Nikon F – Camera Review

Nikon F – Camera Review

1280 720 James Tocchio

Innovation is a big deal. Companies that invent new products are amazing. Unfortunately for these trailblazers, innovation doesn’t always lead to glory. The last century is peppered with examples of “firsts” being forgotten. While no one remembers the very first MP3 player, everyone recognizes Steve Jobs’ iPod, right? Yes, sometimes it’s best to sit back, observe the competition, and use their experience to create something greater than anything anyone’s seen before. This is what happened with the Nikon F, and while Nikon’s first SLR doesn’t hold the distinction of being the first SLR in the world, it’s the one that many people remember as being “first”.

The reason? The F succeeded in combining all the best features of those SLRs that had come before it into one amazing machine. Drawing on innovations made by the likes of Exacta, Leica, Contax, and Asahi, the Nikon F was a camera that changed everything. It immediately earned a reputation for being the best SLR ever made. Even today it retains this distinction for many seasoned photographers.

But does this camera from 1959 truly surpass anything that came before and after, or is this a case of unbridled nostalgia?

nikon F Camera Review (1 of 5)

To understand why the F was so important is to remember a time when photography was a world of compromise. Limitations in technology and manufacturing created a landscape in which no single camera came without significant sacrifice. The best cameras of the times (rangefinders) had numerous practical irritants and the best of them (German models) were prohibitively expensive for many would-be shooters. Lesser-priced cameras unappealingly lacked features, sported fixed lenses, had terrible viewfinders, or were simply poor quality. For years, camera makers would develop cameras that solved one particular shortcoming while completely ignoring scores of other issues. The stage was set. The world was ready for a game-changing camera built for professionals.

Nikon’s F was the first to solve nearly every drawback associated with 35mm SLR film cameras. At the time of its release, one Japanese publication soberly reported that the “Nikon F has implemented almost all requirements placed on 35mm SLR cameras.” (Asahi Camera, 1959, September). This conservatively worded review, tinged with the low expectations for Japanese 35mm cameras, hints at Nikon’s brave new world of Japanese superiority. With the F, lens apertures no longer remained stopped down after shooting, mirrors returned automatically to their rest position, and viewfinders could be swapped out to fulfill the requirements of every possible shooting scenario. A lockable mirror, incredible lens lineup, motor drives for shooting up to four frames-per-second, expandable film backs up to 250 exposures, titanium foil shutter blades, and generally bullet-proof construction effectively signaled Nikon’s intent to become the best camera manufacturer in the world.

Suddenly, German makers such as Leica and Zeiss were playing second-fiddle to a Japanese company. The Nikon F made rangefinders obsolete, and its impeccable design and construction had buyers questioning why Zeiss’ machines were so expensive. In just a few years the F system expanded to encompass a lens lineup that featured everything from 21mm to 1000mm focal lengths, numerous light meter prisms, and film backs to cover nearly every professional and consumer-grade film format. The F had arrived, and it wasn’t going anywhere for the next fourteen years.

The Nikon F will always have its place in history, the question that remains is whether or not the F is relevant today. The short answer is that no camera collection is complete without one. But the F is a pro-grade camera that begs to be used, and to keep it on a collector’s shelf is nearly criminal. So what will the average photophile find in the field?

The F is a fully mechanical camera. There are no circuits to degrade, no flashing LED’s, no batteries to leak, and no contacts to corrode. Its controls are simplicity itself, with the top plate brandishing a shutter speed dial, film advance lever, shutter release button, advance/rewind switch, and a film rewind knob. The rear of the camera features the prism release button for swapping out prisms. The front sees inclusion of a self-timer lever, mirror lock-up switch, depth-of-field preview button, and lens release button. On the bottom is a film-back lock, tripod mount, and ASA/ISO reminder dial.

nikon F Camera Review (2 of 5)

Out in the wild the F is extremely capable, with very few drawbacks. The “hockey puck,” as it’s been colloquially referred to, comes in at around 850g and is one of the heaviest SLRs around. This can be forgiven when one considers this weight is registered by a machine that’s among the most durable ever produced. Still, film-junkies who are featherweights or travelers may consider shooting a smaller camera. Get past the heft, however, and the shooter will find one of the most mechanically pleasurable experiences around.

Dials click into their detents with clinical precision. The film advance lever offers one of the most satisfying actions of any camera. The stroke is simply perfect, and the sound of the film spool ratcheting and the shutter locking into its ready position is uniquely satisfying. The shutter release button depresses with exceptional fluidity, and crucial controls are placed in intrinsically logical locations. The depth-of-field button is especially well-located, sitting directly under the average shooters right index or middle finger.

This is the kind of camera that, within moments, feels completely natural to shoot. The F is one of those rare machines that never gets in the photographer’s way.

Nikon F Viewfinder

The F was the first full-featured SLR system, and this extended to include numerous available viewfinders. Finders equipped with light-meters, called Photomic Finders, are easily attainable, as are the batteries for these meters. The early models use independent, external metering, while later models use through-the-lens metering. This advanced TTL system favored a 60% center-weighted metering, a metering method so excellent that Nikon would continue to use it for decades.

Today, unfortunately, the functionality of these light-meters is often degraded, which has led to working light-meter prisms being highly valued. The frequency of Photomic finders being non-functioning has also led to an increased value being placed on the prisms that feature no light-meter. These include the waist-level and eye-level pentaprism finders.

nikon F Camera Review (5 of 5)

Through the viewfinder of the F. Not much to see, really.

Looking through the viewfinder of a Photomic-equipped F reveals no information beyond a tiny light-meter needle. This needle, when the aperture and shutter speed have been set to yield a proper exposure, rests in the center of a small, rectangular window. On top of the Photomic Finder is another needle for presetting exposure. It works well-enough, though personal preference will dictate whether the photographer uses a Photomic or a standard finder coupled with an external light-meter (or perhaps the sunny 16 rule). In any case, the viewfinder is one of the F’s weakest links. Lacking in information that some of its contemporaries put at-the-ready, it’s spartan for sure.

One of the major hallmarks of the Nikon F system was the outstanding line of lenses produced. The F-mount bayonet lens mount system allowed quick and easy swapping of an incredibly robust range of lenses. Optical characteristics, quality construction, and innovations in lens design were then, and are now, of the highest caliber.

F-mount lens production continues to this day, and comprises the largest collection of optical lenses ever created. It has the highest degree of backward and forward compatibility of any lens system in the world, with countless vintage lenses being compatible with Nikon’s modern, professional-grade DSLRs. Some F-mount lenses, like the 58mm ƒ/1.2 Noct-Nikkor, have achieved legendary status, and are considered among the best lenses in the world from any manufacturer of any era.

Aesthetically the Nikon F is a classically styled machine. It wields a clarity of design that’s entirely businesslike. There’s nothing extraneous about it. Only the bare essentials are here, and they’re rendered in a way that is clear, concise, and purposeful. The Photomic Finders can be polarizing, with some considering them to be large, unwieldy masses slapped on top of an otherwise elegant body. This point is valid, though use of a pentaprism or waist-level finder can mitigate it for those who are prohibitively appalled by the Photomics.

This full-metal camera comes in choice of black or chrome finish. In black, the F looks intensely professional, and is perfect for the wannabe photojournalist or street shooter. Chrome models are nicely finished in a contrasty pattern of satin silver and black. On both versions, the dimpled, black trim is of the most resilient found on any vintage camera, and won’t degrade like many of the leatherettes found on similar machines. Muscular and refined, the F is a camera that will draw looks of intrigue and admiration in an era of plastic, bubbly DSLRs.

Nikon F Mount

These shots were taken on slide film and cross-processed.

Titanium shutter Nikon F

With all this technical achievement, exceptional design, and modern usability there’d be reason enough to shoot an F, but that’s not the whole story. The very best cameras are the ones with that strange, intangible factor that inexplicably draw a photographer to shoot it over and over. The F is such a camera. There’s just something about it. Even when people have no idea what they’re looking at, they can sense it; they can tell it’s something special.

The F turns heads and opens doors to often-fantastic conversations. People will ask what it is, how old is it, does it still work, and if they can hold it. Others will suddenly blink in wide-eyed recognition, and relive a time 44 years ago when they used an F to shoot a trip to Europe, or the first years of their child’s life. Others will quietly wonder if their F is still stored somewhere in the attic, and resolve to dig it out when they get home.

This camera does everything any shooter could ask of it. From covering wars, to photography in lunar orbit, the F has never met a challenge it couldn’t handle. It’s impeccably built, shoots beautifully, and will operate forever. The F mount optics are second-to-none, and the range of expandable accessories is unmatched by its contemporaries. The F is a machine that was made by obsessive engineers for the most exacting photographers, and they succeeded in creating something that no one dreamed could be possible. So is the F Nikon’s best 35mm SLR? In short, yes it is.

Want your own Nikon F?

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James Tocchio

James Tocchio is a writer and photographer, and the founder of Casual Photophile. He’s spent years researching, collecting, and shooting classic and collectible cameras. In addition to his work here, he’s also the founder of the online camera shop

All stories by:James Tocchio
  • Very impressive and elegant assembly of glass and metal! Though the viewfinder appears sparse, I actually find it preferable to mish mashed jumble often seen on today’s digital camera screens. The history was fascinating and really put the prevailing conditions of the industry at the time into clear perspective. Thanks!

    • Thanks Adam. This was a fun one to research and write, and it was great to spend some time with this machine. You’re right about the way modern camera viewfinders can quickly become cluttered! Thanks for reading and commenting, my friend.

  • I’ve been shooting with Nikons professionally since the late 60’s and still have an F from 1968. Mine wears a prism finder, but there is a Photomic meter finder patiently sitting in a box until it is needed. For me, however, the pinnacle of Nikons is the F2. I worked my way through college stringing for local newspapers with an F, a couple of motorized F2’s and a Nikkormat Ftn. My “walkabout” F2 with an MD-2 motor drive, the MB-1 battery pack with it’s 10 AA’s and a 50/1.4 Nikkor lens weighs in at a hefty 2213 grams, but everything about it screams “professional”.

    Thanks for an excellent article on an old friend! I may have to pop a roll of Tri-X in the F and take it for a walk!

    • I’d love to hear some stories from someone as experienced as you. It sounds like you really loved, and still love, this camera. Thats fantastic. Thanks for your comment my friend. If you shoot a roll with the F let us know where we can see the prints, if possible.

      • First of all, thank you for your welcome! I am a chronic eBayer and will be sure to launch my searches from your site going forward. I love all things Nikon and have had/ still have dozens of cameras from the S-2 rangefinder on up to the F-5, with most models in-between.
        I bought my first F while in college Atlanta in 1967 when I realized that I needed something more formidable than my Petri 7s. When one is trying to get jobs with newspapers, one needs something that makes a better impression than a cheap Japanese rangefinder with a plastic ring around the lens, so I bought a well-used F with a 50/1.4 at my favorite camera store and never looked back.
        That camera, another F and several lenses were stolen a couple of years later, but I still have that original 50mm lens. I resisted the temptation to have that lens AI’d and it’s been perfectly happy on nearly every Nikon I’ve owned, but these days, it mostly lives on a Nikkormat EL-W.
        I don’t know just how many thousands of photos I’ve taken with my surviving F in the last 47 years, but it’s only been CLA’d twice and had light seals replaced three times. It is, however, on it’s 2nd metered finder. The first one was trashed when the camera was dropped onto a concrete floor, but the camera body was/is fine.
        As an aside, back in the late 60’s and early 70’s, there were a number of articles on how to safely photograph a riot and how to remove your precious film from your camera while you were being kicked and beaten. Lovely thought. Anyway, one writer pretty much hit the nail on the head when he reminded us that a Nikon F on the end of a 3 foot strap being swung around one’s head was one hell of an intimidator and tended to keep the crowds at bay! LOL!!
        Again, thanks for the welcome and I’ll let you know how the F walkabout goes.

    • Haven’t had the pleasure to shoot the F2 for such a long time, since I’ve recently discovered Nikons of 60’s and 70’s.
      Agree about the F2, I don’t know what it is, but it seems like I want to shoot the F2 rather than the F4, even if the F4 is “easier” to shoot…

      I also had to have the Nikkormats that could be had for a very low price.

  • Randle P. McMurphy January 8, 2015 at 2:26 pm

    This is Camera Porn !
    The Nikon F is a example of well craftmanship
    and their Nikkor lenses are the finest ever build
    surpassing till today.
    I still use it for some Portrait Work with Kodak Tri-X 400
    if we need something that look different to ususal digital
    pictures !

    • Thanks, my friend. Just starting to shoot Tri-X and very excited.

    • If you like the F, you’d probably like any of the Nikkormats as, for all practical purposes, they could be clones of the F with a prism finder that just happens to have a meter. The head is not interchangeable like on the F and with the exception of the Nikkormat EL-W, it won’t take a motor drive, but they were hand built and quality of construction is the same as on the Nikon. I bought a Nikkormat FT in 1968 when I bought my first F and am still using it. There were several models, but batteries are still available for the FT2, FT3 and EL/EL-W.

      I have at least one of each type, but my favorite is the FT2. It was the first Nikkormat to use an alkaline battery and the last model to accept the old style lenses without having to flip a lever and use stop-down metering. Except for the FT3 that my ex wife filled with hair spray, I’ve never had one fail and one of these days when I’ve got a lot of time to kill, I’ll strip it down and see if I can’t make it work again. Congratulations and btw, Tri-X has been my favorite film for over 50 years. Good choice on both camera and film!

  • Great article! The Nikon Ftn is my “go to” camera. In fact, it’s my only camera and it’s been making wonderful photos for the last 43 years. With 1-3 rolls each month, there’s no sign of retiring in sight…

  • Have had my F since 1974, bought used. Wears a meterless prism and the original 50/1.4. These days I use it mainly with a Nikkor AiS 50/1.8 to lose a little weight. Was reskinned 8 years ago and with a dent here and there, it is my personal super star. It has never failed me.

    • They’re gorgeous and capable machines. The meter less prism is pure class. They’re expensive though!! Thanks for reading and happy shooting.

  • Great review of a great camera.

  • My dad bought one in Bermuda around 1969, FTN finder and all. We were getting stuff out of his house many years later after he died. Something (we presume it was Dad’s spirit)made my wife look under the bed. Lo and behold, there was the Nikon in a paper bag. The FTN finder had been replaced with a standard prism finder and the original 50mm F1.4 had been replaced with a Nikon 85mm F8 lens. The camera is still rock solid and still operates just as smoothly as it did nearly 50 years ago. (Dad let me use it once to finish off some film for him). The F is the Rolls Royce of cameras.

  • OOPS! The replacement lens is a Nikon 85mm F1.8 lens.

  • You got that right, James! And that focal length narrows the view down to what you’re actually selecting in your photograph

  • I have a question on Kodak film. I shot a roll of Tri X a few years ago and when I had it processed, it was completely blank, not even the frame numbers that are usually on it. (Yes, it DID go through the camera). A few months before that, I shot a roll of Kodak color print film with nearly the same result-most of it was blank. (My brother told me that Kodak film had really gone down hill in the quality control area).
    Han anyone else had this problem?

    • I don’t think this would be indicative of a lack of QC at Kodak Alaris. In fact, I’ve found their modern films to be extremely high quality. As good as the old days? Who knows.

      You had the Tri X processed by a black and white photo lab, I assume, and not processed by a standard C41 photo lab?

      Aside from processing problems, I could only guess that the film wasn’t being wound around the take up spool properly, or that there’s a malfunction with the camera of some type?

      I’m happy to help but would just need some more info.

    • Was the processed film base clear or dark? If it’s clear, it either didn’t go through the camera or the shutter wasn’t opening or if the film is still curled, it may not have been processed. If the film base is dark, look for a shutter sticking open.

      On the color film, you mentioned “most of it was blank” and that sounds more like a shutter problem, but in another post you said that you’d used different cameras with the same results. I’d change labs…

      I have zero problems with Kodak film and would argue the QC statement as I’ve shot hundreds of rolls since the bankruptcy deal without a problem and none of my photographer cohorts have mentioned any. Kodak film is owned by the Kodak Pension Plan, but Eastman Kodak is still the manufacturer.

      • The shutter was the first thing I checked. It was opening. The film was also advancing through the camera. It appears that no emulsion was ever coated on the film in these two cases. I don’t think changing labs would help in that case.

      • In fact, I used a one use disposable camera in the first case, where only a few of the shots were on the film.

      • The disposable camera was loaded with Kodak color print film.

        • Disturbing. I usually shoot Fuji when I shoot color, but Tri-X has been my B&W film of choice for about 50 years and I shoot lots of it. I hope your experience isn’t an indicator of things to come.

    • Lawrence Lee Huber January 1, 2021 at 11:48 am

      Sounds like the shutter did not open. Sounded like it did but didn’t.

  • No, the camera was winding properly. It was the Nikon I mentioned in an earlier post and it worked fine then and still does. I’ve shot some Fuji color film with it and all the images registered on the film. I was told that this particular lab processed b & w film, so I don’t think they were using color film chemicals to process it. Also, the Kodak color film with this problem was run through a different camera.
    Any ideas?

  • No. If that was the case age fog would have been the problem

  • For Geezer G: I’ve switched to Fuji for color, also, and will probably go to Ilford for B&W. This may have been a fluke, but if I’m shooting for money, I’m not willing to risk having the film crap out on me and then not know about it until after the fact. Customers blame the photographer for no pictures. What size film do you use?
    Let me know if you ever run into this problem with Kodak films

    • I shoot a combination of 35mm and 120. I owned a commercial studio in the Atlanta area for 32 years and managed a camera store with a high capacity film lab for another 16, so I’ve been on all sides of the blame game–the client blames the photographer who blames the lab who blames either the photographer or the camera. LOL!!.

      I shoot 35mm for fun, but the paying jobs are all 120. If you can find it, try a few rolls of Fomapan 100 B&W. I’ve had some very impressive results with it. The Fuji Neopan 100 Acros is also quite good, but I’ll stick with the Tri-X on the ASA 400 until it bites me as I’ve yet to find a comparable replacement.

      • Hey, thanks. I’ll try some of the other films, maybe even the Tri X again. As I said before, the Nikon was inherited, so to speak, and is in really fine shape. I’d love to find a used Rolleiflex and get back into shooting 120 again, but at this point there’s no stretch in the pension. If I find a professional lab to carefully process the film and prints, I should be able to make some decent 8 x 10s with the equipment I have. I’m mainly looking to make prints to hang at Carlisle Arts Learning Center here in Carlisle, PA.
        You’re right about Tri X being a fine film. I had a darkroom set up in the late 70s and I used to develop it in Microdol X. It produced incredibly fine grain with no loss of speed, along with really rich grey tones.
        Again, thanks. I’m glad I found this page.

  • On the Argus C3: My dad also owned one of these sometime in the mid fifties. It produced some reasonably sharp color slides, a few of which were of my younger brother and me dressed up as Davy Crockett (This would have been around 1955). They were set up in a metal case with slots (I don’t remember how may) and it was full. Sadly, I don’t know what became of them and I think the camera was later stolen from my older brother. I never used it myself, but I knew how it operated-winding it, cocking the shutter, 2 windows for framing and focusing-that forced you to think through your shots. A worthwhile camera, even though it wound “backwards”.

    • It must’ve been so nice to have been raised around so much photography. Not everyone has that connection to the past. For some time now I’ve been considering writing an article about the power of photography in a familial setting. It’s so important in so many ways to document our lives. It gives our children, grandchildren, etc., a real sense of time and place; that they come from somewhere and that real people existed before them. Tall tales become something more with photographic proof, faceless names become fleshed characters, and what would be cloudy memories become crisp and vivid.

      • You’re right there. I have an 8×10 next to me of my paternal grandfather with his daughter on her wedding day. I have another one of him and my grandmother taken in 1916. (I wouldn’t have believed it was the same man if my grandmother hadn’t been In the picture. He was much bulkier-read more muscular-in the early shot). I also have an 8×10 somewhere of my parents wedding party, including my maternal grandfather. I have another shot of him in uniform when he was in the New York State Militia in the early 1900s. (He was a sharpshooter and, according to my grandmother, could hit a target at 1000 yards. Years later, he shot a rat that was hiding behind a radiator. Yeah, through one of those little openings!!) I hope I still have these photos, I have to look for them. I can still remember when I was a little kid (2 or 3) he’d sing me a lullibie in German, then sing the English translation. ( Otto Gustav Ferro should indicate his descent, though he was born in New York).
        And I started out talking about a Nikon F! I guess the personal memories you make with it or any other camera are priceless.

        • I only have two photographs hanging where I can see them from my desk. The first is of my great Uncle Lee taken in his general store in Cowpens, SC, sometime around 1912. The other one is quite special–my grandfather was in the infantry in France during WWI and someplace along the way, he found a camera on a battlefield. He was wounded in a later battle and while in Paris recovering, he remembered the camera and had the film developed. There was only one image and it was of Kaiser Wilhelm and his staff reviewing the troops. The photo is interesting because of the subject, but it is special because of the circumstances surrounding it.

  • Wow! Now THAT’s history!

  • I’m really diverging from Nikons here, but has anyone ever seen a Graflex Super D? I read about this 4×5 SLR some years back, but have never seen one in the flesh. The article I read about it showed a photo of Pancho Villa with one-his Battlefield Graflex as the author called it. I also recognized it in King Kong. One of the photographers was using one to photograph Kong on the stage.
    LOL, somebody please tell me if I’m straying too far afield with my posts.

    • No rules to comments here, aside from being courteous. I know a guy who runs a surplus equipment resale company close to the shop, and he has a handful of Graflex cameras in a giant, glass case in his office. I’ll take a peek next time I’m in there.

      • The Super D had a high tube for a viewfinder that you looked down through to see the mirror. It didn’t look at all like the press-type Crown Graphic or Speed Graphic. It probably didn’t have an instant return mirror, either. One other question about the Speed Graphic: did it ever come in a 5×7 size? All the ones I’ve seen used 4×5 film. Dad said that when he was an agent in the FBI, they used 5×7 Speed Graphics. Anyone know if this is true?

  • I used these cameras in the 1960s (yearbook equipment), but after a while I grew to hate its idiosyncrasies. Awkward, clumsy, slow ( you had to take the back off to load it), I never understood why anyone would buy this monstrosity.

    • They’re pretty nice with the eye-level finder.

    • Why does a hunter wait hours for this one single shot to his prey
      and not scare off a hundred and shoot all with a machine gun ?

      Today we are used to all this amenities and technology which makes
      anybody do anything even without understand how – so for me using
      a old camera like that is like meditation, like something I can even do
      without even thinking “how”……..and slow down while doing it !

  • I used a pair of Nikon F cameras in my early photographic career, before a legacy in 2007 enabled me to buy a pair of Leica M4-P bodies and 25 (VC), 40 and 90mm lenses. Later got an MD2 and 21mm F3.4 Super Angulon. Awesome in cities. I got curious about the Leicaflexes about 3 years ago and I bought an SL from 1971 with non working meter. I also bought the Schneider Kreuznach P A Curtagon 35mm f4 shift lens as I like 35mm. As my meter does not work, the ‘cams’ issue’ does not affect me. I now have 4 Leicaflexes and 28/35/50/90/135/180/250 lenses as well as the shift and the 75-200mm. I noticed people were catching on to the fact that this old glass can be used with modern digital SLRs with Chinese made adapters. That’s why I got cracking with my purchases. My boyfriend sold off my Nikon gear via eBay and it half paid for the Leicaflex lenses. The Leicaflex SL is a very worthy successor to the Nikon F and ‘mats. Jim Stansfield of NG feels that the Nikon bodies are more reliable but the Leica Lenses are sharper. My bodies have one with a working meter but I prefer handheld as I can meter reflected or incident, something built in meters cannot do.
    When I used my F bodies, I mostly used the Weston V and Invercone. Later switched to the Gossen Lunalite as it is solid state with three LEDs and uses the 9v PP3 battery easily found at home (GB) or abroad.

  • Guys, I need some information here regarding the Nikon F Eye Level serial numbers and production year. Stumbled upon this website … it says “The Nikon F camera was produced between March 1959 and October 1973. The very first serial number was 6400001 and the last serial number was 7451052 (Peter Braczko, Nikon Pocket Book, July 1994, page 4-7: «The last serial numbers of the Nikon F production are 7451048 in chrome and 7451052 in black finish.»). Higher serial numbers up to 7464xxx are found on spare part top covers.”

    I’m interested in getting a mint unit and eBay has a few but the serial numbers bothers me a bit. There’s a few Nikon Fs with serial numbers 7464XXXX and according to the website above, “Higher serial numbers up to 7464xxx are found on spare part top covers.” Kinda worried if they replaced the top covers with recent serial numbers to give the impressions of those cameras are from the last batches of production?

    Any thoughts?

    • Naza: May I suggest that you contact Gray at Grays of Westminster in London. They are the U.K.s premier authority on Nikon. They have access to detailed information from Nikon that dealers and the public are oblivious to. Over the years, I’ve noticed that out of the 35mm film camera manufacturers, Nikon and Leica are the two companies that take a great pride in their histories. Grays are particularly good for users of historical equipment such as the rangefinder types, F, F2, F3 etc. The mechanical models together with the accessories. These are the people to approach. I’ve used them extensively for screens, lenses, hoods, filters etc before being bitten by the Leicaflex SL bug. Good luck with your question. DM.

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James Tocchio

James Tocchio is a writer and photographer, and the founder of Casual Photophile. He’s spent years researching, collecting, and shooting classic and collectible cameras. In addition to his work here, he’s also the founder of the online camera shop

All stories by:James Tocchio