Nikon L35AW Underwater Point and Shoot Camera Review

Nikon L35AW Underwater Point and Shoot Camera Review

2800 1575 James Tocchio

I’m leading this camera review with a megaton bombshell of investigative journalism. Most online resources have claimed that the Nikon L35AW (made in 1986 and also known as the Action Touch) is a waterproof version of the internationally famed Nikon L35AF (made in 1983 and also known as the Pikaichi). It’s almost universally repeated that the two cameras share the same legendary lens, a Sonnar-type five-elements in four-groups design created by Nikon optical wizard Koichi Wakamiya. But the Nikon L35AW does not use this lens. It uses the simpler four-elements in three-groups lens found in the L35AF2 (made in 1985 and also known as the One Touch). It’s therefore more accurate to call the L35AW a waterproof version of the L35AF2.

And now that my pet peeve of pedantic accuracy in something as inconsequential as an article discussing decades-old film cameras has been satisfied, it’s time to more closely examine Nikon’s underwater point-and-shoot wonder-camera.

What is the Nikon L35AW

The Nikon L35AW’s basic specifications are similar to many other compact cameras of its era. A point-and-shoot 35mm film camera, it’s made to point and shoot, and automation dominates its core design. Exposure times and aperture selection, ISO setting, film advance and rewind, and flash output are all totally automated. Focus is also automatic, with a manual override for use in underwater shooting or in situations where the AF may be fooled. It runs on two AA batteries, has a self-timer, a tripod mount, a flash ready light, a film frame counter, frame lines and a distance scale in the viewfinder, and strap lugs for both side-mounted and top-mounted straps (just like a Leica M5!).

At 485 grams it weighs slightly more than the smallest point-and-shoots of its time, and with dimensions of approximately 134x81x56mm, it’s slightly bulkier as well. But this added weight and size isn’t overburdening, and the camera fits well in the hand. The hefty grip and rubberized coatings ensure this, and the added size is a happy trade to gain the L35AW’s durable and waterproof outer shell, which will survive submersion to approximately 10ft under water. Additionally differentiating it from the thousands of other point-and-shoot cameras of its time (surely there’s a “fish in the sea” metaphor here somewhere?) is its previously-mentioned lens. While it’s not the same lens as the one found in Nikon’s most famous compact camera, the L35AF Pikaichi, it is still an exceptional lens. 

And it’s the combination of these last two features, its lens and its ability to dive, that places the L35AW into the upper echelons of classic cameras. There’s no other camera like it, in fact. Competing models from Canon and Minolta and Pentax don’t really compete in a meaningful way. The equivalent machines (the Canon Sure Shot WP-1 or AS-6, and the Minolta Weathermatic 35, and the Pentax 90-WR, respectively), either aren’t truly submersible or feature less-worthy lenses, bulkier bodies, or clumsy controls. And let’s not talk about the Hanimex Amphibean or the cumbersome plastic shells made to encapsulate non-waterproof SLRs.

The only truly comparable underwater film camera, from a usability and image quality standpoint, come from within Nikon’s own portfolio – the Nikonos series. It’s not altogether inappropriate to call the Nikon L35AW a miniaturized Nikonos, if we’re being lazy. It provides Nikonos image quality with less weight and a lower price (though it sacrifices depth capability – the Nikonos dives to 60 meters). All things considered, the Nikon L35AW is a worthy camera. Worth being used, worth being collected, and worth at least 1500 words, I say.

Swimming and Living with the Nikon L35AW

The L35AW is a nearly perfect camera. It actually is perfect, in certain environments. The beach, a pool, while on vacation – there’s no better film camera for these places and times. I could even argue that it’s a fantastic camera for those who loathe getting wet on the strength of its lens alone. As a street photography tool, it’s perfectly capable (the black model for stealth – it also comes in orange and blue). I could likely debate with anyone that it’s the only point-and-shoot camera that anyone really needs. It’s that good. 

Image quality from the 35mm f/2.8 is excellent. There’s no distortion, there’s very little vignetting, there’s hardly any aberrations even when shooting in direct sunlight, and those that present do so in an elegant way. Images are punchy and sharp from corner to corner. Micro-contrast is high, and with a maximum aperture of f/2.8 and capability of metering film up to ISO 1600, it’s easy to shoot in low light. The lens doesn’t say “Nikkor,” but it doesn’t need to when the results are this good. 

Shooting is a smooth and effortless process. A half-press of the shutter release button engages the camera’s autofocus system. This active infrared system measures the distance to any subject framed within the central focusing patch indicated in the viewfinder and simultaneously brings to life a focus distance needle display which indicates clearly the point of focus. This methodology lends itself perfectly to the “focus and recompose” method of shooting, in which the desired subject is centralized, the shutter release half-pressed, and then composition achieved before finally pressing the shutter release button completely. An in-viewfinder LED light doubles as both a “subject too close” and an “insufficient light” warning. If this illuminates (which it rarely does) either turn on the flash, recompose the shot, or both. 

The camera rarely misses focus in automatic mode. Even when shooting underwater, a situation in which the manual advises to only use the manual focus mode, autofocus worked fine. It seemed to also work perfectly in tricky focus environments, such as shooting into extremely bright light or when shooting reflective surfaces. I tried many times to force the camera to fail, and it wasn’t easy.

Similar accuracy characterizes the autoexposure system of the Nikon L35AW. It uses a CdS cell to control exposures from EV6 (f/2.8 at 1/8th of a second) to EV17 (f/17.5 at 1/430th of a second) at ISO 100. In low light, the shutter (which also acts as the aperture) can remain open for approximately two seconds, though it’s important for the photographer to remember to continue holding the shutter release button until the shutter closes. Releasing the shutter release button before the camera has cycled through a long exposure will cancel the exposure and close the shutter prematurely, resulting in an under-exposed shot. 

The camera’s flash is capable, but limited to a single strength. This essentially means that the flash reaches distances between 0.7 meters to 3.6 meters when using ISO 100 film. Within this range of distance, subjects will be varying degrees of evenly illuminated. Get closer or further away and subjects will be blown out or under-exposed, respectively. At an average distance of six feet, flash is perfectly modulated. Subjects in low light are illuminated perfectly, and subjects with harsh shadows in bright light are filled exactly as we’d desire. The manually-selectable nature of the flash makes it possible to shoot with only available light, even in lighting that other more automated point-and-shoots might lock the shutter and stymie the shooter.

The all-weather capability of the L35AW means that all of these well-executed designs and features are housed in a go-anywhere body. Used on the beach, it handles anything from splashes to sand to long swims. On vacation, it can be rained on, dropped, dunked in a pool. It’s the perfect machine for hiking, surfing, and laying on a towel. Underwater use is as effortless as shooting above the waves. I used autofocus and it worked fine. Users who are sticklers might prefer to adhere to the manual’s advice and use the manual focus mode. Estimate distance to target, turn a dial, shoot – simple. 

Care and Maintenance

Users who own or plan to buy a Nikon L35AW should follow some general rules to keep the camera happy and healthy. Any time the camera is used in saltwater or in a chlorinated pool, the camera should be thoroughly rinsed with fresh water. Great care should be taken to ensure no sand or water enters the film or battery compartments. If sand is present, it should be cleaned or rinsed off before changing film, and the O-rings that seal the film and battery compartments should be checked after every use for sand or other particulate contamination. These O-rings should also be greased to keep them pliable and waterproof. 

The only looming rain cloud on this potentially never-ending metaphoric beach day is the possibility of breakdowns. In the best of circumstances, point-and-shoot cameras from the 1980s aren’t the most reliable machines. Nikon’s reputation for incredible quality is well-deserved, and the 1980s saw them produce some of the most durable and dependable electronic cameras ever. But they also produced some less reliable ones. The L35AW feels dense and solid, and mine has survived a few drops, but it’s impossible to ignore the fact that the camera’s core is based on the L35AF2. In my camera shop, there’s a rather sad rack of broken cameras that we use for parts, occasional repairs, and to remind us of the temporaneous nature of our mortal existence. This shelf sadly holds quite a few L35AFs and L35AF2s. That’s a fact that should be weighted with as much importance as the individual reader decides is appropriate. Then again, these cameras aren’t very expensive. Buy a nice one and enjoy it while it lasts (which may very well be a decade or two more – who knows?).

Final Thoughts

I love the Nikon L35AW. I love everything about it. Its styling screams of the decade in which I was born. Its ease of use is liberating and refreshing. Its lens is characterful and capable. It’s easy to grip and easy to shoot, and it makes lovely images every time I use it. I love it so much that I spent far too much money buying a new old stock example, one that was brand new in its original box from a Japanese camera dealer. I don’t regret this. Quite the opposite in fact – I’ve been looking for another, this time in orange.

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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
  • one of the best in its genre…also worth looking at and not mentioned, is the Fuji HD-M -> tack sharp lens a surly capable for self-defence!

  • Great write up and I completely agree with your assessment. It’s my favorite point and shoot as well. It edged out the Olympus Stylus Epic due to the manual flash button, manual focus mode, and focus indicator in the viewfinder. My advice to anyone who buys one is to treat it with kid gloves! I had my first one for over a year and took it everywhere, including into the surf. I just assumed it was indestructible. All it took was one drop (from my coat pocket onto a snowy sidewalk) to break the film rewind function and render the camera useless. I had a backup copy but I broke that one when it fell out of a shoulder bag. I then embarked on a quest to replace that one and eventually ended up with 3 working copies. I treat those cameras with the same care as I do with my Leica.

    • Hey Neilson! I just bought, for very little, a copy with broken film rewind knob.

      Is it possible to repair it?

      When I finish the roll, do I have to click the film rewind knob, or the camera does it automatically? I ask this to understand if the film rewind knob is necessary to the operation or not.

      You can reply me on my Instagram if you prefer: @zagatti


  • Excellent write up. And I completely agree, this is the perfect P&S camera. Nothing is missing, no goofy features, no weird menus. Just an awesome lens, really tough construction, great metering, simple and fun to use. Being to turn on the flash whenever you want with one simple lever is perfect. Using two AA batteries which you can find anywhere on the planet is perfect. Having a heavier body which makes it much quieter to use than the regular L35 is perfect. It’s also really cool that the film only advances when you release pressure on the shutter button. This means you can sneak a shot, then turn away (or put the camera inside your jacket) to muffle the already quiet sound of the film advance.
    And like you I bought two new ones – one black and one blue! And got them NOS for $150 each. Totally worth it.
    I get better results from this than my (returned for a refund) Contax TVS III which missed focus about 50% of the time. And cost 3 times as much.

    Peace out

  • I know you spoke of it briefly but what would you say compared to the nikonos 5? I don’t care about the depth so to say I care more so about the image quality for one and more importantly the auto focus. I like my nikonos but I sometimes feel I’m missing shots with lack of auto focus. Thoughts on the two?

    • It sounds like you’d do well with the L35AW. As you mention, the Nikonos is manual focus only, and it’s substantially heavier and larger than the L35AW. Image quality is better with the Nikonos, it’s true, (specifically the 35mm f/2.5 Nikkor kit lens), but if you miss the shot due to manual focus or because the camera is too heavy to bring with you, image quality doesn’t much matter. Price is about a third the cost of a nice Nikonos V as well.

  • Neat, but I’ll stick to my perfect Minolta Weathermatic, plus Nikonos V in case things get serious. The Minolta floats, but can also be submerged, and the dual focus function with the same infra-based autofocus as this makes it the perfect beach camera. It’s also very, very yellow indeed.

  • Great article!
    I bought an L35AW recently and was excited about the possibility of taking it surfing, until I read a blog post where a guy used his in a pool for the first time and the camera leaked, damaging his film and ruining the camera.
    Does anyone have an idea of what percentage of these are still watertight? Also, what substance do you recommend for maintaining the seals around the film door?

    • Andy, so sorry that I did not respond to this earlier. I must have missed your comment back then! I’ll answer now, even if you’ve moved on. Any silicon grease for scuba application should work well. Try this link –

  • Another interesting choice is the Fuji Work Record, which just happened to show up today. “Rugged” build, 28mm lens, cheaper than the Nikon. Does not seems as well built as the Nikon.
    Here’s mine:
    Film is loaded, will see how it pans out.

  • Hi James
    Thanks for this really nice review (as usual!). I know that this question comes quite early for the summer season, but here in Australia the weather is starting now to get decent-ish!
    Could you tell me your opinion on the Nikon compared to the Minolta Weathermatic DL? You prefer the Nikon as it’s a real “underwater” camera or for its image quality or…..I am quite tempted by the Minolta mainly for its dual focal length, but I wouldn’t like to sacrifice image quality for this feature.

    • Hi Martino, happy to help. The Minolta Weathermatic (both the dual and the single-lens version) don’t provide the same image quality as does the Nikon. The lenses just aren’t quite as adept. One of our writers, Dustin, has shot the Weathermatic and the Nikon extensively and he mirrors the same opinion. If image quality is the ultimate concern, get the Nikon if you can find one. But if you find the Minolta at a great price, it’s also a very good camera, just a bit less so. Hope this helps!

  • Thank you for great review! You’ve convinced me to buy one! What film did you use for the photos in your review?

    • I believe that the color shots were Kodak Portra 160, and the black-and-white shots were Kodak TMAX 100. Hope this helps.

  • Thank you so much for your great review! I wasn’t sure which P&S to buy as my first one, but reading this made me buy the L35AW. Can’t wait to test it. Really good info in the comments, too. Cheers!

  • Hi James
    Enjoyed your review so I bought one. It is very well taken care off with one caveat. The rewind little lever does nothing and the frame counter got stuck after 36. Any tricks you know to fix this. The rewind issue worries me more, I’d rather not have to go into a dark bag to change film.

    • Ricardo, I have exactly the same problem! Did you find a way to fix it? My film rewind makes a start then jams after rewinding about a frame. I’m not keen on dark bags either but I’m reluctant to scrap such a promising camera.

      • Hey Ian. I looked everywhere online and failed finding a solution. It required a harder intervention than I could perform and likely a replacement (for parts) spare camera. I returned it to the seller and got most of my money back.
        The thing with these plastic fantastics is once they break inside it becomes a big issue. Sad because everything else in my copy seemed in good shape. Sorry I couldn’t help.

  • Hi James, I’m not sure whether you will be updated about this new comment on a relatively old post of yours but here’s trying! I remember seeing friends brilliant pictures from the L35 AW in Patagonia in 1987. I have just dug out mine (in black) which I bought in 1991 in Kuala Lumpur before jumping on a plane back to the UK. I’d then been looking for one since ’87. Unfortunately mine appears to have been a dud. As I bought it in Asia I ran into probs with repair and it has sat pristine but inoperable in a drawer for the last 23 years! I believe it’s an electronic issue as nothing responds when batteries are put in. I’d still love to use it. Do you know whether anyone might be able to repair it..or of any common faults involving electrical connection in these brilliant cameras? Thanks, Mark

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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