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The Fuji GW690 camera is one of the best cameras ever made, in my opinion. It fits both my style of image-making and my professional needs.
I owned the Fuji GW690II (90mm) and the Fuji GSW690II (65mm) versions of this camera. They are fixed-lens cameras, so I owned both models. The 90mm version equals about 38mm in 35mm terms, and the 65mm is about 28mm. These lens equivalents feel wider than the focal lengths on a 35mm camera.
This camera model had three generations, but I opted for the second-generation Fuji GW and GSW 690II versions. I will share my reasons for my preferences in the section below. You can read more history about this camera on the Camera Wiki page.
For my NatureArtRx prints, I use Kodak Ektachrome slide film, and for color negative films, I use Kodak Ektar 100 and Kodak Portra 160. On occasion, when working in very low-light conditions, I will use Kodak Portra 400.
Basic Camera Info
- I own the Fuji GW690II and GSW690II, but this camera has several 6×7 and 6×9 versions. In addition to the Fujica GW690 Professional and Fujica GSW690 Professional (the last to be called “Fujica”), the series includes the Fuji GW690II, GW670II, GSW690II, GW690III, GW680III, GW670III, GSW690III and GSW680III (all of them “Professional”).
- The camera is a rangefinder, so you don’t look through the lens to focus. Instead, you use the viewfinder and a two-part overlapping guide to ensure a sharp image. It is fast and very accurate in the field.
- The filter thread size is 67mm.
- The camera weighs 1475g or about 3.2 pounds. I love the weight and feeling of the camera in my hands. It feels substantial, but not too heavy or out of balance in any way.
- The cameras come with an integrated lens hood. If you want to mount a screw-on filter, simply retract the hood for easy use. I typically only use a polarizing filter as needed.
- All the cameras in this series are fixed-lens models, meaning you can’t change the lens for a different focal length and that is why I own both focal lengths of the 690II model.
- This camera has two shutter releases: one on the top of the camera, where you would expect it to be, and the second on the front of the camera to the right of the lens. I use both all the time, depending on my composition and situation. It is nice to have this option.
- In 2024, you can find a second-generation GW690II from Japan on eBay for about $700 to $1000, depending on the condition and whether the original box is included. That’s not a bad deal for a camera that will last you for the rest of your life. If you scan your film, it is like having a 126MP digital camera for that price.
- A 6x9cm negative, or about 2.25 inches x 3.5 inches, is a large medium-format negative that is getting close to 4×5 large-format quality but in a handheld package.
- A 4K drum-scanned 6×9 film produces a file size of 9,000 x 14,000 pixels. Certain drum scanners can scan at higher resolutions, like the Tango at 11K and the Aztek HR8000 at 8K, and flatbed scanners, like the Epson V850, can scan at lower resolutions, with an optimal resolution of about 3200 PPI.
- The 4K drum scanned image is like using a 126MP digital camera. I should note that I also use a Fuji GFX100S to pixel-shift scan my wet-mounted film to achieve a 400MP scan. I could drum scan at a higher resolution, but there is no practical reason to do this when I can make very large mural-size prints from a 4K scan.
- I can make a 300 DPI print of my drum or pixel-shift scanned 6×9 negative, about 30 inches x 48 inches. This means you could view this print at arm’s length like a small handheld 8×10 print or a magazine, which would have that level of clarity and sharpness. If you print at a normal resolution of 240, you can make a 40-inch x 60-inch massive print, which would look amazing on any gallery wall.
- The first-generation Fujica GW690 was produced between 1978 and 1985. The second-generation Fuji 690II was produced from 1985 until 1992. The third-generation Fuji 690III was released in 1992, and I am unsure of the last year of actual production.
- All three generations of this camera have leaf shutters. Because of the leaf shutter, you can hand-hold very slow exposures without using a tripod. For example, I don’t hesitate to hand-hold at 1/30 or even 1/15 shutter speeds. Based on my experience, you will start missing more shots once you go below 1/15.
- This camera is 100% manual and does not require batteries! This means you can use this camera in extreme conditions, never have to worry about charging or replacing batteries.
- The 90mm lens on 6×9 medium format is technically equal to about 39mm on 35mm cameras, but it feels much wider to my eye. The GSW 65mm version of this camera equals about 28mm on a 35mm camera, but it also feels much wider.
- There is no internal meter, and the camera is completely manual, so I use my old 2012 EM-5 m43 camera as a light meter and compositional aid. This is what I use for my 4×5 large format photography, so I already own it.
- This camera has a manual shutter lock. It is located below the second shutter on the front of the camera. It is easy and intuitive to use. I never have to worry about an accidental exposure.
- A special warning to new rangefinder photographers: Do not forget to remove the lens cap. You are not looking through the lens when focusing or exposing, so you will undoubtedly, at some point, expose an entire roll of film and realize that you left the lens cap on the entire time!
Why 6×9 vs. 6×7?
That is a straightforward answer for me, and I share my reason in the form of a question I asked myself. Why would I want to limit myself to 6×7 when I can crop my 6×9 images slightly to achieve the 6×7 aspect ratio while retaining the option to keep the 2:3 aspect ratio of the 6×9 format?
Why This Camera?
I have many reasons why it is an excellent fit for me and my photography style. I will share my reasons in bullet points below, in no particular order.
I love the look, style, and build quality of this camera. My specific cameras were made between 1985 and 1992. It is solid, whereas the newer generation III camera has a lot of plastic and feels like plastic in my hands. I previously owned the third-generation version and ended up selling it.
I feel free to create and try compositions with this camera that I would never do with my 4×5 large format gear. Sometimes, those chances turn into amazing photos.
I can often compose and create an image in a few seconds before setting up my large format gear, which takes exponentially longer. I also like to expose a quick frame with this camera before my 4×5 exposure in the event there is an issue that I identify after developing both films. It is like my backup plan for my 4×5 at times.
If the light or conditions are rapidly changing, I have an opportunity to create an exposure where I would usually miss it using my large format camera.
The optical quality of the glass in these cameras is outstanding. I can make massive mural-sized prints from my negatives, which are tack sharp, so long as I do my job in the field right.
I love that this camera is 100% manual and requires no batteries. That is so refreshing and one less thing to worry about. Just take some film and go create exposures. I love the sound of the mechanical leaf shutter firing and the sound of the film wind lever advancing the film to the next frame. I feel connected to this camera in a way I don’t with any other.
It has two shutters!! I typically use the front shutter for horizontal compositions and the top shutter for vertical.
I love the manual shutter lock capability. I use it all the time and never worry about firing a blank exposure when it is in my bag or when I am hiking, etc.
The shutter and aperture settings are on the lens in an easy-to-view location from the photographer’s perspective, and they click for each setting. Did I mention you get distance scales right on the lens? This makes it very easy for me to ensure my foreground is sharp in my landscape photos that have near and far subjects.
I get 8 huge 6×9 exposures on a single roll of 120 film, which is like music to a large-format photographer’s ears. While a medium-format rangefinder is not a replacement for a large-format camera, it offers many advantages. Knowing that I can make a huge mural-sized print from this camera gives me a lot of confidence in the field.
6×9 To Micro Four-Thirds Focal Length Comparisons
I use my micro four-thirds Olympus EM-5 camera’s 12-50mm zoom lens as a compositional tool in the field. In the list below, I show the 4×5 focal length on the far left and the approximate EM-5 focal length on the right. I print this information out and tape it to the back of the camera for field use.
- 75mm → approx. 10mm (I use 12mm since this is the widest focal length on my lens)
- 90mm → approx. 12mm
- 120mm → approx. 16mm
- 135mm → approx. 18mm
- 150mm → approx. 20mm
- 210mm → approx. 28mm
- 300mm → approx. 40mm
- 360mm → approx. 48mm
The EM-5 will show a much narrower field of view on an MFT camera compared to a 4×5 large format camera for the same focal length due to the significantly smaller sensor size of the MFT system.
Nick Carver Fuji GW690II Video
Nick Carver did a good video about the Fuji GW690, and it turns out that he also prefers the second generation. If you are looking at this camera, I think you will enjoy his video.
Fuji GW690II & GSW690II Overview
Real World Review of the GW/GSW690 II
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