it. Like the AKG C1000 Some people love them, but the majority simply hate the things.
I've got an AKG D202 - they started to use these in the British Parliament - a very strange mic with no proximity effect, and two capsules! The HF one at the mouth end with a LF one near the bottom of the handle. A very flat and neutral sound.
Have you tried those dirt cheap Chinese condensers? they're a bit bright, but again, close in, almost lips touching with a pop shield, they're quite warm sounding?