The G2 AF system works like a charm and once you’ve gotten used to the duration of the sound that the focus motor makes, you can ensure that the AF is locked onto your subject and not infinity/MFD. I found this a great help for framing and composition. The Contax G2 viewfinder is tiny, bordering on point-and-shoot territory but it also has something called a ‘zoom-finder’ which means that the image you see in the VF is representative of the focal length. I’d be very surprised if anyone can tell the difference in the resulting print made from these two setups. Compare the prices of a champagne G2 + 45/2 lens with the nearest equivalent, an M7 + 50mm/2 Planar and the difference is pretty stark.
![contax g2 kit contax g2 kit](https://s3.amazonaws.com/kitsplit/listing_images/imgs/000/102/079/large/film-objektiv-contax-g2-35mm-film-camera-rental-3.jpg)
The way I see it, I’m not sacrificing quality by switching systems. I figured if I didn’t like the new system, I could always turn back for little to no loss anyway. A black Contax G2 with 3 (very beautiful) lenses cost just a few hundred more than what my M6 body could fetch in the local market. Why did I switch from the M6, widely considered one of the best film cameras money could buy, to the G2? Three things mainly: I sold off my Leica M6 to fund the purchase of the Contax G2.
![contax g2 kit contax g2 kit](https://static.bhphotovideo.com/explora/sites/default/files/styles/960/public/12-contax-g2-img_4273.jpg)
In this particular marathon however, I brought along my Contax G2 with the 28/2.8 and 45/2 lenses to capture personal photos and leave the main workload to my other digital cameras. Colour-consistency is a major consideration, which is why I very rarely shoot commercial projects with film. I’ve been asked if there’re any special considerations when you’re using both film and digital formats for an assignment.