First, a thousand discussions on hundreds of photography web forums suggests that film is not dead. Finger painting didn’t die when brushes were invented. Painting with brushes didn’t stop when the large format camera became available. Large format photography is still in fashion, despite the high-quality 35 mm options. And despite the rise of digital photography, film is still on of my preferred medium for capturing images.
Debating film vs. digital is worse than debating assisted suicide, abortion rights, the war in Iraq, or Israel vs. Hezbolla – because the film vs. digital debate is by definition a colossal waste of time. Use what works for you. What I know is that I get kick-ass photos with film, Fuji Provia is my friend, I like wide angle, I like medium format – and that was enough of a reason to drop 700 USD on a used Fuji GA645wi.
The GA645wi is built with and embodies that age old simplicity design aura, that so many companies ignore. A camera is a light box. Modern ones include automatic shutters and exposure meters, add a bright viewfinder, and not much else matters. The compact Fuji medium format cameras are unique in the camera world, and will for sure never be made again. For travel and mountaineering considerations, the list of equivalent cameras to the Fuji GA645wi is about zero.
It was built to pro standards, is still serviced by Fuji, and produces excellent results. When paired with pro film like Provia, Velvia, Fuji, Kodak, etc., the resulting images are vibrant, sharp, and unlike anything you could get with a comparably priced digital.
45 mm on 6×4.5 is rather unique. Since the lens retracts into the body, you can take the GA645 into many situations, but retain the quality expected of a much larger camera. Much like the GA645 (60 mm lens), there’s program, shutter, and aperture priority shooting modes. Manual focus is possible, but is mainly used only if photographing sunsets that fool the autofocus. The “i” version has two shutter releases, one for portrait, one for landscape orientation.? There’s a built in flash and it will take 120 or 220 film. The autofocus is good, but it’s best when used with static objects. The metering is dead on, it’s designed well and delivers results.
Few things suck more than not being able to capture the image you want after hiking into the Alps or flying across unknown seas. The reason I bought the GA645w is the lens. At 45 mm, the EBC Fujion has an angle of view close to 24 mm on a 35 mm camera body. This is my ideal focal length for land and cityscape shooting. Not so wide that details or subjects are lost, not so telephoto that you can’t fit the whole subject into the viewfinder.
To envision the GA645w, think of a Ricoh GRD or the unreleased Sigma DP1 and stick a syringe of growth hormones into your imagination. A high quality lens paired with a large image capture area. When you buy a Fuji rangefinder, you’re buying a lens with a minimalist, highly engineered body.
The ardent digital defender might say,
“Well, you need to know how to process your photos, with film the lab does all the work, you just don’t know what you’re doing. If you did, you’d shoot digital with RAW.”
This might be partially true. But what I know is that I capture a lot of detail and a large dynamic range with film. It’s a cool look that has over a hundred years of design and development behind it. It just looks good, I know this from experience. Photographing the Swiss Alps or the streets of Europe is awesome with film. Fewer highlights get blown out, and I have more detail in the shadows. I still like film, love digital, and love a wide angle lens, which is also why I’m taking the Fuji GA645wi along on my three month trip to Tokyo, as well as my Ricoh GRD.
I’ve taken some quick shots in Zurich and just love shooting with the GA645wi. The body is rugged and the viewfinder is just an awesome and bright, the way a camera should be. If you’re looking for a compact high quality camera, I recommend seeking one out.
If you define a professional camera as one that actually says professional on it, then the Fuji GA645 was my first pro caliber photo tool. When first released in the early 1990’s it went for something near to 1500 USD. Now they are commonly found on eBay for 300-500 USD. For professionals it means a camera with near point-and-shoot convince and killer tack-sharp medium format “pop”. It really is point-and-shoot. You depress the shutter button half-way, it focuses, depress further, it takes the picture. Given its geometry and size, the GA645 is easy to hold steady in low-light situations. As I mainly do travel and landscape with this camera. The lens is a 60mm Fujion with an f/4 aperture. Many people have found fault with this design, complaining that f/4 is just too slow, the same people who have shot down the Sigma DP1, which sports an f/4 objective. Of course, numbers on paper are just that, in practice I haven’t found the f/4 lens to be limiting. Toss in some ISO 400 or 800 speed film and you have the ability to shoot in low-light situations, and since you’re shooting with a 6×4.5 film size, the quality of the resulting image will still be fantastic, especially for such a mobile camera design. The automatic focus however, can be a bit frustrating. Every camera has limitations, and the autofocus is what adds a rain-cloud texture to the overall fantastically sunny experience of shooting with a GA645. See, once in a while I get my negatives or transparencies back and find the subject was out of focus and blurry. For this reason, in general the GA645 is best used for static subjects. The focus distance is displayed in the viewfinder, so you can always look there to make sure it’s about right. It’s also possible to do manual focusing, which is nice because the focus was easily fooled when I traversed from Bettmerhorn to Eggishorn in intermittent fog cover in the Swiss Alps. Shooting into the rising sun can also screw with the focus system, and in such situations I set the focus to infinity. Despite the autofocus limitations, the metering system is dead-on and I rarely have any exposure problems.
The Fuji GA line sports a few accessories, which one is still able to pick up if one is so inclined. A flash bracket and flash we produced, the basic GA bracket is shown here. Somehow I’ve acquired one bracket and two flashes, both of which I never actually use with my GA645. If you do use them however, the flash exposes very nicely with a butter popping sound. The bracket has a tilting head, so when you rotate the camera to shoot in landscape orientation, you can rotate the flash 90 degrees (similar to the Sony HVL-58). I sometimes use the bracket with my Minolta 7D. Since neither is produced anymore, they can be had on the used market for either reasonable or absurd prices. The one useful accessory I do use often is the tripod bracket. It lets you mount the camera and rotate around the axis of the lens, perfectly balanced and engineered. A macro attachment is also available, but doing macro work without being able to check the actual focus is bit hit and miss – and with medium format film, a tad expensive.
The general risk with buying old discontinued Pro technology is that, if it breaks – you’re screwed. So it’s actually sort of cool that you can still send in the GA645 to Fuji for a tune-up. About two years ago I picked up some surplus GA645 parts from eBay, including some shutters and body pieces, so aside from Fuji, I’m somewhat confident I could fix basic problems should they arise. The Fuji GA line is just the start, you can also get into the GW and GSW cameras, which can be bough in 6×7, 6×8, and 6×9 versions, all offering jaw-dropping razon tack-sharp images. So getting down to Brass-Tax, in the age of digital sensors and megapixels the Fuji GA645 is a film camera which still rocks hardcore. If you have some spar funds I highly recommend picking one up.
I’m an engineer, which means that although I search for Zen, I am forever bound to the material attraction of gadgets and toys. My camera collection includes a Woca (Holga), Minolta 7, Minolta 7D, Fuji GA645, Contax G1, and my very first digital: the Canon D2000 (Kodak DCS520). The D2000 was the Canon version of a co-development between Kodak and Canon to produce the first real Digital Single Lens Reflex (DSLR) camera. Kodak did the sensor and Canon provided the camera body technology. It’s true, there were predecessors, the Kodak-Nikon did come first with the DCS420, but the digital back and camera body really weren’t integrated, and it didn’t even sport an LCD on the back. The D2000/DCS520 displays integrated digital-camera body technology with a LCD and the large adjustment wheel, which is still standard on every pro-level Canon and even on the top-of-the-line G7. All subsequent pro-level Canons have their routes in the D2000/DCS520.
In 1993 the D2000/DCS520 retailed for something on the order of $15,000. Built on the supposedly fantastic Canon 1N film body the D2000 sports a vertical grip, EOS lens mount, first-rate viewfinder and 2 Mega-Pixel APS sensor. Yes, two Mega-Pixels, by modern digital camera marketing number standards this is no better than a crap camera phone. But the keen engineer-gadget-freak looks beyond hollow numbers to the buried beauty inside. The D2000/DCS520 can be found for something like $300-$500 on eBay (depending on what else is included). For my D2000 I picked up the cheap-but-killer-awesome Canon 50 mm f1.7 lens (~$80). With the battery the D2000 is a bit of a brick to hold in the hand. However, there are some cool advantages to owning near 10 year-old pro digital camera technology (from the product research and development time, it may be closer to 20 years old).
You can shoot in JPEG but I always shoot raw. At 2 Mb per raw file you can enjoy all the raw benefits and not fill up your hard-drive. I love shooting raw with my Minolta 7D, but at 8.1 megs per raw file, the small 60 gig drive on my G4 PowerBook only holds so much. The size of a camera sensor pixel translates to it’s ability to interact with light. So point-and-shoot cameras with high mega-pixel counts and very small pixel sizes produce images which look clean, but generally flat because the sensor pixel size is not large enough to effectively capture the light hitting the sensor (at least this has been my observation). Conversely, multi-ten-thousand dollar medium format digital backs generally render deeper, richer colors, due in part to their larger pixel size. In fact, the keen camera fool might note that the 2 megapixel APS-sized sensor retains a pixel pitch of 11.9 microns. In the age of megapixel marketing driven mania it is interesting to note that this pixel pitch is larger than that of the $2500 Canon 5D, the $16,000 Canon Mark-IIn, or even many of the $25,000 medium format digital backs. If you add a large flash the camera is a tad too big to carry around in normal settings. But when the lighting is right the results can be fantastic. For controlled lighting work, like with off-camera strobes (check out
Plus, and this is important, the D2000 is a killer party camera – maybe not so much for the club night or bar hop, it’s too big for those gigs. However, the D2000 is awesome in a festive setting and works best at costume affairs or dinner parties. It just looks cool to carry a large camera around these circles. If it’s a costume party and you go with a Hunter S. Thompson theme, the Canon D2000 will no doubt boost your Gonzo-reporter flare. I reviewed the limitations of the D2000/DCS520 before buying it, and the purpose in doing so was mainly as a learning camera. It has all the features of a pro-body, but with a learning curve which guarantees you’ll gain a unique education in digital photography. But after using it on and off for two years I have to say I prefer it in some situations due to the limitations which, like those of a Holga, I’ve become quite fond of. Further reading at