Nikon SP Limited Edition 2005 Overview – Nikon’s Rangefinder Swan Song

Nikon SP Limited Edition 2005 Overview – Nikon’s Rangefinder Swan Song

2400 1350 James Tocchio

The Nikon SP Limited Edition from the year 2005 is a really special camera. All things considered, it may be the brand’s best film camera. It’s the most capable rangefinder that Nikon ever built, handcrafted with modern materials and manufacturing processes. It’s also rare, limited to just 2,500 production units, and it’s paired to a world-class image-maker in the form of the exceptional W. Nikkor-C 35mm f/1.8 lens. As of last week, I’m lucky enough to own one.

About two months ago I started looking for a camera that I could keep and use forever, what I call an heirloom camera. Similar to a wristwatch, I define heirloom cameras as treasured objects that can be owned, used, and finally passed on to another person when our time is up. In my case this machine would presumably go to an interested child or (if I live long enough) grandchild. The camera I was searching for had to be entirely mechanical, highly capable and compact, but also rare and intrinsically valuable. I chose the Nikon SP 2005 after a days-long chat with the rest of the CP writing team.

Now it’s here, and the Nikon SP Limited Edition is easily the most interesting and exciting camera I’ve ever owned. A full review will be hitting the site soon. Until then, I thought it’d be useful and fun to talk about what makes this camera so special.

Where did it come from?

In 1998, digital photography was the future and film as the dominant image capture media was clearly entering its twilight. Nikon was hard at work developing their first professional DSLR, the D1. It debuted in 1999, officially ushering in the era of practical digital photography.

But at the same time, Nikon wasn’t quite ready to give up film cameras entirely (in fact, Nikon is one of only two major manufacturers still producing film cameras in 2018; Nikon’s F6 is joined by Leica’s M-A and MP). The first in this final surge of remarkable Nikon film cameras took the shape of the FM3a. A small team of engineers and designers at Mito Nikon (a Nikon production facility that had originally created the Nikomat of the 1960s and later the F3, FM2n, F4, and more) set out to make something unusual for its time; a manual-focus 35mm film SLR. The resulting FM3a sold well and became a legend among true film photography nerds both past and present.

Okay, so a camera company that had been making film cameras for its entire life made another film camera. Big deal, right? We could say that, but we’d be missing the point. Nikon wasn’t just producing more of the same and following a business plan. The brand was also acting on a feeling that many of us feel during transitional periods – nostalgia. Lucky thing for us photo geeks, they embraced that feeling.

Seeing the continued sales success of Leica M series film cameras throughout the 1990s, Mito Nikon believed an opportunity existed to produce a similarly classed Nikon rangefinder camera. It was soon decided that of the major rangefinders the brand had created (Nikon’s S, S2, SP, and S3) a recreation of the Nikon S3 of 1958 would provide the best product, and though development began quickly, an economic downturn soon halted progress. Three years later, in 1998, the project was relaunched.

When it finally released in the year 2000, the Nikon S3 Year 2000 Millennium camera was worth the wait. The result of years of arduous research and reverse-engineering, and a true labor of love, it was the pride and joy of many Nikon engineers.

Countless obstacles arose during development and manufacturing. Incredible attention was paid to make an exact and faithful reproduction of the original S3. Every component part was obsessed over (no small feat – the S3’s component parts list totals more than 800 individual parts). Every machine screw was remade, every die was recast, even the artificial leather grain pattern of the S3 was sourced from the original contractor and reproduced. The cameras were hand-assembled by trained workers, a fact that lead to an assembly rate of only one camera per day in the early days of production (this eventually climbed to 300 then later 500 units per month as efficiency improved).

Production of the S3 Millennium was limited to 8,000 units (chrome), and 2,000 units (black) were later added. At the time of its release, it was reported that Nikon’s cost per camera was higher than the camera’s selling price, a fact that likely influenced the announcement that there would be no further development or production of any Nikon rangefinder.

But as Sean Connery might remind us, never say “never again.”

What’s an original Nikon SP?

Forty-odd years earlier, the original Nikon SP of 1957 was arguably the most advanced rangefinder camera in the world. Nikon wasn’t obtuse about its direct competition – the company openly sought to unseat Leica’s M3 as the premier rangefinder camera. Though they didn’t accomplish that lofty goal, in many ways the SP was the better machine.

Its massive and bright viewfinder (1.0x magnification) featured parallax compensation and the greatest number of frame lines of any rangefinder in its class, with a total of six focal lengths represented (28mm, 35mm, 50mm, 85mm, 105mm, and 135mm). Its horizontally-traveling cloth focal-plane shutter was capable of speeds from one second to 1/1000th of a second with flash sync at 1/60th of a second. It featured in-body focus control (which some people dislike), and could mount a motor drive, had easy film loading through a removable back, and boasted a vast lineup of world-class interchangeable lenses. It was also beautifully made, an exceptional and reliable machine that cost about 25% less than the M3 when new.

In 1959, Nikon released the Nikon F (an SLR camera developed on the bones of the S series rangefinders), and the rest is history. SLRs quickly became the dominant camera for professionals and photojournalists, and as the brand focused on becoming a world-class producer of SLRs, Nikon rangefinder development was halted.

What’s a Nikon SP Limited Edition?

Reversing the announcement that had followed completion of the S3 Millennium project, in 2005 Nikon announced plans to revisit their classic lineup of rangefinders with the goal of producing another reproduction. This time they would focus on the absolute best rangefinder the brand had ever made, the mechanically sophisticated, professional-grade Nikon SP.

Using the experience gained through the completion of the S3 Millennium, the team at Mito Nikon began reverse-engineering the original SP in pursuit of developing the Nikon SP Limited Edition. Soon it became clear that the SP was a far more complicated machine than the previously-produced S3, with the viewfinder assembly alone demanding 50% more man-hours to assemble compared with the earlier reproduction camera’s simpler VF (it’s comprised of an astounding 28 lens elements).

This viewfinder assembly, being the heart and soul of the camera and the thing that most strongly separated the SP from other cameras, became a point of pride. The engineers and designers at Mito Nikon slaved over this tiny assembly of prisms and mirrors and metal, and the result is the best viewfinder ever fitted into a rangefinder camera.

The Nikon SP Limited Edition’s viewfinder is massive, unbelievably bright, and the frame lines are beautiful in both execution and design. It surpasses the original SP’s viewfinder in every way (brightness and clarity) due to its implementation of modern lens elements. It’s also a more accurate viewfinder, as Mito Nikon used a collimator and lasers to dial in performance during individual unit assembly, something that was impossible in the days of the original SP.

Assembly of the camera was once again performed by hand on production lines running parallel to those constructing the FM3a SLR (incidentally, completing one SP required ten times the man-hours needed to complete an FM3a). Cameras were slowly assembled at individual work stations, and when one task was completed the camera was sealed in a box and carried (by hand) to the next work station on the assembly line.

The Nikon SP Limited Edition was fitted with a faithful reproduction of a (rather rare) Nippon Kogaku W-Nikkor, a 35mm f/1.8 lens. It improves on the original, however, by being multi-coated. This multi-coating effectively improves color rendition and eliminates ghosting and flares to a degree that the older Nikkor could hardly realize.


The Nikon SP Limited Edition from 2005 was allotted to the Japanese market only, and was sold directly to Japanese customers through a lottery system (with remaining stock sold through Nikon dealers). The original MSRP was 690,000 Japanese Yen, which when converted to United States dollars was approximately $6,250 (adjusted for inflation, this camera would cost around $8,000 in 2018 cash). To buy one today will not cost as much as that, but it is an expensive camera.

Only 2,500 Nikon SP Limited Editions were ever made (all in black), making it one of the rarest rangefinders Nikon produced (certainly rarer than the earlier S3 Millennium). The cameras feature sequential serial numbers from SP 0001 (this first unit is in a Japanese camera museum) up to SP 2500, and these numbers carry over to each camera’s accompanying lens.

Most Nikon SP Limited Edition cameras were gobbled up by collectors, stashed away in closets or safes or put on display shelves. I’ve never seen one out in the real world and I’ve never seen one being used. That’s not the fate of my camera. The Nikon SP Limited Edition is the most intriguing camera I’ve ever owned, and I’m genuinely thankful for the opportunity to own and shoot one. This weekend will be spent burning through film in the lead up to our full review, and I can’t wait.

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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
  • I remember you posted on instagram looking for a Life time camera or something like that any way. I think I suggested a Leica m6 titanium. This is way better!! I am jealous! I can’t wait to see how that 35mm 1.8 preforms. Nikon has a knack for developing special 35mm lenses. I had a 35 1.4 ai for a long time and it was sooo fun to use. I almost bought an S3 but ended up buying a m3 instead because I already had a 50mm summicron, I kinda regret the decision after reading this post. how does the size compare to the m3? I may have to sell my m4 or m3. Nikons are what I cut my teeth on in high school.

    • You’re right. I got a lot of great suggestions out of that inquiry, but no one suggested the SP until I talked to Dustin via the CP staff chat. I’d known about it for a while, but I never really considered it until then. Over about a week’s time the idea really grew and eventually I went for it mostly because I wanted a rare and unusual camera.

      It compares very well in size to the M series. Maybe a bit thicker on top and a tiny bit longer. But it’s a great size for me. I’ll post a side-by-side shot with an M in the full review.

      We will see how the lens performs for me. I’ve heard great things, but time will tell.

      Review coming soon!

      • Yeah I have always liked the industrial look of these. Especially the black one. and the fact that its a Nikon rangefinder it will be bullet proof. The Nikon would reqiure less CLA’s in the future I bet. I probably won’t sell my grandfathers black paint m4 to fund one of these but maybe I will sell some of my slr Gear. anyway I can’t wait to read the full review! Congrats on the new camera.

  • I snapped up the other brand new, unused, 2005 SP from the same shop where you found yours. I’ve had it exactly seven days now and I’m shooting roll #12. What a dream to actually shoot this camera. The ’05 SP was my desktop wallpaper for three years about ten years ago, back when I couldn’t dream of being able to find, or afford, one.

    You’re going to fall in love with this camera even more once you’re shooting it, I assure you.

    • Hey Butler, if you’re seeing this I’m wondering if you’d care to share your images? Let me know. You can email me at If for no other reason, I’d like to see what sort of results your getting from the lens, and if you’re interested perhaps we can include some of the best shots in the review. Thanks pal, either way.

  • This is indeed a beautiful and rare instrument, James.
    But I am wondering if you are not better of with an M6? That has a similar quality feel, is also mechanical (save the meter) and has a lens mount where you can easily expand on in the future. It is also substantially cheaper. But, of course, not as rare… and chances are it is more servicable in the long run (important for your grandchildren ;-)).

  • Such an amazing camera, even quieter than an M, and the 35mm f1.8, wow that’s a rare one.

  • Beautiful camera, beautiful article.

  • Congratulations on a great personal choice, it will certainly “see you out”, and I have no idea how old you are!

    For a while, I had an original S2 with the f1.4 50 WD Nikkor. I quite liked it and thought about seeking out one of the commemorative examples, the Olympic S3, the 2003 S3, or the 2005 SP that you have here James. About three months ago, a local dealer handed me a new 2003 S3, told me that it was £2300 and I fondled it and nearly lined myself up for mariticide, but checked myself.

    They are indeed, things of beauty, however, I remembered out of the corner of my mind, the weird mount, which makes everything expensive and very difficult to read, when in the hand.

    I have since sold that S2 and lens, but not before picking up an excellent f2 version of the lens in l39, where it is now first choice with adapter on my beautiful M4. If I see a similar mounted f1.4 in great condition for a good price, I will definitely swoop, I would also like to get hold of the 35mm f1.8 that you have in l39, but they are rare and equally exotically priced generally.

  • it’s so beautiful <3

  • Great. I’m using the same one in real-life. Even my friend, he has been using that SP during 10years.( SP have reliable performance to take picture and working very smooth. That is really good camera I think.

    Thanks to good review!

  • I bought an S2 a few months back, but it has some horrible shutter capping at high speeds, so it’s just a shelf queen for now. I intend to get it cla’d but haven’t yet. It feels nice in the hand, and the focus is looooong compared to my Leicas, but I imagine the SP is a different level… jealous…

  • Gorgeous camera. The thing that got me is that the SP 2005 came with the 35 1.8 in the kit, while the S3 2000 came with the 50 1.4. But it would seem that they would work better if they swapped that lens offering due to the frame lines in the S3, and the secondary vf on the SP.
    The black ones definitely are the lookers!

    • Agreed. Considering the respective viewfinders it would’ve made sense to put the 50 on the SP and the 35 on the S3. Guess I’ll have to get the S3 to round things out here at the site!

  • I briefly tried a new 2005 SP with 35/1.8 and wound up returning because the 35/1.8 was dissapointingly soft until stopped down to at least f/4 and the 1/15 sec shutter speed off by a full stop. These are minor points but for the money it costed at the time, I was expecting the shutter accuracy to be on par with a Nikon F and lens sharpness similar to a V1 or V2 35 ‘cron. If it was meant as just a showcase camera, I would have kept it because it was a very pretty camera to look at much like a piece of Galle or Daum cameo art glass is to a collector.

  • Hello,

    I am confused about how the viewfinders work, is there a rangefinder patch in the 35mm wondow? Or do you have to focus in the main finder before composing in the smaller one?

    • There’s no patch in the wider angle viewfinder. You have some options – you can focus with the rangefinder, then switch VFs to the wide one for composition as you mention (which isn’t as slow as it sounds, really), or you can zone focus and just use the wide finder.

      • Hello James,

        As you have had a few months with your beautiful SP, i was wondering if you be able to give me your opinion about it compared to the Leica M-A? I know that collectability is not to be ignored but if you were to remove that factor from the equation what would be your opinion? Viewfinder comparison, quality and feel in operation, ergonomics etc. If someone had the means, i beleibe the two cameras are in the same ballpark, maybe not as M-A comes without lens… you can of course ultimately tell me that it does not come down to anything objective..

        Have a good easter weekend


        • Hi Marius,

          I have just begun polishing the full review of the SP this week, so look forward to that. For now I can answer your question here in comparison to the M-A. If we don’t allow for collectibility and rarity in the factoring, the Leica M-A is probably a better overall shooter’s camera. It will be easier to focus, and truth be told, the film advance stroke is nicer on the M-A. That said, this is a difference of (not inches) millimeters, figuratively speaking. The M-A may be the best rangefinder film camera I’ve ever used, but I’d still choose the Nikon. And as you say, add some Leica glass into the equation and the M-A package will be closer to $7,000. I hope this answer helps!

          Have a good weekend as well!

  • When is the full review coming out? I just got one of these on eBay, never used, all original gadgets in the box. I cannot wait for it to arrive.

    • I’m literally working on it this evening. It should be publishing sometime in the next week or two. After using mine for however long it’s been since the overview was published, I’ve discovered some qualities that I don’t necessary love about the SP. But nothing is perfect, and it is without a doubt the only camera I will never, ever sell.

      • Hello James,

        I am sure i am not the only rangefinders enthousiaste who is waiting for your review! We know you are an SLR guy but your insights are always appreciated;). Hope thing are well otherwise and things not too hectic.

  • Can’t wait for the review. I do know the location of Nikon 0002 but they are asking a pretty penny for it.

  • I’ve been very fortunate during my time stationed here in Japan to purchase an original 1958 pristine condition Nikon SP with equally pristine 5cm f/1.1 prime, a never used 2005 Nikon SP, as well as a never used Y2K Nikon S3 (silver), and barely used Y2K Nikon S3 (black). I’ll use the Y2K S3, and just admire the others! Thank you for a wonderful summary.

  • Original SP’s have notoriously faded rangefinder patches. Many are so faded they’re useless. Indeed, from the Nikon Rangefinders I have owned (and S3 and multiple S2’s) the quality of the rangefinder patches seem to be all over the place. Old Leica’s are much more consistent in this area. Nikon guys (and gals) tell me cleaning of the mirror helps, but I haven’t seen a dramatic improvement in the several S2 I’ve cleaned. The S2 is the best of the Nikon bunch in this regard. I understand the limited SP is much better. True?

    • Yes, in my experience it´s true. I´ve had an S2 and now the SP2005. The SP2005 rangefinder leaves nothing to desire imo, especially after i got it cleaned recently! (I´ve also had Leica M2, M3, M6, MP (0,72 and 0,85) to compare).

  • I briefly owned a new SP 2005 and my experience comparing the RF patch to an M6 was different. Ignoring the Leica RF advantage of a sharply defined border for enhanced accuracy, Leica M RF patches were always a bit brighter in low light. It’s as if the combined intensity from the VF image and RF image were actually additive in nature making the image within the patch brighter than if viewed by your naked eye. In comparison, the SP’s patch was no brighter than your naked eye, actually just a little less so. It wasn’t bad mind you, just not as bright as a modern Leica Ms or variants such as the ZM, CV, KM or Minolta CLE. The Leica RF magic is due to the optical design where the RF image was formed by a modified Galilean telescopic design whose image minification exactly matched the VF. The main advantage of the Nikon were the frames from 28-135 and 1:1 magnification for 50-135 lenses and of course titanium shutter curtains, motor drive and Nikon durability with minimal service.

  • Jan Schoof (www.JanSchoof.Me) January 12, 2022 at 5:39 am

    So… Where is the review please James? I feel thoroughly teased! 😉

  • He will never get rid of the camera and will never release a review of it.

    • This hits so hard. Hahaha! Will 2023 be the year?

      • Another year later. Reviews are not that time consuming to write. It’s okay to delineate what you don’t now like about the camera, as that is actually more helpful to people than uncritical praise. I’ve had an original SP, was thinking of buying the repro, but very hard to find detailed, long term user reviews of the repro to compare the two. There seem to be vague caveats floating around out there, and you are one of the few widely experienced people who might be able to shed some light on the entire story.
        C’mon spill it.

  • “It may be the brand’s best film camera.”

    Yes. On the other hand, it really, really, really might not be.

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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