Digital 'Vivian Maier' style shooting

what?? Is not every TLR user a "vivian maier style shooter"?

edit; which i find rather offensive, considering i don't liek VM's shots at all. I just don't see anything in them, i don't get them, and i don't get all the hype around them.
I can accept that the fault is with me. But her work still sucks 😀
 
But how do you get the LCD screen to display a reversed image?

Spot on.

For me, the reversed image is a boon to composition. It definitely helps me tap into the right side of the brain. ...Of course, it was a pain to get used to, but now, I really value how the abstraction of reality helps me compose stronger images.
 
About the mirrored image composition:
It is often stated, that 6x6 images are more rigid, static compositions.
I wonder if it's because the photographer has to put extra effort into composing by using the mirrored image.
In graphics/drawing, artists often turn the image upside down to help themselves see compositional faults. Or so i've been told by an artist friend.
Maybe the miorrored image helps in some way to achieve classic composition which can be also a drawback, in not allowing out-of-the-box (soprry for the pun - i mean out of the rules box) composing.
 
What focal length lens do you plan to use for the "lower to the subject than at eye level" compositions?

I literally just got the camera last week so the only lens I have is the kit zoom (18-55) so I am researching the other lenses to decide what makes sense. Also, I am getting the M adapter so I can use my M mount lenses with the Fuji. I have a Zeiss 35mm Biogon and a Voigtlander 28mm. Excited to try some different things and see how it works out.
 
But how do you get the LCD screen to display a reversed image?

Use a mirror at 45 degrees. Here is one example.

About the mirrored image composition:
It is often stated, that 6x6 images are more rigid, static compositions.
I wonder if it's because the photographer has to put extra effort into composing by using the mirrored image.
In graphics/drawing, artists often turn the image upside down to help themselves see compositional faults. Or so i've been told by an artist friend.

Yes, changing direction of the image helps for composition. That is because composition should not depend on orientation as much as the actual subject: Faces, structures ... Our brain is wired in such a way for meaningful objects to draw our attention. So, as far as the composition goes, objects distract and changing the orientation of the image partly reduces this effect. You can also blur the image and it will help a bit too.

Maybe the miorrored image helps in some way to achieve classic composition which can be also a drawback, in not allowing out-of-the-box (soprry for the pun - i mean out of the rules box) composing.

Actually mirroring might help us to think outside of the box. We are adapted to "see" and subsequently frame in a fairly constant matter and messing with the structure of the world, forces us to reframe in a more unique way. This is more similar to your first point.
 
The waist-view or bent-view approach can also be adapted to any eyelevel filmcam that takes a chimney or 90 degree VF. That's why I have a Nikon 90' (fits my GF670, GA645) and a VariMagni for my OM4.

Say, do you have a part / model number for the one that fits your GF670? I notice Nikon has a couple.
 
The DR3 (and I think DR4) will screw into any medium format Fuji. You can lock the diopter, it's a tall chimney with a big comfortable rubber eyepiece (eyeglass relief if you need it). Subsequent models reflect the Nikon shift from F-style round/screw-in eyepieces to rectangular eyepieces.

I also have a smaller Nikon F/Nikkormat right angle viewfinder. It's half the size of the DR3, and fits the Fuji only if I unscrew the front collar (I think the difference is 18mm/22mm); it is also dioptric, low profile, easier to pack in a pocket. (In fact, it's for sale in the classifieds--I don't need 2 90' Nikon VFs.)
 
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