The dark side of this machine happens to be the viewfinder. The focus and advance motors sound like superbly damped dental drills. All automated actions performed by the G are quick, precise and are accompanied by the most pleasant motor noises possible.
The G is a camera that’s a joy to own and handle before you even add film.
There is no wiggle in the lens mount, feeling more like a well-made pump-action shotgun than any camera I’ve used before or since. The lenses attach with a satisfying clunk. Built-in motor drive, AF and a small LCD on the top panel round out the features list. Very little on this camera is superfluous, and all the switch-gear has a perfect amount of feedback in operation. It’s titanium sheathed, solid and all-business. Starting with the body, the Contax is a winner. I sorta like that it looks like your grandma’s Bell & Howell. Who cares? Lots of people pay extra for a black setup and then tape over the high-contrast nameplate and logos. Champagne instead of the black due to a 40% price difference. I rounded out the kit with a mint TLA200 from Japan. It cost around $1100 Canadian for the body, 28mm Biogon, 45mm Planar and 90mm Sonnar, hoods, bags and all that stuff. The G2 kit came from a chap on RFF, the last true ivory tower of internet-forum rangefinder-camera snobbery. When it was time to get to work again I decided on a Contax. The Contax excels conquers in every way that matters, and falls criminally short in a few ways that are easy to overlook if you’re in the right mindset.Īfter the untimely death of my beloved GA645 I spent some time fooling around with point and shoots, some old box cameras and the like. If I could anthropomorphize the G2, it’s an unapologetically awkward, runway-gorgeous genius. It’s time to do a review on the Contax G2. Over 500 people have signed up for EMULSIVE Santa 2021, the world's largest annual film/traditional photography gift exchange! Time is short, click here to register by October 31st.
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