GUNA DWI (@guna_dwi) is a self-taught photographer with a deep love for the art of film. His journey began in 2008, drawn by the timeless allure of analog photography. Over the past decade, he has built a professional career in Bali, Indonesia as a photographer, videographer, and drone pilot.
In 2021, he founded Safelight Film Lab in Jakarta (www.SafelightFilmLab.com), a space dedicated to nurturing the film photography community.
Now, his focus has shifted toward giving back-sharing his experience through workshops and helping to shape the next generation of Indonesian film photographers.
As Guna launches his new photobook titled Panoramic Japan, The Widelux Club has invited him for a brief interview regarding his work and his passion for the Widelux camera.
Guna, first of all, thank you for your time. It’s a pleasure to have you here.
Q: Let’s kick things off by talking about your relationship with panoramic photography. When did your interest in it begin?
A: I first got into film photography back in 2008, and from the beginning, I was fascinated by the panoramic format. I remember seeing the Horizon Perfekt from Lomography and being instantly drawn to its unique perspective and wide-angle view.
Q: Now, onto the reason we’re all gathered here: the Widelux. Even though you mostly used the Horizon for this new project, how did you come across the Widelux? What sets it apart from other panoramic cameras, in your experience?
A: One day, while visiting a camera store in Jakarta, someone walked in with a Widelux F7. That was the first time I saw a Widelux in person, and I was immediately captivated. It was such a beautiful, elegant camera with a design that really stood out.
Not long after that, someone in my city was selling a clean Widelux F7. I didn’t think twice—I bought it right away. I loved everything about it: the mechanical design, the swing-lens mechanism, and especially the viewfinder placement on the left, just like a rangefinder, allowing me to frame scenes with my right eye while observing with my left.
Over the past ten years, I’ve shot with various panoramic cameras—Noblex, Fuji 617, and the Xpan—but my heart has always belonged to fully mechanical swing-lens cameras like the Widelux and Horizon. I especially enjoy using them in public spaces. The wide format allows me to capture more of the story within a single frame.
Q: Let’s talk about the book. Was this specific project something you always had in mind, or did it come together more organically? Share a bit of your struggles on putting it together.
A: A few months ago, I had the chance to visit my dream destination, Japan. Growing up watching Japanese anime, I had vivid mental images of Japanese culture and streets. Being there in person was surreal—and for a film photography lover, Japan is a true paradise.
Back from Japan, I developed and scanned all the film myself at my own lab, Safelight Film Lab. Having full control over the process is essential to me—it’s part of my craftsmanship. Plus, it allows me the flexibility to push process C-41 or E-6 film, which not all labs are willing to do. When I previewed the results, I felt quite satisfied with how the images turned out. That’s when I realized—they deserved more than just being shared on social media. They needed to exist as a photobook, something tangible, something you could hold and linger over, page by page.
For this photobook project, I used several types of film: Kodak Gold 200 and Fuji Provia 100F for daylight shots, and Reflx 800T for nighttime scenes. The resulting photo series is organized into three sections in the photobook: The People, Movement, and Scenery.
Q: Japan - the central theme of your work - is known for being chaotic in the best possible way. People, lights, advertising... information everywhere. Was that sensory overload part of why you chose the panoramic format, which captures more than a traditional 35mm? Or was it something else?
A: I chose the panoramic format to reflect the energy and order of Japan. The hustle and bustle, people moving with purpose, forming lines while waiting for trains, walking across the chaos of Shibuya Crossing. And in contrast, there are scenes of stillness-moments of minimalism and solitude-stretching gently across the frame. The wide format holds it all, like a silent witness to both movement and pause.
Q: Last but not least, let’s get a bit into your process. You’re clearly passionate about traditional, hand-made photography, and even went as far as founding your own film lab - Safe Light - in Indonesia. Is it just about enjoying control over every step, or do you believe it genuinely influences the outcome of your photography?
A:
Q: Where can people get to know more of your work and get their hands on Panoramic Japan?
A: Currently, I’m inviting supporters to pre-order the photobook. You can see previews and snippets on my Instagram: @guna_dwi. The book is printed in panoramic format on fancy paper and finished with hand-stitched Japanese binding. Production will begin in early September 2025. If you’re interested in getting a copy, feel free to DM me on Instagram, Facebook, or via the Safelight Film Lab website.
Guna, Thanks again for chatting with us. Looking forward to the next time - maybe diving into Safe Light Lab and the story behind it.
Big thanks to Widelux Club for having me and for helping promote the photobook!