Whilst a lot better than the pathetic excuse for viewfinders tacked on as an afterthought (if at all) to some digital cameras these days, it’s still not going to measure up to a proper SLR or medium format camera. Like all cameras of this genre, it has a viewfinder. It is a boxy design, but fits in the hand reasonably well, and the titanium finish isn’t that slippery (though I’d recommend the use of a wrist lanyard to prevent expensive accidents).
Oh, and there’s the aforementioned sapphire shutter button, of course.
It’s a bit fiddly to power on with one hand, but at least it won’t accidentally extend the lens in your bag or pocket (Ricoh GR1V, I’m looking at you). There really aren’t that many controls on this thing at all: the top has a small LCD for mode display and frame counter there’s a flash mode and mode mode button, a tiny control dial, an AF-lock button, and the combined aperture/ power/ program mode wheel, which locks in the off and P positions by means of a central button. Controls feel tight and positive, and even the mode buttons have a decent amount of travel to them and provide positive clicks. This was definitely not a cheap camera when new (and still isn’t exactly cheap today, either).Īll the effort does come across the moment you pick it up, though – they got the tactility bit very, very right.
#Contax g2 vs t2 windows
Just to prove they spared no expense, the shutter button and viewfinder/ AF windows on the front of the camera were all made from synthetic sapphire. The T3 was the pinnacle of the range from a design standpoint it was one of then smallest 35mm compacts at the time, bodied in smooth titanium – either natural finish or black – and featured a Zeiss 2.8/35 Sonnar.
#Contax g2 vs t2 manual
The T cameras (with the exception of the T4/T5) were a series of premium compacts featuring some manual controls, all-metal construction, and Carl Zeiss T* lenses (including the T4, and subsequent Yashica cameras). Contax is a Japanese brand, later bought over by Kyocera-Yashica, and now defunct (the owners of the brand no longer have any facility for the production of cameras). With that out of the way, let’s talk about the camera up on the block today: the Contax T3. The same goes for film: a web scan isn’t going to have anywhere near the same amount of information as the original negative even printing introduces an additional variable into the mix which might lead a review to conclude erroneously. When evaluating images in the analog domain, it’s already difficult enough to form an opinion based on a small websize jpeg this is why it’s important to go along with the words of the reviewer as they’ve (hopefully) seen large, uncompressed files on a calibrated monitor – what you’re seeing is merely for illustration and perhaps to break up the enormous blocks of text.
Differences are down to glass, assuming that processing is carried out consistently. Still, there are definitely characteristics that shine through regardless – part of this is perhaps down to the equality of media across all cameras – an F6 has the same sensor as a Mju II, which in turn has the same sensor as a 1930s Leica I. Reviewing film cameras both takes a little longer and always somehow feels a little less complete than doing the same for digital I suspect it’s because there really are quite a lot of unknowns in the equation which you can’t determine whether are due to the camera or some other portion of the process.
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