Nikon F3 – Camera Review

Nikon F3 – Camera Review

2000 1125 Josh Solomon

There are rare objects in this world that have the power to stop people in their tracks. Works of art so beautiful that they demand a lingering gaze; music so lovely that it pulls us into a different world. And for us photo geeks, even cameras can be so captivating!

I was on vacation, strolling through New York’s Greenwich Village and snapping away when a man stopped me on the street and enthusiastically exclaimed, “Hey, is that a Nikon F3?” We talked a bit, he lamented selling his own F3 long ago, and as we parted he mentioned his happiness (but not his surprise) to see one still in use.

A month later I was back home in Los Angeles eating at a Thai restaurant when another stranger asked me to take a photo of his family. When he noticed the camera on the table his eyes took on a distant, sentimental glow as he recognized the F3. He stared at it with something that resembled reverence, even as he distractedly handed me his comparatively gargantuan D4.

And it wasn’t much later that a stranger in a coffee shop casually remarked that the F3 slung over my shoulder was “the best camera of them all. That’ll last you forever.”

These interactions happen all the time, and they always leave me with a feeling of pride as I nod, and smile, and hold the F3 just a bit tighter. But what is it about the F3 that makes people so sentimental? What makes it so special, so beautiful, that it so often causes people to stop and appreciate it?

It’s an easy question to answer. Simply put, the Nikon F3 is one of the greatest cameras ever made.

Yes, the F3 is a truly amazing camera, but when we think of truly amazing products we often think of something that completely innovated an industry, or brought about a revolution. The F3 was never considered a technological innovator in the traditional sense. It never introduced new technologies the way that certain cameras from Canon and Minolta did. It offered no new gimmicks (like those of matrix metering, autofocus, or program shooting). So how is it that the F3 lit the world on fire at its original unveiling, and why does it continue to be lauded as one of the best film cameras ever made?

The secret to the F3’s initial success was that it combined all of the best features of the best cameras in the world, elevated these features to their maximum level of functionality and quality, and combined everything into a sleek, beautiful package.

And the secret to the F3’s continued position as a legendary camera is that nearly 40 years after it was first unveiled it’s as capable and beautiful as ever. In fact, it’s beauty may even be magnified following the recent decades of uninspired Japanese design.

To speak of the Nikon F3’s aesthetic brings me back to my previous reference to art. Speaking of the F3 can sound almost like speaking of the beauty of Michelangelo’s David, a comparison that is all the more appropriate when we know the history of the F3’s design, which was headed by Giorgetto Giugiaro, the Italian designer who brought us the DeLorean and the BMW M1. This visionary designer drafted a form that (as in many instances of Italian renaissance sculpture) was a perfection of proportion entirely in-tune with the camera’s functionality. His legacy of design lives on in every major Nikon since, in the form of the now iconic red stripe.

But looks can often deceive. Commercial history is full of products through the years that look the part but lack performance to match- again we can reference the DeLorean. Not so with the F3. Characterized by the hard, boxy angles of the 1980s and its all black paint, the F3 looks utilitarian in the way that an Armani suit is utilitarian: it gets the job done, but it gets it done with style. Nothing is wasted in its design, and even today you’d be hard pressed to find anybody who’d seek a change in the F3’s aesthetics.

Much of the camera’s strength is found in its ability to stay out of the way of the photographer. The F3’s operation is simplicity itself, especially when shot in aperture-priority auto-exposure mode. This is the sole automated mode, but it’s just about the only mode an advanced-amateur or professional will realistically need. It lets the camera do the complicated math of exposure but leaves much of the artistic control to the photographer. Depth-of-field is handled through selecting varying apertures, and the camera does the rest. Every shot is perfectly exposed.

But shooting in this mode doesn’t leave us unable to adjust shutter speed. For photographers who are more experienced, there are ways to bend the auto-exposure system to our will. We have access to both an exposure compensation dial, and an exposure lock button. This convenient button placed on the front of the camera makes it simple to meter for shadows or for highlights on the fly, by framing for the light, reframing for composition, and shooting.

Ergonomically the F3 is perfect. It fits snugly in the hand (with the aid of the hand grip), and all the dials and buttons are exactly where you’d expect them to be. You can find the mirror lock-up and depth-of-field preview in the same knob, above the AE lock and mechanical shutter release. On the top plate is a frame counter, a multiple exposure lever (ooh), the threaded shutter release, self timer, shutter lock/power switch, and the shutter dial. The shutter dial shows speeds from 8 seconds to 1/2000th of a second, plus bulb, time, flash-sync, and Aperture-priority mode.

The unique metering system used in the F3 is my personal favorite in any classic camera, just edging out Minolta’s CLC system used in the SRT and X-series machines. It uses an uncommonly heavy, center-weighted (80/20) metering system. Looking in the mirror-box we find thousands of tiny little pinholes in the reflex mirror which allow exactly 8% of the light to pass through the mirror and onto a metering cell. The end result is a cross between average scene metering and spot metering, and in practice it works wonderfully. This has never been copied by any other manufacturer and is not found on any SLR Nikon ever made, probably because it was so expensive to engineer and manufacture.

The intricacies of the metering system showcase the almost obsessive attention to detail that Nikon put into the F3. But even the most basic aspects of typical 35mm cameras were enhanced, maximized, and perfected in the F3. One simple example; the film advance lever has eleven ball-bearings, more than any other camera ever made. The F3’s engineers didn’t need to do this, but they did, just so that photographers could enjoy a film advance motion that would be as smooth and effortless as possible. This also made it possible for the F3’s motor drive to operate at such high speeds, the idea being that if the film advance assembly required less energy to operate, then the motor drive could operate more efficiently.

Another area where the F3 takes the standards of the day and absolutely trounced them was in the realm of electronics. The very chassis of the F3 is molded in a way that the circuit board, which is flexible, can fit within the internal chassis itself, increasing the reliability of the camera’s electronics to a level that most cameras simply can’t match.

The shutter is made out of titanium honeycomb and was stress-tested up to 150,000 exposures, something that far surpassed any camera design at the time. And the top and bottom plates are made of some of the thickest brass we’ve seen in a Japanese camera.

The more we examine the F3 (something we did quite extensively in our exploded view) the more impressed we are by its design. One gets the sense that every aspect of this camera was agonized over, that no stone was left unturned, and it only adds to the aura of legendary quality that the camera exudes.

The F3, like all of Nikon’s professional-level cameras, is a modular system camera. This means it offers a massive range of accessories for the professional. Possibly the crown jewel of this system for many amateur shooters is the optional HP viewfinder. Here “HP” denotes “high-eyepoint” which allows the shooter to hold the camera further from the eye and yet still see the entire picture. Since the viewfinder has 100% coverage, what you see is exactly what you get. It’s absolutely massive and perfectly illuminated, one of the brightest viewfinders I have ever used. Being someone who wears glasses, this is one of the best VFs in classic cameras.

All of this combines to make something singularly legendary, and in my opinion unmatched. The F3 is definitively present while staying out of the way, hard-working while requiring no effort, functional and reliable while being oh, so beautiful.

It almost goes without saying, but one of the major hallmarks of the Nikon F system has always been the outstanding line of lenses produced. Optical characteristics, quality of construction, and innovation in lens design are easily better than almost any other brand, and Nikon has created its fair share of now-legendary lenses. If you’re looking for a camera system with unmatched glass, the F3 is it.

Compatibility isn’t an issue. The F3 uses Nikon’s ubiquitous F mount, meaning that all of Nikon’s F mount lenses will mount to this camera. But unlike some older or newer Nikons, the F3 makes allowances for using all of Nikon’s lenses. Pre-AI, AI, and AI-s lenses all are compatible. Auto-indexing (AI and AI-s) lenses mount natively and require no additional procedures for normal operation. For Pre-AI lenses, simply flip up the AI tab on the lens mount and use the stop-down method for metering. No problem.

But all interesting characters have to have some flaws, and so it is with the F3. A few things hold it back from complete perfection. First off, the hot-shoe is a proprietary affair and positioned so that its usage blocks the exposure compensation dial and ISO adjuster. The shutter’s horizontal travel hamstrings the F3’s flash-sync speed to a paltry 1/80th of a second, making the use of fill flash in bright conditions quite challenging.

Problems arise in the prism as well. For instance, the LCD display (which was a huge deal at the time) is hard to see in low-light and the illumination lamp button is placed so that practical use is clumsy. You also can’t tell just how much you’re over- or under-exposing because the only indicator is a small + or – symbol crammed next to the shutter speed readout.

And if we’re really nitpicking, we could complain about the very heart of the F3’s engineering. This camera is electronic, not mechanical, meaning the shutter is only fully operational with the use of batteries (though there is a single-speed mechanical override). Even today, some folk refuse to shoot electronic cameras, and back when the F3 was new this was a downright massive sticking point with photojournalists on account of the deserved reputation for breakdowns that electronic cameras had developed. That said, the past 30 years have proven pretty conclusively that the F3’s electronics are nothing to worry about. Its hard-earned reputation for reliability is now unquestioned.

But possibly the greatest argument against the F3 is that it didn’t (and still doesn’t) offer anything significantly different from many other cameras. When we boil it down, the F3 is nothing more than an aperture-priority electronic camera with manual override. That’s it. One could easily find these core features features from the cheaper Nikon EM or FE. If you’re looking for a camera on the cutting edge of technological innovation, even by the standards of the 1980s, this isn’t that camera.

But shoot the F3 for a couple of days and we invariably come to the conclusion that so many have come to before. The Nikon F3 is one of the greatest cameras ever made.

When I first purchased my F3, it was beat to hell with brassing throughout, had a cracked advance lever and a faulty lens-lock that I still have to check on every once in a while. I could tell somebody had used it, and used it well. But even after a storied history, it’s still ticking like the day it was bought and it still feels like the most reliable camera in the world.

It makes the process of photography something magical. It dissolves the veil between you and your photograph, something only a truly special camera could do, and something I’ve never experienced with any other camera. The impeccable attention to detail, and a design sensibility that borders on the artistic inspire me like no other camera.

More than that, it has a certain intangible quality that endears me to it. No doubt those old photographers who’ve reminisced over my F3 felt much the same way those many years ago. This je ne sais quoi just may be the greatest trait of this camera. It just feels right.

I’ve tried countless SLRs from every manufacturer, but I keep coming home to my F3. And sometimes, there really is no place like home.

Want your own legendary Nikon F3?

Buy it on eBay 

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Buy it at F-stop Cameras

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Josh Solomon

Josh Solomon is a freelance writer and touring bassist living in Los Angeles. He has an affinity for all things analog. When not onstage, you can find him roaming around Southern California shooting film and humming a tune.

All stories by:Josh Solomon
  • Great review, although I’ve never found the AE button conveniently placed myself. For me, it’s one of those quirks that stops it just short of being the perfect MF 35mm SLR.

  • Cool review. Thank you. Realy refreshing to read.

  • In search for the best 35mm SLR for myself, I’ve settled on the F3 and I couldn’t be more content. I’ve used many different 35mm SLRs over the past few years but none of them really stuck with me. Even the legendary Nikon F2, arguably the only real rival to F3 in the eyes of many, simply couldn’t solidify a place in my heart. So what was I to do? Well, I sold my collection of 35mm SLRs, picked up a Nikon F3 and a Nikkor 50mm f1.2 and now it is my reliable/daily companion. This is a camera that I will pass on to my children with confidence that it will keep on ticking. My only complaint is in the design of the advance lever itself; I wish it were more like that of the F2 (metal instead of plastic). It is my only aesthetic complaint on this machine, and I am admittedly very picky. No camera is perfect, but in the realm of 35mm SLRs, the F3 is the closest to perfection as we’re going to get.

    PS: The available waist level finder adds just a little more magic to the experience. It’s such a joy to be able to compose directly on the ground glass and still be metered! An option sorely missed in modern cameras in my eyes.

    • Hmm, waist level on an F3? I think I’m going to have to hunt one of those. Thanks for the heads up. I wonder if Josh has ever used one of those…

      • I actually almost pulled the trigger on one of those a few years back! I know a couple of people who swear by them. They also exist for the F and the F2. It’s also possible to frame from the waist if you remove the viewfinder itself, but it might screw up the metering if you’re in broad daylight.

      • I highly recomend it! It has it’s benefits over a traditional prism finder but I use it simply becasue it’s just cool!

      • I have used the waist level finder on one of my F3 bodies (I have 3) for discreet street shooting. The fact that the metering is in the body, and auto at that, means all I have to do is compose. Its essential to glance away when tripping the shutter. Although I’m an Environmental Photographer, I was pressed into covering a wedding about 8 years ago. I took 2 F3 bodies and a handful of lenses. Mid-way through, shutter would not trip? I quickly changed bodies and carried on. Later I looked at the first body and discovered that, in handling, I had accidently moved the master switch under the wind-on lever partly to the off position. No fault of the camera at all!

    • The F3 with a 50mm f/1.2 is one of the most potent setups in photography, and i’m very happy to hear it has served you well! The plastic of the advance lever threw me off as well when I first got mine, but I quickly forgave Nikon when I realized the stroke of the lever was the smoothest in the world. And hey, it’s from the 80’s after all!

      There is a certain romance to waist-level composing, and doubly so on an F3. Glad to hear you’re using one of those finders!

      • The 50 1.2 is the first “professional” Nikon lens I’ve owned and it is an amazing piece of glass with a ton of character. Considering how heavy the lens is, it’s actually balanced very well on the F3.

        As far as the film advance is concerned, I completely agree with you. It is quintessentially 80’s. I do wish it were metal but if it’s a compremize between a buttery smooth advance or a metal advance lever, I’d take the smooth advane. Might have to pick up a beater F3 and see if I can transplant an advance lever from another camera.

        I usually have the waist-level finder paired with a 50mm 1.8 E for a more “pocketable” setup. That being said, I’ve had no problem focusing at wide apertures, even when using the 1.2. (Albeit with the use of the magnification loop in the waist-level finder.) That, plus the fact that’s just fun to use completely justifies the price tag. The change in perspective is another bonus to using the waist-level finder. I’m 6’2″ so it makes portraits a bit more direct.

  • What a great review. Glowing, but honest. I like how you call out the F3’s limitations. And you’re right, there’s nothing an F3 can do that an EM or an FE can’t.

    I have both an F2 and an F3 and I can’t decide which I like better.

    • Thanks so much, Jim! It’s quite strange to recognize the relative lack of features on the F3 because it’s balanced (and in my opinion, outweighed) by the fact that it does what it’s made to do so well.

      And the choice between the F2 and the F3 is one of the hardest in photography. I’m a little jealous you have both! Enjoy them!

    • I bought a Nikon F2 Photomic a couple of years ago, not cheap, but in very nice condition with a working head. I had accumulated a small collection of pre-AI lenses to use with my ancient plain prism F. The F2 Photomic finder needs the commonly available silver oxide cells, not the old PX625 mercury ones. My old lenses work fine with the F2. I have 24/28/35/50/85/105/135/200/300. The 85 F1.8 H lens (Grays of Westminster) is a fantastic portrait lens and has earned me a lot of money in the past. Pity it was never an AI lens. Nice to have onboard metering with these lenses after all this time using a Weston Master V.

  • kristinasblog2016 April 12, 2016 at 12:30 am

    Great review! I used to have Nikon but I think I like Canon better.

  • Thanks for the review. I have been tossing up on the F3 or the F2. F2 because it is fully mechanical. Nothing wrong with the electronics of the F3, but I don’t think I would shoot enough of it to leave the battery in it over idle months. Having said all of that, I am having lots of fun shooting with a Minotla X700.

    • Thanks Kevin! If it means anything, I’ve personally never encountered any issue with battery drainage. The camera can last a year or even two on the same set of batteries because of its remarkably low power draw. That said, it’s hard to beat the F2’s mechanical perfection. And the X-700 is one of our favorite cameras here on the site! Glad to hear you’re enjoying it.

  • Randle P. McMurphy April 19, 2016 at 10:08 am

    The Nikon F3 HP was my first “new” camera I bought. It had to be this one so I spend all my money for it.
    Just a few coins left to affort a used Nikon E 1,8/50 I used for my first model shooting – haha – so a guy
    came by blaming me for using such a crap with a professional Nikon !
    The pictures I made, were the first pictures I ever made with the Nikon F3 and they are still special to me.
    Not only because of the top gear or light or location – because it was the first time pictures were
    taken from my sister after fighting down her cancer. The chemo made her lost all her hair and they
    start growing again with little wild curls. So she was sitting before a Graffiti lost in her thoughts looking into the camera.
    So emotions always come up when I use this Nikon because there is a story and memories…….and its still a great camera.

  • I’m a pro photographer and i regularly wear t-shirts with my company name and a monochrome outline of an f3. More people comment on the f3 on my shirt than they do on the current gear i use. Even other photogs including die hard Canon users point at my shirt and say “F3 huh? Damn good camera that!”

  • The F3 is a joy to use, especially with its large and bright viewfinder. It feels like it won’t ever let you down. That said, i do street photography mainly and the F3’s meter is far from great. It works well for such a tiny LCD, but needles (like in the FE/FE2) are much better when you need to quickly evaluate shadows and highlights.

    That said, this is a brilliant, tough, beautiful camera.

  • Excellent review of my all-time favorite SLR. I was just getting into photography when the F3 came out, to great fanfare. As a poor student, all I could do was press my nose against the camera shop window and keep plugging away with my SRT-100X. Decades later, and top notch film cameras can be had for pennies on the dollar, I collected and used all the cameras I dreamed about as a kid – at one point, I had 4 Fs, 2 F2s, an F3HP, an F4S, an original model Canon F-1, a Minolta XK, and OM-1 and an OM-4T. Eventually I sold off everything but the F3HP with an MD4 and a small set of lenses. I agonized about whether to keep an F2 or the F3, but the splendid HP viewfinder won out. It’s a quirky camera – the VF illuminator, the exposure compensation dial and the relatively poor flash performance are head-scratchingly awful features, but the combination of the VF, the buttery smooth film advance, the full feature set and the shear brutal efficiency puts it head and shoulders above any SLR I have used. I don’t use the MD4 much, but it operates so seamlessly with the F3 that I consider the camera to be incomplete without it.

    • Happy to hear from another fan of the F3. It’s a great camera, for sure, and one I need to spend more time with!

    • Same story here, I was shooting with cheap cameras, early 80’s and 90’s.
      Now I have bought almost all the exotic cameras from the 60’s-70’s-80’s that I wanted back then…

  • Fair and quite objective review about my favourite camera. You’re preaching to the converted here! I genuinely love the F3 and have several including a pristine, late black F3/T. You’re right – it has it’s quirks but I only use available light and to me the attraction is exactly as you point out – it just feels right. It’s a very pure picture taking machine with no unnecessary features that get in the way.

    • Thanks so much for the feedback! Oh how I wish I could get my hands on an F3/T. Enjoy yours! This is an older review, but the F3 is still easily my favorite ☺️

  • Great review. I am weighing retention of my 3rd F3HP and F5 in my collection. The F5 is fun but does not fit with my photography. For autofocus, the F6 fills the need. As I set aside the F3HP with the F5, I felt uncertain. Now I know what is the right course of action. As for the need for an F3/T, I found one in a camera shop two years ago and had to have it. I wish the viewfinder on the F6 compared to the F3.

  • I see someone has mentioned deciding between an F2 and F3. Apart from the Titanium flavour and the rarer F3P, the choice of F3 is just DE2 original finder or the DE3 HP. Now there were were 5 F2, or rather, heads as the bodies did not seem to change. Like the F Photomic heads before them, the F2 finders have usually packed up. Repairs cost more than you’ll pay for the camera and, sods law, something else might pack up. The bodies themselves are quite tough, however, you have to bear in mind that a lot will have been used/abused by professionals since 1971-1980 or more. Tatty, but working examples start at £99, sames as F3. However, I firmly beleive that with its metering in the body, the F3 is a better buy because it will prove more reliable in the long run. Unlike the F heads, both F2/F3 use readily available non-mercury batteries. If you want a really good manual body, and are prepared to estimate exposure or use a handheld meter (I’ve discovered the Gossen Sixtomat Digital – small, very light and runs on one AA) any F2 will serve you but avoid the F2S/F2SB/F2AS as prices are high as collectors like them – working or not. Me? I bought a black, very heavily brassed F2AS from a dealers 3 years ago. The metering, 2 red LED’s seemed to work OK in the shop (+o-) 250 miles from my home. However, when I put a film in and started using it, the lights flicked all over the place. I could centre the display, touch the shutter speed stack and it would go from O to – and then to +. I cannot be bothered to send it back so have taken the batteries out so it does’nt distract me and just estimate or use a meter.
    The serial number of the body is for 1974 but the F2AS came out in 1977, so a later metering head has been put on an older body. Mind you, from same shop I bought a black F Apollo, 1972, plain prism head, engraved underneath: LAFB USAF. (Lakenheath Air Force Base, United States Air Force!

    • I’ve had Fs, F2s, and F3s, some of which I’ve owned for 30 years. Without exception, every one of the F and F2 meters (of all types) have failed. I had a couple of the F2 meters worked on by the famous Sover Wong; they worked perfectly for a couple of years and then died again and I couldn’t justify sending them back across the Atlantic to be repaired one more time.

      The Fs and F2s are fantastic bodies, but it’s annoying to carry around the massive metering heads if they’re not working. Look on eBay for a plain prism head for either camera and you’ll find that they cost more than the bodies. Kind of an indication of how many failed metering heads there are out there.

      I kept one F and one F2 mostly as historical and nostalgic display pieces, sold the rest. It’s fun to pick them up, fondle them and fire them, just for the sound.

      For actually taking pictures, however, the F3s just keep soldiering on. I used these cameras hard in the 90s for photojournalism and couldn’t kill them. They both still work fine.

      As you note, the F3 just gets out of the way; it has everything you need and nothing extra. Not true of the balky and inconvenient F, or the large and heavy F2.

      You’re right of course, an EM or FE will do mostly the same things, but they won’t do those things for 200,000 exposures.

      A camera shouldn’t try to be all things to all people, and I think the F3 is optimized for PJ type work. I don’t see the slow flash sync speed, for instance, as a bug, since it’s the result of a shutter that’s built to last forever in tough circumstances. Bear in mind that the “best” flash sync speeds at the time were 1/125, or at most 1/250. Not that big a deal. If you did a lot of work with fill-flash, you needed a different camera, maybe one with a leaf shutter.

  • I used F3s during my 9 years as a newspaper photojournalist, and have held onto my first- a beater i bought from a PJ who had used/abused it in Sarajevo (among other places)
    I then dragged it around the Philippines (through volcanic eruptions and monsoons), up to the summit of Mt Rainier, through floods and ice storms; hurled it (accidentaly) across a parking lot, and I still use it now. It’s pretty much perfection in camera design and construction. Pretty much my favorite camera ever.

  • Lots great film SLR cameras out there, from nearly every manufacturer — e.g., the Leicaflex series, F1, the various professional Nikons — and they all take great pictures, at truly affordable prices these days. The F3 is certainly what many of the professionals used in the 1980’s and its’ 20 year production attests to its’ capabilities and handling. As users, we really are in the “golden age,” because the question is not what camera to get, but what camera(s). They are all so affordable now. Shoot film. And then go shoot some more film.

  • then you found the lx 🙂

  • i love my F3 and i have using it almost all the time. But the only deal breaker for me was the AE lock button. The button keep falling off from its place although i had it repaired. I don’t know if it was only mine or it was the lack of the button design.

  • Yer killing me Josh! I had one in college but had to sell it because I was broke. I kept re-reading this and could not hold out any longer. I mean, I already have the lenses… Now to wait for USPS to deliver…


  • How difficult is it to create those double exposures on the F3? Do you have to manually reverse the film blind and hope for the best?

    • It’s very easy, just flip that funny little switch on top (see the manual available online) and presto, multi-exposure.

    • F3 has lever for double exposures. First take first exposure, then you turn multiple exposure lever. Next recock the shutter. Film won’t be advanced to next frame when multiple exposure lever activated. Take next exposure. Multiple exposure lever is automatically deactivated when exposure is taken. You can this function as many times you want. Hope this helped.

  • Just another comment from me: did you know that, at the time of writing, you can still buy a new Nikon F3 from Grays of Westminster for £2500?
    (“last of the brand new stock” shouts the old boy!) If you are in the market for an F3H high sipped body with fixed pellicle mirror, the old boy has a brand new one for £30,000! He also has a few of the AIS lenses in as well.

  • I have no doubt to everything you have said in this article. I have two F3’s. One made of titanium and the other regular brass. I would never sell these unless they stop making film. The one major thing I like is it’s ability to have intermittent speeds for exposure like the FE-2 (My backup camera). The F3 and the FE2 are constant with correct exposure. Never had a problem…….

  • Sometimes I feel like I’m the only Nikon shooter in the world that doesn’t really care much for the F3. I have one and use it sometimes, but I don’t really feel the same joy using it as just about any other F that I own. My last roll felt like a chore to get through and I ended up rewinding it halfway through and finishing it off in my M. It could be the viewfinder, the view itself is nice, but the meter readout is terrible so I almost feel like I have no choice but to use it in aperture priority mode all the time. I do love the wind lever, probably the smoothest of any camera, and it’s no doubt a beautiful camera, but I’d probably pick up the F4 (with small grip) before it.

    • I get it. We have a pretty diverse editorial team here and while Josh (the dude who wrote this review) loves the F3, some of us would pick different Nikons for sure.

    • I bought an F3 while i still had an F2. Do i need to elaborate further?
      I will make a list: the on/off switch is bad. It slowed me down. It would be much better to turn the camera on just moving the advance film lever like every other nikon did… or place it right by the shutter release like Nikon does it today. Anywhere but that place under the speed dial.
      The metering was all wrong for my slides. No wonder Nikon came w/ matrix on the FA right after.
      The one thing that really bothered me was the shutter release. The camera has something called an electromagnetic shutter release that feels damped and weird; specially when you come from a series of good pro mechanic SLRs.
      Once It developed a flash syncro problem i didn´t even fixed but dumped the camera.
      I wonder why the F3 has such a cult when all other top pro cameras seem to be better to my taste.

  • I have two F3’s. One made of titanium and the other brass. Really like both. Love the choice of shooting either manually or electronically. Batteries? Not a problem. Always carry a spare. The 3V lithium’s last a long time.

  • I recently bought an unused F3, suffering from nostalgia. Within a week after receiving the camera I bought an unused FE2, because I want to be able to expose accurately, and with the needles the FE2 has, this is much easier. I was surprised that the F3 was not the perfect camera I imagined it to be in the eighties. Still happy to own one.

  • I ve been shooting this camera for living since 1985 till 2003! And I was working mostly in very cold and harsh climate of the Russian north . Before I had a nikkormat ft and I replaced it with nikon d1. In my heyday I had and used 4 of them! For B/W, color , slides and a backup , all worked flawlessly. With time , all had the same problem – the speeds stuck at 1/80. The solution was very simple but required camera to be sent to repair. ( A poece of isolation material came off from frame counter disc . One just had to throw it away , and thus turn camera basically into nikon f3p. Speeds start changing immediately, and not after first two empty frames).

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Josh Solomon

Josh Solomon is a freelance writer and touring bassist living in Los Angeles. He has an affinity for all things analog. When not onstage, you can find him roaming around Southern California shooting film and humming a tune.

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