The Fujifilm GA645i was made by Fuji in 1997, as the successor to the GA645. This singular thought helped to focus my search, and after much advice from a whole range of camera forums (and boy do they love giving advice) I ended up with the Fuji GA645i- a camera that I simply love to bits. In short, I wanted a medium format Konica Hexar AF. People can get scared by a massive camera and I realized that I needed something that gave me the quality of medium format, but with the compact form and automation of a point and shoot. Now I enjoy using this camera, but it’s not the best medium format for street portraits.
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The Mamiya 645 Pro tl was the result of my search. With street portraits in mind, I wanted something that could be used like an SLR, and again with aperture priority. Not long after this, I decided to plunge into the world of medium format. This search led me to the Konica Hexar AF – a camera which I think is just ace, to use the correct technical term.
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I like manual cameras, but I love a bit of automation during use- my main shooters are the Leica M7 and the Nikon FM3a, both are cameras with aperture priority, which I like working with when shooting street portraits.Īfter trying out fully automatic compact point and shoots (Yashica T5, Olympus MJU II, etc) I wanted an AF point and shoot camera that felt a bit more hefty in the hand like an SLR – something that was simple to use and, compact and quiet but always gave beautiful results- and with a good viewfinder – which these P&S’s always lacked. I came across it last year as the result of a little rambling journey of discovery. The Fuji GA645i is a great example of this “ Fujiness“. – check out the K28 construction industry camera to see what I mean. Fujifilm cameras always excite me because some of them are just NUTS. Having fun and innovating for the sake of it, creating product niches where they never existed before. This must have been quite confusing for consumers at the time, but from a modern day perspective, looking back on their creations, I can’t help but marvel at what they came up with – cult cameras at every attempt. Now when I look at Fuji’s cameras, they seem to come from another place – a mad, crazy, experimental, no-holds-barred place where they just tried stuff out, attempting to forge little niche markets where they could, and seeing what was possible for the hell of it. The Trip 35 couldn’t look more 60’s, whilst the XA could’ve been a prop in Ridley Scott’s Alien…Olympus seemed to have a very clear focus (no pun intended) behind the functional development of their product range, and their form factors always ensured that they maintained a stylistic relevance in every decade. A good example is Olympus: if you follow their cameras from the trip 35 to the XA to the AF-1 to the Mju, you can see a steady refinement in product function – each getting smaller, sharper and more automated than the last – but overlaid with the Olympus product design aesthetic of the era in which each was made. Those strange and beautiful mutations in the evolutionary tree of film photography… Here’s what I cover in this article: Form, function and FujiĪs cameras moved from being purely functional items to mass consumer products, the manufacturers started to develop their own aesthetics – a creative journey that I enjoy following. I am always on the lookout, however, for those film cameras that seem to bring form and function together in unique ways. I’m not a film snob – I shoot digital too, and love both formats for what they bring to the medium of photography. I love them as much for their looks as I do their abilities. ✕ Close Search for:įirstly, a bit about me – I really like cameras – over the past three years I’ve built up a little collection of shooters – from classic SLRs and rangefinders to cheap-but-fun point and shoots. EMULSIVE Santa match confirmations have been sent out to this year's 850 players! If you have any questions about your match or the process, please reach out via Elfster ASAP.
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