Nikkormat FT2 Review

INTRODUCTION

The Nikkormat FT2 is an advanced amateur 35mm film camera made between 1975-1977.

Marketed towards amateur and professional photographers alike - the Nikkormat FT2 was considered the “affordable” Nikon F2 and many professionals considered it to be a very reliable back up camera due to its build quality and reliable mechanical shutter.

Being one of Nikon’s last “hand assembled” cameras, the Nikkormat FT2 is the definition of 1970s camera manufacturing ingenuity and if you get a chance to hold one today in 2021 - the soul of that era will be immediately felt in the way it looks, feels, sounds and operates. The Nikkormat FT2 is for the photographer who prefers the heavy but durable all mechanical body that utilizes an unobtrusive swinging needle system to measure that perfect exposure.

HISTORY

The Nikkormat (also known as the “Nikomat” in Japan), is Nikon’s second generation of consumer cameras to appear on the market in 1965, replacing to the first generation of “Nikkorex” cameras (1960-1965).

Built by a company with a strong reputation for producing the famous Nikon SP Rangefinder (1957) and the legendary Nikon F SLR (1959) - the original Nikkormat FT and FS were the first consumer SLRs that truly felt like the Nikon F at a much more affordable price! 

The Nikkormat FS (1965) - Photo Credit: Dnalor_01 - Click image to access wikipedia source.

Nikon was a very small company operating out of a single factory in Shinigawa, Tokyo, Japan in the 1950s - despite their massive success in the pro market, entering the consumer market wasn’t exactly an easy process to start. Burdened with orders for the Nikon SP’s and Nikon F’s, the company didn’t have the industrial strength to begin production on more equipment. The solution was to get the help of a fellow Japanese camera manufacturer, Mamiya Co. to take on production tasks.

The Nikkorex 35 (1960) - Photo Credit: Alex Luyckx - Alex has a full written review of this camera. Click the image for more information.

This partnership with Mamiya lead to some interesting twists and turns for Nikon’s reputation as a brand, but in my opinion, it was a necessary risk to break into the consumer market. Not only did the original Nikkorex 35 camera use lower cost and feature reduced parts, they also functioned dramatically different from anything else engineered by Nikon. The Nikkormat 35 used a fixed 50mm f2/8 Nikkor-Q lens, a built in selenium light meter and the fixed focusing screen porroprism viewfinder. The camera also looked completely different, lacking the contoured lines and ergonomics found on their pro counterpart models. It’s not clear if Nikon supplied the design blueprints to Mamiya, but there’s a good chance Mamiya designed the camera but focused more on its functions.

Without getting too deep into the technical specs and performance of each Nikkorex camera made during its production period, each model improved in many areas and sold well enough overall to help Nikon successfully expand into the consumer market. Below is a chronological list of what Nikkorex cameras were released prior to the Nikkormats:

The Nikkorex F (1962) - Photo Credit: scp324 - Click image to see their full Flikr Profile

1. Nikkorex 35 (1960)

2. Nikkorex 35II (1962)

3. Nikkorex F (1962)

4. Nikkorex Auto 35 (1962)

5. Nikkorex ZOOM 35 (1963)

The Nikkorex F would be the most similar camera to the Nikkormat, since it was the only Nikkorex body that was classified as an SLR compatible with all Nikkor lenses. All other Nikkorex models were designed and engineered around the same concepts of the original Nikkorex 35 (leaf shutters, fixed lenses, and fixed focusing screen porrorprism viewfinders).  

A closer looker at the Nikkorex F - it was the only SLR camera with interchangeable lenses compatible with all Nikkor non-AI lenses. Photo Credit: Dnalor_01 - Click image to access wikipedia source.

The Nikkorex F was the first consumer camera to use the durable and rugged copal square shutter - a component that would later be used on the newer Nikkormats and many other future Nikon cameras. For a photographer who couldn’t afford a Nikon F, but was still set on using Nikkor lenses, the Nikkorex F would’ve been the most practical alternative in 1962. 

By 1965, the Nikkorex line of cameras would be discontinued as Nikon began to prepare production for the new line of Nikkormats - Nikon also no longer needed to outsource production to Mamiya so the two companies parted ways. The design of the Nikkorex F would be sold to Ricoh, to use for their own re-branded consumer camera: the Ricoh Singlex (also known as the Sears SL11 in North America).

The Ricoh Singlex - a striking resemblance! Photo Credit: Alan D. Click on the image to see the full article about this interesting camera.

From 1965 to 1978, Nikon would release the following Nikkormat cameras:

Photo Credit: Suvi Korhonen - Click on image to see their full Flikr Profile

1. Nikkormat FT (1965 - 1967)

2. Nikkormat FS (1965 - 1971)

3. Nikkormat EL (1972 - 1976)

4. Nikkormat FTN (1967 - 1975)

5. Nikkormat FT2 (1975-1977)

6. Nikkormat ELW (1976 - 1977)

7. Nikkormat FT3 (1977- 3 month production)

8. Nikkormat EL2 (1977 - 1978)

I won’t dive too deep into each camera for this article, but I can say that for the serious amateur photographer upgrading from the Nikkorex F to the Nikkormat FT or FS - it was the perfect balance of price, features and build quality similar to the Nikon F with some unique advantages! 

The Nikkormat FT used metal bladed, vertically travelling shutter curtains which allowed for a faster flash sync speed (1/125th) than the Nikon F (1/60th). It was also Nikon’s first consumer camera to use an internal electronic cadmium TTL metering system - giving the photographer accurate “scene average” exposure readings at the widest aperture. The light meter operated similarly to the Nikon F using the “centre the needle” system. The lens mounting system was also the same as the Nikon F that used the “Photomic” meter head. 

The Nikkormat FS (1965) - You can tell by the lack of a “mirror lock up” switch just above the lens release button. Photo Credit: Gilad Koriski - Click on image to see their full photography equipment blog.

The Nikkormat FS didn’t sell as well because it didn’t have an internal light meter and mirror lock up like Nikkormat FT. The FS might have appealed to purists who found light meters distracting - however even seasoned pros preferred the FT over the FS because both cameras had reliable fully mechanical shutters. The battery only powered the light meter. Today, the Nikkormat FS is a rarer camera to find on the market and has a higher price tag. 

The Nikkormat EL (1972). Photo Credit: Chris Devers - Click on image to see their full Flikr Profile

The Nikkormat EL was the first electronic shutter Nikkormat camera to offer manual and aperture priority exposure modes. The camera was powered by LR44 batteries (x4) and only had one mechanical 1/90th shutter speed. Despite the advanced auto exposure features the camera had to offer, the electronic components didn’t appeal to professionals but were probably appreciated by general consumers. Early Nikkormat EL’s were known to have battery issues, but Nikon improved the battery efficiency in the later models. 

The Nikkormat FT2 was the most “realized” version of all the mechanical Nikkormats ever released. Unlike the previous FT, FS and FTN models - the FT2 was not only re-wired to use non-toxic batteries just like the Nikkormat EL but it also had a few new features that streamlined the camera’s operation. Plus and minus symbols were added just outside the camera’s external light meter window. The film advance lever had a plastic wrap for added comfort and stability. Grooves were added to ISO dial to ensure the pointer locks into place without slipping while the photographer is mobile - this was a common complaint on the older FT models. A hot shoe was also added to the top of the camera to use electronic flashes. The electronic flash and bulb sync ports were merged to one.

The Nikkormat FT3 (1977) - Photo Credit: Bastien M - Click image to access wikipedia source.

The Nikkormat FT3 along with the re-named “Nikon” EWL and EL2 were all essentially the same cameras but were now equipped with the upgraded latest “SPD” light meters for faster light readings. The lens meter coupling system was also updated to mount with Nikon’s new “Auto Indexing” lenses which made mounting lenses a lot faster too. The Nikon ELW was the only camera capable of using a 2FPS motor drive which was a first for the Nikkormat series. 

The Nikomat ELW (1976) - Photo Credit: www.nikon.co.jp Nikon Corp (Japan) online archives - Click image to access wikipedia source.

Despite how great the latest FT3, EWL and EL2 models were - they all lived short life spans as they were replaced by the newer and more compact Nikon FM and FE models. By 1978 the Nikkormat line would finally come to a close.

BUILD QUALITY

The Nikkormat FT2 was one of the last hand-assembled cameras tested by real factory technicians. I could immediately feel the care that was put into building these fine machines.

Although all Nikkormats, including the FT2, were big compared to other compact SLRs being released by the mid-late 1970s - something felt mechanically organic about the traditional 1960s build style of the Nikkormat FT2 - a unique characteristic that is harder to feel in cameras built in the later decades.

1978 Nikon F2 Titan (unmarked)

It is evident that Nikkormat FT2 has the DNA of the Nikon F2 with the difference of having a fixed pentaprism and an OM1 style shutter speed dial. When comparing the two cameras together it becomes evident that the Nikon F2 is the tougher camera overall - especially the titanium version of the F2.  Although both cameras are made of magnesium alloy, the Nikon F2  still feels like it has a stronger outer shell but the difference is not too drastic. This doesn’t really that matter that much since the Nikkormat FT2 cannot use motor drives anyways. Despite this, the Nikkormat FT2 shutter curtains are still great for the type of shooting the camera is meant. 

1972 Nikon F2 Photomic

USER EXPERIENCE

I honestly wasn’t that impressed by the layout of the Nikkormat FT2 at first. When I saw the camera for the first time on eBay, I initially thought it was a semi-auto film camera because of the lack of a shutter speed dial - it looked pretty boring and unintuitive to use!

After shooting on the Nikon F2SB for over two years now, I felt spoiled by the F2’s iconic design and functions and to judge the Nikkormat FT2 before even trying it was obviously not fair. Despite my feelings about the odd characteristics of the Nikkormat - I was still intrigued and bought one off Kijiji. 

When I finally got my hands on one, it didn’t take me long to figure out the Nikkormat FT2’s shutter speed dial is hidden around the lens mount. The weight distribution with a standard 50mm lens had me in love with the camera’s ergonomics right away. The shutter advance lever felt buttery smooth and the shutter clicks sounded great. I’ve seen a lot of people consider the Nikkormat the “poor man’s” Nikon F which is a shame because I now believe the FT2 is a greatly under-rated camera.

Side profile of the Nikkormat FT2 (shutter speed dial visible just behind the lens)

I now own two copies of the Nikkormat FT2 and both are a joy to shoot with - however each camera have their own minor setbacks. The first Nikkormat FT2 has a bad internal light meter but has excellent mechanical functions and is in near perfect condition cosmetically. My other FT2 has a near perfect internal light meter but looks more weathered externally - the “spring return” on the advance lever is also a bit weaker and the opening back feels stiff. Both cameras are completely usable and both print out consistent film negatives with no light leaks! Between the two, it all comes down to what kind of “shooting experience” I want. 

Needle leaning slightly to the + (this usually gives me well exposed images, being 1/3 to a half stop over)

The Nikkormat viewfinder is bright and uses a simple interface that doesn’t distract from the composition. I enjoy minimal viewfinder information - the Nikkormat FT2 only displays the shutter speeds and uses a simple “swinging needle” to indicate the exposure value. 

Top view of the Nikkormat FT2 (external light meter visible to the left, next to the rewind knob)

There is also a handy external light meter window next to the rewind crank that made me love the Nikkormat FT2 system even more. To roughly meter before composing and focusing is a dream come true. This is excellent for street photography - priming your exposure values, pre-focusing the lens, and getting the shot feels very efficient! 

Getting that needle dead centre to get the image properly exposed is also very satisfying. I like to have the needle lean slightly towards the “plus” before taking the shot. It’s a bummer that no visible aperture is displayed inside the viewfinder but I am getting used to it.

The only weird thing about this swinging needle is that it’s “inverted” - down means “over” exposure and up means “under” exposure. The DP-1 and DP-11 meter heads for the Nikon F2 move left (under exposure) and right (over exposure). I am not sure why Nikon made this design choice.

Needle way over the + (over exposure)

I didn’t think I would enjoy the placement of the shutter speed dial, but I quickly learned how  intuitive it is to shoot “Olympus” style. The shutter speed dial has an extended lever so that I can adjust the shutter speeds and aperture with my left hand without having to remove my eye from the viewfinder - my right index finger always remains ready on the shutter release. This process makes it a refreshing way to use a camera.

Shutter speed and ISO lever highlighted.

The shutter speed dial lever also doubles as the ISO adjustment switch. The tip of the lever has another small lever that you pull out and hold as you turn the ISO lever at the bottom of the lens mount. This also requires some finger dexterity and some sharp finger nails to do, but it’s not as cumbersome as the Pentax K2 that I described in my previous article.

Opening the back door to load and take out film is a bit of a pain. There is a very small switch at the bottom that needs to be pressed down pretty hard to pop up open the door - sharp finger nails are recommended to do this! The only benefit to this is that it would be hard to accidentally open up a loaded film camera - so I don’t see this design choice impact the user experience too much. It’s also child-proof, so for the photographers who are around curious children - they will have a difficult time opening up the camera when you’re not looking!

Mounting lenses on the Nikkormat FT2 is a bit unwieldy, but once you get used to it, it’s a nice tactile experience. You set your aperture to F5.6 on the lens, mount the lens with the rabbit ears and coupling prong aligned and turn counter clockwise to the widest aperture and then clockwise until you hear a satisfying loud click. This means the lens is locked and the camera light meter is calibrated to the widest aperture on the lens. 

Side view of the Nikkormat FT2 (rabbit ear lens attached the camera’s metering tab)

The Nikkormat FT2 is a pre-AI body, meaning that it will only meter lenses that have the “rabbit ear” coupling prong attached. You can meter with “non-rabbit ear AI” lenses, but you have to hold down the “aperture preview” button down while getting a light reading. Thankfully the position of the aperture preview button is conveniently placed near the shutter release, so ergonomically this feels natural. 

RECOMMENDATIONS

For people just starting to get into film photography, the Nikkormat FT2 might be too quirky, especially if you’re looking for body with an accurate internal light meter. Although there are FT2’s out there with working light meters, use a handheld meter just in case. Experienced photographers who read light with sunny 16 should have no problem using this mechanical camera since the batteries only power the light meter. 

The Nikkormat FT2 today is meant for collectors and experienced shooters in my opinion. Long time Olympus shooters would appreciate the Nikkormat since the shutter speed design is similar. If you like bigger and heavier 1970s style cameras, you will certainly enjoy the FT2 but for a little more money, you can find a Nikon F2 Photomic (F2 bodies seem to have aged a lot better). If you’re looking for something more compact from Nikon that uses the “needle” system - the Nikon FE or FE2 would be my alternative recommendations. 

Thank you for reading! 

Pentax K2 Review

INTRODUCTION:

The Pentax K2 was a professional grade electromechanical 35mm SLR introduced in 1975. Released with the mid-level Pentax KX and entry-level KM, these were the first generation of bodies to use the new K-mounting system for the new line of Pentax K-mount SMC lenses. The K-mount was designed to replace the aging M42 screw mount found on all the older Spotmatic bodies which allowed the photographer to change lenses with a quarter turn.

Although K-Series camera bodies were only around for 3 years, they were still historically significant because they were a key step in Pentax’s strategy to modernize the lens mount in order to compete with other camera companies during the golden age the 1970s. 

BRIEF HISTORY:

The sales of Pentax cameras had been on a steady decline since the mid-late 1960s. Even though Pentax cameras were technically on par with other cameras on the market at the time, it was held back by the old M42 screw mount system. This pain point would become more apparent and introduce more challenges for Pentax when the Olympus OM-1 camera was first released in 1971. Not only did the Olympus OM-1 have a faster lens mounting system, it also redefined camera portability which made the Spotmatic feel like a brick. From then on, consumers wanted more compact cameras on the market and Pentax didn’t have an immediate contender. Even other camera giants like Nikon, Minolta and Canon were caught off guard by the Olympus OM-1 in the early 1970s! Compact cameras such as the Nikon FM, Minolta XD and the Canon AE-1, wouldn't make their appearances in the market until 1976.

Although Pentax wanted to shift to building compact cameras too, they were aware that the antiquated M42 was holding them back. Pentax didn’t seem to completely realize that the K-mount - which they developed in collaboration with Zeiss-Ikon in 1969 - would actually be the key to their success but didn’t take immediate action. This was a critical mistake and could have significantly mitigated the declining sales.

In 1973 Pentax sales were now down by 40% - the lowest it has ever been. Pentax decided to put the K-mount into action, but needed to find the most effective way to make that happen.

The solution was to use the existing Spotmatic body, make some minor refinements, and swap out the M42 lens mount for the new K-mount. Unfortunately it meant that lenses with the M42 mount were no longer compatible with the new Pentax k-mount bodies.

As an overall company decision, this was a simple but smart move to address the biggest pain point first without worrying about body size and design interface updates. There simply wasn’t enough time.

By 1975, the Pentax KM, Pentax KX and Pentax K2 would take the centre stage along with a new lines of K-mount SMC lenses. Although these three camera bodies didn’t sell that well, it did turn some consumer's heads and would buy the company just the right amount of time to finish and release their new line of compact M-series cameras in 1976. The professional Pentax MX and entry-level Pentax ME (see FIGURE 1).

FIGURE 1: A limited version of the compact 1976 Pentax ME SE. Limited versions were made in a brown finish instead of the traditional black. Unfortunately my copy has a dented flash hot shoe and broken film advance mechanisms. This camera will be going into the shop for repair soon.

In 1976, Pentax wasn’t done with K-Series and would release two more bodies: the upgraded professional grade Pentax K2dmd and the camera most people know, the entry level Pentax K1000. The Pentax K1000 was a stripped down version of the KM without the depth of field preview button, mirror lock up switch and self timer lever, but its simplicity made it a fan favourite.

The Pentax K2dmd was basically the K2, but with an added aperture window on the pentaprism and motor drive couplings located at the bottom of the camera for continuous 2FPs shooting. The Pentax K2dmd was also the most expensive camera at the time and is still expensive today because of limited quantities. The K2dmd is also very hard to find in good working condition in today’s market. 

Out of all the great K-series cameras, the Pentax K1000 become the most popular camera and even reaching media culture status! The Pentax K1000 would also live to be second longest manufactured camera in Pentax’s history and all other K-series models were forgotten. Although the Pentax K1000 was in production until about 1997 with millions of units produced, many export versions were made outside of Japan throughout the later years. The exported versions were made with plastic top and bottom plates instead of metal and also lacked the ‘Asahi Opt. Co’ logo embroidered on the body. While these downgraded features were somewhat minor, it did slightly de-value the K1000’s glorious beginnings. 

If Pentax utilized the K-mount system on the ES and ESII before the Olympus OM-1 came out, they would’ve been much closer in the race in terms of lens mount tech and prevent sales from dropping dramatically. Maybe they would’ve even released the compact Pentax MX and ME closer to when the Olympus OM-1 came out.

Despite the major setbacks, Pentax still managed to pull through and positively conclude the 1970s with the successful M-Series cameras.  By 1980 the professional Pentax LX would be released, which easily rivalled the introduction of the professional Nikon F3 and Canon New F1 systems at the time. That’s a whole other story I will save for later.

Not only did Pentax show the competition their persistence to make it back to the top in the late 70s and early 80s, their Pentax LX would also live on to be the longest produced and most well respect professional manual focus 35mm SLR camera in history. The Nikon F3 was discontinued in 2000 while the Pentax LX stretched a year longer, retiring in 2001.

Let’s have a look at what the Pentax K2 has to offer:

USER EXPERIENCE:

I don’t know any other camera system that is more simple to use than the Pentax K2. Compared to some of the other 35mm SLR cameras in my collection, it’s a camera with no “distracting gimmicks” - as long as you have a solid understanding of the exposure triangle, this a very simple camera to use. Even someone who has less experience can quickly get the hang of the Automatic mode (see FIGURE 6). You select the aperture on the ring and the black needle inside the viewfinder will indicate the shutter speed the camera will fire at. The fast SPD light meter technology is also quick and snappy making aperture priority a dream when fast shooting decisions need to be made. I like to use Automatic mode when I am taking quick single portraits or group shots of people at events.

The only feature I could call a “gimmick” on the Pentax K2 is the placement of the ISO and exposure compensation dials, located around the collar of the lens mount (see FIGURES 2, 3 and 4). Adjusting the exposure compensation dial isn’t that bad, it’s changing the ISO that’s unintuitive.

FIGURE 2: The ASA (ISO) dial discreetly placed around the collar of the lens mount.

The problem I have with adjusting the ISO is that it requires both hands and some finger dexterity to turn the wheel to the desired ISO setting. Not only do you have to depress a button down in order to turn the ISO dial, you also need a bit of a sharp finger nail to poke into the rivets that will allow you to turn the ISO dial. I found simply grabbing the dial with your fingers doesn’t provide enough grip. You also have to have the Exposure Compensation switch set to “1X” in order to make any ISO adjustments, otherwise the dial will remain locked when set to any other exposure value. 

FIGURE 3: The large button that needs to be held down while the ISO dial is rotated. The rivets are placed below for turning the dial.

Remembering to have the exposure compensation set to “1X” is inconvenient. I didn’t figure this out on my own without consulting the manual. I really thought my ISO dial was busted. Thankfully you only need to set the ISO once before you start shooting a fresh roll of film, but this simple camera function is way over engineered.

FIGURE 4: The exposure compensation dial currently set to “1x” as indicated by the orange selector dot above. Remember to have it set to 1X if you want to change the ISO! Otherwise the dial will not turn.

The film advance lever operates smoothly with a nice tactile gear shifting sound as it moves from the 25 degrees pre-advance all the way out to 130 degrees (see FIGURE 5). The film advance lever has a strong returning throw mechanism, springing back to the original position after advancing a frame - it’s very satisfying!

In comparison to other 35mm film cameras, the Pentax K2 feels like it has the “shortest” film advance throw which makes advancing to the next frame feel very fast. In the official Pentax K2 instructional manual, it’s labeled the “rapid lever” so this explains the short throw. I definitely don’t think it moves as smooth as my Nikon F2 film advance lever, but the advance lever on the Pentax K2 doesn’t feel “cheap”. I want to love my Nikon FE2, but I feel like I am going to break the advance lever on that camera. I believe the operation of the camera’s film advance lever is one of the most important functions because you’re going to be using it a lot and it needs to feel good every time - the Pentax K2 shines in this category.

FIGURE 5: From left to right: neutral, pre-advance and advanced positions.

FIGURE 6: The camera set to “Automatic” mode on the shutter speed dial - the blue needle hovers over Auto inside the viewfinder. The black needle is pointing at the shutter speed the camera will fire at.

The viewfinder on the Pentax K2 is nice and bright, covering 95% of the final composition; although not quite as large as the mighty viewfinder of the compact Pentax ME and MX.  The 0.88x magnification viewfinder also comes equipped with either the “cross-microprism” or the “split-image” focusing screens. I prefer the split-image focusing screen because I find it more precise than “eyeballing” if the image is in focus. The large viewfinder coverage and  magnification makes up for this so it’s not a huge deal for me. 

The Pentax K2 light meter uses a simple “match needle” system which is the cleanest and easiest to use system compared to my other cameras. It’s a tie with my Nikon FE2 because the layouts are almost identical - the Nikon FE2 exposure information is displayed on the left side of the viewfinder. Since the Pentax K2 is powered by Photo-Silicone Diodes (SPD) cells it makes light metering very fast and responsive. It is significantly faster than my other cameras that use the older Cadmium Sulphide (CdS) cells to read light like on my Minolta XE-7 and the DP-1 Pentaprism on my Nikon F2. 

The needle distinction between the selected shutter speed and recommended shutter speed is very user friendly; the wide blue needle indicates the current shutter speed on the camera and the skinny black needle indicates the recommended shutter speed which moves up or down depending on the direction you turn the aperture ring or point the lens. The correct exposure is achieved when the two needles align (see FIGURE 7). It’s also easy to know if you’re slightly over or under exposing, so doing this “intentionally” is very easy.

FIGURE 7: Pentax K2 viewfinder in “manual mode”. The black and blue needles align indicating proper average exposure for the middle of frame.

I find the viewfinder layout of the Pentax K2 cleaner and more intuitive than the Minolta XE-7’s metering system. On the Minolta XE-7 the set shutter speed and selected shutter speed are spread across the viewfinder, so it takes me a moment adjust (see FIGURE 8). On the Pentax K2, I can read the exposure much faster.  Unfortunately the aperture readout in the Pentax K2 is not visible in the viewfinder and is only available on the Pentax KX and K2dmd. I wish knew that detail before I picked up the Pentax K2. I often have to take my eyes off the viewfinder and look at the lens to see what aperture I am set to. With that said, “less can be more” because there are some camera metering systems that are too cluttered and can pull you away from the composition of your shot.  If you’re good at “ball parking” your exposure settings, prior to looking at the meter for fine adjustments, this is really not an issue but it’s something I often wonder why the feature was removed.  Overall, the Pentax K2 is  an excellent “everyday” camera that doesn’t need to do more than give you simple manual exposure guidance.

FIGURE 8: Minolta XE-7 viewfinder. The black needle at the side points at the “recommended” shutter speed, while the “set” shutter speed is positioned at the top next to selected aperture. Although it’s a super clear display, I would prefer a secondary needle in this system like the Pentax K2.

BUILD QUALITY/ERGONOMICS:

Like all 1970s era 35mm film cameras, the foundation of the Pentax K2 body is mostly made up of metal. The only parts that are plastic are the grip coverings for the film advance lever, self-timer lever, depth of field preview button and the mirror lock up switch. The mirror lock up switch is actually the only part that’s completely made of plastic.

For the interiors, it’s standard for a 35mm film camera but the vertically traveling metal focal-plane shutter curtains are beautiful to look at and really highlights Pentax engineering of the time period. The shutter also sounds just as good as it looks with its authoritative clap with every shutter speed sounding distinct.  Compared to the Pentax KM and KX’s maximum 1/60th shutter flash sync using horizontally traveling cloth curtains, the upgraded vertically travelling metal shutter curtains on the Pentax K2, allows for 1/250th shutter flash sync.

For the camera’s medium size, it’s not as heavy as it looks weighing in at about 680s grams without a lens. That’s about 200 grams lighter than my Nikon F2SB without a lens. Even adding a standard short prime lens on the Pentax K2 still makes it less than a pound. With a comfortable strap it makes for a great, tough everyday camera you can easily stow away in your camera bag. The thick horizontal width of the Pentax K2 body has a nice solid texturized bubbly grip that feels very secure in the hands. The corners of the body are rounded off just enough for your fingers to comfortably wrap around. Some cameras use texturized leather wrapping which can feel slippery when your hands begin to sweat. These styles of body wrappings also fade, chip or even completely peel off the body over time which would require re-wrapping. With the Pentax K2, you can feel the solid texture quality and you know it’s not going anywhere.

DESIGN: 

The DNA of the Spotmatic is very much present on the Pentax K2 and if you are familiar with using any Spotmatic camera, you will feel right at home with the K2. The design of the Pentax K2 fits even closer to the Spotmatic ESII. Although it wasn’t designed to compete with the Olympus OM-1 in terms of size, it did refine the classic design and shape of a 1960s style SLR camera with a slightly shorter vertical profile and smoother corners. The Pentax KX and KM resemble the older Spotmatic design which appear slightly taller then the K2 and K2dmd. 

FIGURE 9: Top view of the camera’s shutter speed dial.

FIGURE 10: Another view of the shutter speed dial in colour.

On the top view of the Pentax K2, the shutter speed dial have these convenient ridges for finger grip and compliments how well each shutter speed stop clicks as you turn the dial (see FIGURE 9). There’s also a nice colour distinction in green for the “automatic” mode apart from the manual shutter speeds. B (bulb mode) and 1/125th shutter speeds are both marked in orange as the “mechanical” speeds (see FIGURE 10). These mechanical shutter speeds will function if the camera batteries die. These coloured shutter speed settings make for quick and easy navigation between modes.

FIGURE 11: View of the lock switch for the shutter release button.

The shutter release button has a convenient locking switch that’s ridged just like the shutter speed dial to prevent camera misfires from fidgety hands (see FIGURE 11). Some of the later Pentax models such as the Pentax Super A and Program Plus began to “over engineer” such a simple function that it becomes a bit difficult to lock the shutter button.

FIGURE 12: Placement of the self timer lever and depth of field preview button. Self timer handle partially painted in white.

The self timer lever and depth of field preview button are a little too close together, though the depth of field preview button protrudes out just enough so that the self timer lever doesn’t get in the way (see FIGURE 12). The depth of field preview button is also nicely rounded off and feels comfortable to press down. I have relatively small hands and I don’t feel a strain when reaching for the depth of field button while looking through the viewfinder.

The ISO dial is located around the collar of the lens mount which is unique but very strange design and engineer choice. The KM, KX and K1000 kept the ISO dial placed around the film rewind lever which is typically where it’s found on most film cameras. The ISO dial also controls when you want to use exposure compensation. There’s a tiny orange dot that indicates where you have the exposure dial set, but it’s hard to tell what setting you are on at a quick glance (see FIGURE 4). You have to tilt the camera at a certain angle to see the indicator better and this is especially difficult if you are in low light. 

I’ve always wondered why Pentax decided to put the ISO/Exposure Compensation dial around the lens mount. I prefer the set up of the KX, KM and K1000. Perhaps the Pentax designers took influence from how Olympus and Nikkormat (Nikon) put their shutter speed dial around the lens collar. Since the ISO dial isn’t used frequently like the shutter speeds, it made sense to put it there to de-clutter controls from the top view of the camera. When I consider it in that way, the interface is quite nice and minimal on the K2. I hope the pro photographers at the time agreed to that design choice, but I am sure there were complaints.

FIGURE 13: View of the mirror lock up switch.

The self timer lever is standard with a bit of textured grip. The plastic part of the lever is partially painted in white while the rest of arm reveals the metal foundation (see FIGURE 12). This is to show the camera’s metal foundation, assuring customers that Pentax isn’t cutting corners with their parts. 

The mirror lock up button is completely made of plastic though, but its movement has a nice resistance to it and clicks into place with authority. It has a texturized lever as well. I do wish the colour was the same as the self timer because it’s hard to see camouflaged up against the body (see FIGURE 13). 

The placement of the flash bulb and electronic flash sync ports located next to the film rewind crank are also nice - the sync flash cords won’t get in the way from operating the camera (see FIGURE 14). If you’re lucky, most Pentax K2 cameras include plastic plugs from keeping the ports from getting dirty. They also plug in pretty sturdy so they won’t fall out on their own. Next to the sync ports is the battery check button and the LED light (see FIGURE 14). The battery check button is small and difficult to press but I believe this is by design. According to the manual, you don't want to over-use the battery check because it will drain the LR44 batteries faster.

FIGURE 14: View of the flash bulb and electronic flash ports located at the side of the camera. Battery test button and LED light indicator is placed in the back next to the viewfinder.

VERDICT:

Overall, the professional grade Pentax K2 is a highly recommended alternative to the popular beginner Pentax K1000. Not only does the K2 offer a lot more features, it’s also a little more compact and has better build quality. You can pick up a Pentax K2 for almost the same price as a mint condition Pentax K1000 - unless you are an avid camera collector, why pay more for less features? Even the Pentax KX and KM are better choices as they are completely mechanical and also have more features than the K1000.

Once again, the ISO dial is the biggest flaw, so if you’re not a fan of the ISO functionality then I cannot recommend this camera. If you don’t take care of your Pentax K2 properly and let it sit in dirty places all the time, dust and dirt can easily get caught between the body and dial which can make turning the ISO dial extra difficult. The ISO dial functionalities is definitely one of the first things you want to check with the seller, especially if you’re buying online.   

FINAL THOUGHTS AND RECOMMENDATIONS:

The Pentax K-Series has an exciting wide range of systems to choose from depending on what you’re looking for. I know that it looks like I’ve been bashing the Pentax K1000 throughout this article, but I don’t think it’s a bad camera at all. My goal is to get readers and buyers to broaden their understanding of the K-series, so that you can make a more informed decision on what camera is best for you.

If I had to pick one camera from the K-Series it would have to be the Pentax KX. As much as I love the Pentax K2, the features on the Pentax KX are nicely wedged between the K2dmd all the way down to the K1000. All the shutter speeds are mechanical it only needs batteries for the light meter and it has the set aperture displayed inside the viewfinder. The only con to mechanical shutters are that they’re more likely to loose shutter speed accuracy due to probable wear and tear of the internal gears. Electronic shutters are known to stay accurate for much longer - obviously if the electronics die then it’s a dead camera that is much harder to fix than mechanical cameras. Even if the mechanical shutter speeds are off by a quarter/half stop, you’re still going to get a decently exposed image - I would still advise getting your camera cleaned, lubricated and re-calibrated if possible.

As for the K2dmd I don’t think it’s worth struggling to find a fully working body since there are so many other cameras on the market that are easier to find and offer the same features. If you’re an avid collector and money isn’t an issue, then the K2dmd is probably worth it for showcase display and a major bonus if it’s in mint working condition. 

Unlike the K2dmd and K2, the KX, KM and K1000 are fully mechanical cameras and only needs batteries to power up the light-meter. The K2 and K2dmd rely on batteries to shoot on most shutter speeds. In my experience, LR44 batteries can last up to a year. Another disadvantage with battery operated cameras is that if you’re shooting in very cold weather, batteries can fail and the camera won’t fire at the selected shutter speed but thus far, I haven’t had this happen to me yet with the Pentax K2.

If you are truly set on a Pentax K1000 just for its simplicity and popularity, try to find older models made by the Asahi Corporation and not the exported versions. The Japanese versions have the Asahi embossed on the back of the camera, just behind the film advance lever. Though from my research, authentic Japanese made Pentax K1000s seem to outnumber the exported versions. 

The Japanese made K1000s are known for better build quality and they’re durable like tanks, very reliable and easily serviceable. Though I am sure the exported versions are just as reliable, they don’t have the same build quality. “The less electronics the easier it is to repair" as most technicians say, so simplicity can win over people.

If you’re patient and can find a mint condition Pentax KX for the same or even better price as the Pentax K1000, definitely go with the Pentax KX. Just make sure you’re not a “left eye shooter” - the film advance lever needs to be in the “pre-advanced” position in order to turn on the light meter. You can push it back in once you’re ready to take the shot.

At the end of the day, a camera is just a tool and a skilled photographer can yield incredible results with anything. Pick the right camera that suits your needs best.

Thanks for reading and happy shooting! 

PS….

If you’re still not sure which camera is right for you - I’ve created a breakdown comparison list below:

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PENTAX K2DMD

Pros:

• Aperture readout in the viewfinder

• Motor drive couplings

• Aperture Priority Mode

• 1/250th Flash Sync

• Size is slightly trimmed down vs the KX, KM and K1000

• Retractable viewfinder blindfold (only available on this model)

• Mirror lock up switch

• Depth of field preview button

• Self-timer

• Exposure compensation dial

• Wider ISO range from 8-6400 (wider than the KM and K1000)

• Meter switches off on its own after brief inactivity (unlike the KM)

Cons:

• Relies on LR44 batteries to operate semi-electronic shutter

• Only 1/125th and bulb mode are mechanical shutter speeds

• More electronic parts - may be harder to repair and replace

• Finicky ISO dial mounted around the lens mount collar

• ISO dial is prone to catching dirt without proper care

• Difficult to find in full working condition on eBay

• Expensive on eBay (even when not fully working)

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PENTAX K2

Pros:

• Aperture Priority Mode

• 1/250th Flash Sync

• Size is slightly trimmed down vs the KX, KM and K1000

• Mirror lock up switch

• Depth of field preview button

• Self-timer

• Exposure compensation dial

• Wider ISO range from 8-6400 (wider than the KM and K1000)

• Meter switches off on its own after brief inactivity (unlike the KM)

• More readily available in working condition that the K2dmd

Cons:

• NO aperture readout in the viewfinder

• NO motor-drive couplings (only available on the K2dmd)

• Relies on LR44 batteries to operate semi-electronic shutter

• Only 1/125th and bulb mode are mechanical shutter speeds

• More electronic parts - may be harder to repair and replace

• Finicky ISO dial mounted around the lens mount collar

• ISO dial is prone to catching dirt without proper care

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PENTAX KX

Pros:

• Doesn’t rely on batteries; mechanical shutter (at all speeds)

• Batteries only power the light meter 

• Aperture readout in the viewfinder

• Mirror lock up switch

• Depth of field preview button

• Wider ISO range from 8-6400

• Fully mechanical body allows for simpler repairs

• Meter switches off on its own after brief inactivity (unlike the KM)

• Easier to repair, less electronics

Cons:

• Film advance lever has to be slightly pulled out to use meter

• Meter function with the lever is not good for left eye shooters

• Slower 1/60th Flash Sync

• No Aperture Priority Mode (full manual only)

• NO motor-drive couplings (only available on the K2dmd)

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PENTAX KM

Pros:

• Doesn’t rely on batteries; mechanical shutter (at all speeds)

• Batteries only power the light meter

• Depth of field preview button

• Self-timer

Cons:

• Meter cannot be turned off (remove batteries/put lens cap on)

• Narrow ISO range from 20-3200 

• NO aperture readout in the viewfinder

• NO mirror lock up switch

• Slower 1/60th Flash Sync

• No Aperture Priority Mode (full manual only)

• NO motor-drive couplings (only available on the K2dmd)

  
  ______________________________________________________________________________

PENTAX K1000

Pros:

• Doesn’t rely on batteries; mechanical shutter (at all speeds)

• Batteries only power the light meter

• Much more readily available than any other Pentax on the market

• Meter switches off on its own after brief inactivity (unlike the KM)

• Easier to repair, less electronics

Cons:

• Narrow ISO range from 20-3200

• NO aperture readout in the viewfinder

• NO mirror lock up

• NO depth of field preview

• Slower 1/60th Flash Sync

• No Aperture Priority Mode (full manual only)

• NO motor-drive couplings (only available on the K2dmd)

The Nikon DP-3 Pentaprism Review and User Guide

Introduction

Nikon DP-3 - Front Side

The Nikon DP-3 is a compact precision pentaprism light meter attachment for the Nikon F2 body. Using Silicon Photo Diodes (SPD) for light readings, the DP-3 pentaprism is able to precisely calculate exposure values a lot faster than the earlier DP-1 and the slightly improved DP-2 predecessors which both used older Cadmium Sulphide (CdS) cells and resistors to read light.

The Nikon DP-3 also allowed “automatic shutter speed priority” control when coupled with Nikon DS-1 and DS-2 attachments. This was a feature carried over from the Nikon DP-2.

The Nikon DP-3’s major upgrade from CdS to SPD metering was a significant shift in camera light metering technology and paved a new foundation for what future film camera metering systems would be engineered around.

Brief History

In 1976, not only was Nikon upgrading their light metering system with the Nikon DP-3, they were also one year away in transitioning from Non-AI to AI (Auto Indexing) Nikkor lenses in 1977. These new AI lenses, would greatly improve the “metering coupling system”, essentially making it faster to mount different lenses and calibrate the aperture ring to the pentaprism. With the older Nikkor Non-AI lenses, it required the photographer to line up “rabbit ears” on the aperture ring to catch onto the pentaprism’s “coupling pin”; some photographers called this the “lens dance” (see FIGURE 1). I heard that veterans who used the old Non-AI system for years were so accustomed to this, that they would still turn the aperture right to left with the new AI system! If you’re not sure what the differences are between Non AI and AI lenses, have a look at FIGURES 3 and 4.

FIGURE 1: Mounting the lens on the F2 body. Marker indicates where the lens rabbits ears and coupling pin meet.

View fullsize

FIGURE 2: Bottom view of the Nikon DP-3 showing the “rabbit ear coupling pin”.

(See FIGURE 2) Since the Nikon DP-3 was still using the rabbit ear coupling pin, the shift to AI lenses would only allot 8 months of production time before the DP-3 was discontinued. So from 1977 to 1980, Nikon would then release the DP-11 and DP-12 which were both specifically made for the new Nikkor AI lenses. The DP-11 actually went back to DP-2 CdS metering; although it’s not clear why Nikon decided to downgrade, the DP-11 was made for photographers who preferred the “needle system” over the “LED” system and only carried AI lenses.

The DP-12 uses the LED system powered by SPDs just like the DP-3. The DP-11 and DP-12 would also be the last two models of Pentaprisms made for the Nikon F2 before quietly being discontinued and replaced by the Nikon F3 in 1980.

Despite the Nikon DP-3’s short production period, Nikon did include “rabbit ears” mounted on the newer AI lenses in consideration of the photographers who haven’t made the switch AI lenses. By the 1980s however, Nikon was phasing out the rabbit ears while still leaving the mounting holes on the lens body just in case the photographer still needed to put them back on themselves.

In my opinion, the Nikon DP-3 was Nikon’s gift to their customers because it bridged the lens compatibility gap while using the same SPD light meter technology found in Nikon’s final DP-12. I am sure it saved a lot of headache for photographers at the time, to not have to upgrade their lens kits right away and make the most out of the Nikon DP-3.

FIGURE 3: AI (Auto Index) Nikkor lens. F-stops printed on the outer lip of the lens mount (behind the rabbit ears)

FIGURE 4: Non AI Nikkor Lens. No F-stops printed on the outer lip of the lens mount (behind the rabit ears)

My Personal Experience

First roll using the DP-3. Getting the feel for the LED interface!

Shooting with the Nikon DP-3 is a joyous experience with practice. In direct comparison to my older Nikon DP-1, the DP-3 is a lot faster to turn on with the flick of the film advance lever and is even faster to react to light depending on where I am pointing the lens. NOTE: Both Pentaprisms are centred weighted. The DP-1 meters 50% of the available light within 12mm diameter (the circle in the middle of the viewfinder). The DP-3 meters 60% of the available light within 12mm diameter and displays 100% of the final frame, just like the DP-11 and DP-12.

It took me a bit of time to get used to the LED system on the DP-3 because the DP-1 uses the more traditional needle alignment system which I naturally find more assuring (see FIGURE 5). Some shooters prefer one interface over the other but overall the LED system is a lot easier to see in any lighting situation, day or night. When looking through the viewfinder, the Nikon DP-3 sports 5 LED combinations allowing the photographer to fine-tune the exposure which is more precise than the 3 LED combinations on the Nikon DP-2 (see FIGURE 6). Even with the 5 LED combinations, it’s still a bit tricky to tell how over or under exposed my images will be but I’ve only been in the 1/4 to 1/2 stop range. If I turn the aperture or shutter speed dial one stop and cannot get that perfect “o” exposure, then it usually means I am not too far off and in the end, it’s always safer to over expose film anyways.  

FIGURE 5: Nikon DP-1 viewfinder interface: Correct exposure currently set (may be 1/4 stop under), but pretty close. The more centred the needle, the more spot on the exposure will be depending on what part of the frame you want properly exposed. To “purposely over or under expose”, you have to balance the needle to lean to the left or right.

FIGURE 6: Nikon DP-3 viewfinder interface - (from left to right): underexposed, slightly underexposed, correct exposure, slightly overexposed and over exposed.

FIGURE 7: Highlighting the Nikon DP-3’s unique features.

Other unique features that are only available on the DP-3 and DP-12 are the 3 extra shutter speeds found past the B (bulb) mode (see FIGURE 7). These are the extra shutter speed numbers marked in red. Pressing and holding down the silver button at the top of the pentaprism shutter speed dial will allow it to swivel past B and select the camera to meter for 2 seconds, 4 seconds and 8 seconds.

NOTE: this doesn’t tell the camera to shoot at these shutter speeds, it’s only telling the pentaprism meter to get exposures for these shutter speeds. If you want to shoot at these shutter speeds, there’s a feature on the Nikon F2 that’s a bit of a hidden function. The self timer dial at the front of the camera is actually an extension to the shutter speed dial on the pentaprism and is used to tell the camera to open the shutter from 2-10 seconds; for this feature to work, the shutter speed must be set to B (bulb) mode (see FIGURE 8). Once you have selected your long exposure shutter speed, you can then meter with extended shutter speeds on the pentaprisms dial. Once you’re ready, press the silver button to take the picture in self-timer mode (it’s hidden behind the self time lever on FIGURE 8). The whole process requires careful finger dexterity, but I got used to it with practice and it’s useful if I don’t have an external light meter to use. 

FIGURE 8: View of the Nikon F2 self-timer which doubles as an extension to the shutter speed dial for 2-10 second exposures. Set your shutter speed dial to bulb - turn the shutter release button to the left into “T” (Timed Exposure Mode) - turn the self timer arm to the desired length you want the shutter to remain open - press the shutter release button to take the picture. The mirror and shutter curtain will remain open for the duration you had selected.

FIGURE 9: Top side view of the DP-3. Hold the textured sliding switch back to light up the viewfinder in the dark.

The Nikon DP-3 also has a convenient illumination switch on the top that allows the photographer to read the aperture and shutter speeds in the dark (see FIGURE 9). This is extremely handy when there is no natural light available to illuminate through the pentaprism’s natural illuminate window. Obviously the DP-3 is pretty damn old now and Nikon at the time, was using incandesce technology to light up the exposure information and can potentially burn out from wear and tear age, so I try to use this feature sparingly when I can. On my copy of the DP-3, if I hold the light switch back for too long, the lights inside the pentaprism begin to flicker a little bit and I worry that I might wear  it out but so far it’s been a pretty sturdy feature. 

FIGURE 10: Top side of the DP-3. Correct exposure is currently achieved with the LED light glowing red at the top of the pentaprism. Remember to flip the switch to close the eyepiece curtain.

If you plan on shooting from the hip, the Nikon DP-3 also allows you to meter without looking through the viewfinder. Closing the eyepiece curtain will prompt the LED light at the top of pentaprism to light up red when the correct exposure is achieved which is handy if you are shooting in a low light situation from the hip (see FIGURE 10). This is where the DP-3 lacks where the DP-1 and DP-2 shine; the DP-3 has a single light that only shows you have the correct exposure, but doesn’t indicate exactly how over or under exposed your shot will be. This functionality may be tricky to use for less experienced photographers who can’t quite estimate the exposure settings. If you require more exposure information, go with the either the DP-1 or DP-2 because it will tell you how under or over exposed you are with the tilting needle (see FIGURE 11).

NOTE: the top display on the DP-1 does not illuminate in the dark but the DP-2 does with external LED “plus and minus symbols”. If both symbols appear together, that’s the correct exposure on the DP-2.

FIGURE 11: Top view of the original Nikon DP-1 Pentaprism. The exposure is about 1/4 quarter under exposed (slightly leaning to the right). If the needle leans to the left, then you are increasingly over exposing the image. If the needle is anywhere within the dome, your image will be usable. NOTE: The DP-1 doesn’t have a viewfinder curtain switch, so this needle will always be active.

NOTE:  Removing the Pentaprism off the Nikon F2 body is not an easy task. It’s the worst drawback the F2 has compared to my experience swapping pentaprisms with the Nikon F4 or Canon New-F1. Extra caution is required if you need to swap pentaprisms on the Nikon F2.

FIGURE 12: DP-3 Pentaprism “release lever”

To remove the pentaprism, press and hold down the front lever near the face plate so that the front claws of the pentaprism “unlatch” from the grooves on the Nikon F2 body. Press and hold down the release button on the back of the camera left of the viewfinder to unhinge the back of the pentaprism from the Nikon F2 body (see FIGURE 12 and 13). The two step process is tricky because it requires the lever and button to be pressed simultaneously while lifting the pentaprism up to dismount. It is so important to be gentle when removing the pentaprism; you can damage the connectors if too much forced is applied.

FIGURE 13: Backside of F2 body. Press and hold the button down to release the backend of the pentaprism.

Mounting the pentaprism back on isn’t that difficult, but you still have to carefully re-align the shutter speed dial to B (bulb) mode first so that the pentaprism shutter speed dial grooves line up with the shutter speed dial groove on the Nikon F2 body. You will hear a click once the grooves connect. Make sure to look through the viewfinder to see if the shutter speed information matches what you see on the shutter speed dial. That’s how you know the shutter speed dials are in sync.

Despite how difficult is to swap pentaprisms on the Nikon F2, it’s not a total blocker for me. Swapping pentaprisms is not something photographers have to do frequently anyways. I recommend getting two bodies with two different pentaprisms if your project requires it, otherwise, just get used to using one pentaprism!

Build Quality

The Nikon DP-3 was built in the decade when camera equipment was still made mostly of metal and hand assembled by certified quality control technicians. Just like any other film body camera and accessory made in the 1970s, picking up a DP-3 pentaprism will immediately remind you of this pure metal era. The Nikon DP-3 does not feel cheap and will not disappoint material-wise.

FIGURE 14: The weak points of the Nikon DP-3.

While the body foundation of the DP-3 is constructed mostly of metal and glass, the buttons and the outer layer trimmings are plastic. Compared to the increasing amount of plastic that was used in the 1980s to cut down on production cost, the plastic on the DP-3 has more practicality and feeling around the DP-3 doesn’t give you the impression the Nikon engineers were cutting any corners. 

The Nikon DP-3 isn’t that heavy on its’ own but when attached to the Nikon F2 body loaded with batteries and a roll of film, the camera rig already weighs 834.5 grams (1 pound) and that is without a lens! Imagine adding Nikon MD-3 motor drive and a 70-200mm lens for high action photography! The Nikon F2 is a heavy camera system and it may be too heavy for those who prefer a much lighter and smaller system, but for the style of photography that I do, the weight isn’t too much of an issue.

Switching back and forth between my Nikon F2SB to my other go-to everyday SLR camera, the Pentax Program Plus - the Pentax feels like a toy in comparison even though it’s 5 times lighter and smaller. That’s another great camera system I will talk about in a later article.

The build quality of the Nikon DP-3 isn’t perfect though and the weakest parts on the pentaprism would definitely have to be the prism release lever switch at the front and the light meter switch at the top (see FIGURE 14). I get this terrible feeling that if you accidentally drop the camera head first on the pavement with the DP-3 attached, the release lever and light switch would be the first to go and since the outer layer is mostly plastic, dents and scratches are definitely prone to happen a lot easier than the body itself. If you drop the DP-3 without the body, the glass for the mirrors inside the pentaprism would definitely go first! I cringe thinking of all the damage possibilities!

1970s Camera Design

1970s camera designs remind me of old American muscle cars of the era. Everything built in that decade seemed to be purposely oversized for easy durability and sturdy handling. Though the DP-3 is just a separate accessory to the Nikon F2 system, the overall presentation of the DP-3 still has the 1970s design DNA. Bigger cameras will always have a special place in my collection when I want to feel like an old fashioned 70s newspaper/magazine journalist. I completely understand how some people think it’s ridiculous to use cameras that big and heavy these days especially now that we options to use smaller gear. I just feel safer with a bigger and sturdier camera in my hands because I know these 1970s era mechanical bodies will likely continue to work after I am gone and I love that feeling. It’s really an acquired taste at the end of the day!

The Nikon F2SB and a “re-wrapped” Minolta XD standing together. It’s clear the Nikon F2 is much taller with the DP-3 pentaprism and “optional” AR-1 soft shutter release button attached. You can easily shave off a couple of inches with the “meter-less” Nikon DE pentaprism attached and shoot without the AR-1 soft shutter - it’s a very customizable system!

Comparing the DP-3 to the pentaprisms of other camera systems from the early 1970s, the DP-3 is larger than most prisms but not as big as Minolta’s XK pentaprism which was monstrous in comparison. When I compare my Nikon F2SB to my Minolta XD for example, the size differences are already staggering so you can imagine how much bigger the Minolta XK looks! It’s a beautiful camera as well.

It’s important to keep in mind the Minolta XD and other compact Nikon cameras like my FE2 were released several years later (1977-1983) after the Nikon F2SB and Minolta XK; by that time Nikon and Minolta had already started re-designing their cameras to be a lot more compact by 1977.

Nikon, along with several other camera makers realized they had to play catch up with Olympus OM series who were several years ahead in that lane of the race. This trend in compact designs would continue well into the 1980s, until “some” design choices got weird and big again by the mid-late 1980s during the “autofocus era". SIDE NOTE: The beautiful Nikon F4 of 1988 is my favourite AF camera. Perhaps I’ll write another article about that camera later on!

Design and Ergonomics

The first cosmetic details that I noticed when I saw my Nikon F2 were the rigid and smooth lines of the body, along with its no nonsense placement of levers and buttons. The tapered off corner and edges of the texturized body allow for easy gripping. The Nikon F2 body has no useless design gimmicks, no crazy amounts of flaps and doors to reveal even more buttons; just the right amount of accessible camera functions for the photographer to focus on creativity.

On the face plate of the DP-3, the old school Nikon logo pops nicely on the glossy black finish and the engraving of the letters are sharp. The white paint coating for the Nikon letters also seem to last forever, as long the faceplate isn’t handled in a way that can cause the lettering to chip or fade over time.

FIGURE 15: Eyepiece end of the Nikon DP-3

The eye piece, the prism release lever switch and the top side of the DP-3 where the external light meter is located, all have these distinct textures to match the texture design of the Nikon F2 body (see FIGURE 15).  Not only is this a subtle complimentary design, but the textures also add a bit of finger grip too which is handy when you’re removing or attaching the DP-3 to the Nikon F2 body. There’s even a bit of texturized gripping on the switch to open and close the viewfinder curtains when doing long exposure shooting.

FIGURE 16: DP-3 ASA dial crowned over the shutter speeds selections below. The red arrow is pointing at 400 ASA (ISO).

On my DP-3, the shutter speed dial is in immaculate condition. The ASA (ISO) dial information at the very top and the shutter speeds are clearly marked without any fading or smudges. I also really appreciate the bright red arrow point at what ASA film speed your DP-3 is set to because on some cameras bodies, it’s a bit harder to see (see FIGURE 16). 

The bottom of the pentaprism is where all the most delicate parts are located, so I wouldn’t spend too much time poking around. The first thing you’ll notice is the serial number indicating the type of Pentaprism you have.

FIGURE 17: Bottom side of the Nikon DP-3 Pentaprism.

When shopping for pentaprisms, it’s super important to check to make sure you’re getting the model you need by looking at the label just above the serial number (see FIGURE 17). Sometimes it’s easy to mix up the models of the Pentaprisms just by design.

The glass window that protects the pentaprism’s internal mirror takes the centre stage at the bottom of the pentaprism which is securely screwed down and protected by a metallic housing, coated in rubbery grip-like material. It’s meticulously designed and I often forget I am looking at 1970s technology. The bottom of the pentaprism has a clean layout with minimal screws inlayed around the perimeters to keep maintenance simple for camera repair technicians. 

Final Design Thoughts

The design of the Nikon DP-3 was never meant to look discreet, but compared to the first Photomic meter head ever made for the original Nikon F body in 1962, the DP-3 came a long way down in size. The size comparisons can also be said for the other light meter pentaprisms released for the Nikon F2 system, but no matter which light meter pentaprism you choose, they are all rugged and built to professional quality standards. 

Verdict

With all the praise I gave about the Nikon DP-3, it’s not exactly cheap and readily available on eBay or anywhere else online since it wasn’t in production for that long. Assuming that you already own a Nikon F2 body, deciding to get the Nikon DP-3 depends on a few things:

• If you’re only carrying Non-Ai lenses and just want to upgrade from CdS cells to SPD metering then the DP-3 is a great choice. Find a DP-3 and you won’t have to upgrade your lenses to fit the DP-11 or DP-12.

• If you’re only carrying AI lenses - Easy, go for the DP-11 or DP-12 since they’re more readily available. Reminder: the DP-11 uses CdS metering cells, but if you like match needle style metering then a DP-11 is a good choice. If you want to save money, the DP-1 prism is much cheaper than the DP-11. Make sure all your AI lenses have rabbit ears.

• If you’re starting from scratch without anything, then pay attention to the names when you’re shopping. The Nikon F2 body name changes depends on what pentaprism is attached:

  • Nikon F2 (DE-1 prism which has no built in light meter, it’s just a viewfinder for composition)

  • Nikon F2 Photomic (DP-1 prism - match needle system)

  • Nikon F2S Photomic (DP-2 prism - 3 LED system)

  • Nikon F2SB (DP-3 prism - 5 LED system, just like the DP-12 but interchangeably compatible with Non AI and AI lenses)

  • Nikon F2A (DP-11 prism - Downgrade to CdS metering - match needle system and only compatible with AI lenses)

  • Nikon F2AS Photomic (DP-12 prism - the most expensive kit. As good as the DP-3 but only compatible with AI lenses).

Back in 2019, the average price for a Nikon DP-3 on eBay was between $300-$600 (Canadian dollars) so that’s like purchasing a whole camera kit (body/lens), yikes! If you don’t mind having a second F2 body, try to find a Nikon F2SB kit if the condition and price weight out better than buying the DP-3 alone. Nikon F2SB kits are even harder to find from my experience, but if you’re patient, you might score a great deal with a nice lens.

The DP-3 is a pretty niche item for the well informed Nikon shooter with specific interests and if find you can find one cheap, be wary of the condition of the internal parts; just because it looks good doesn’t mean it works because believe me, I’ve learned the hard way!

Personally, I absolutely love the Nikon DP-3. For a 47 year old camera accessory, it surprisingly holds up very well after 4 decades of service. I didn’t even start film photography until 2018 and to think that the DP-3 was already about 13 years old in 1986 (when I was born), really puts it perspective! It’s a timeless piece of technology that runs like an old clock continuing to define time in the modern age.

Good luck in your search and happy shooting! 

Words Between The Pictures

Just me and my little office space. Shot on the Minolta Maxxum 7000 loaded with some Rollei Retro 400s.

Happy Canada Day!

If you’ve happen to read my two previous blogs titled: Developing Film and Late Passions, firstly thank you! Those were two stories I wanted to lay out first and I will likely be talking more about my film developing processes, so stay tuned for that. I am also very new to blogging and this is technically the first blog where I am writing in a less formulaic structure and just typing what comes to mind.

I am beginning to notice more and more lately, that I talk a lot in my head when I am out on my photo wanders, so hence the title, these blogs are aimed at sharing what I think about during my photo wanders; sometimes they could be picture ideas I failed to express in a photograph, but most of the time they’ll be about my experiences being out in the field or casual reviews about gear and camera shops. I find writing definitely helps clear the mind to make way for fresh visual perspectives. With that said, I hope you can relate to some of my thoughts in future posts and if so, feel free to shoot me message on Instagram if you want to chat more about photography! There is so much learn from each other and that’s what makes this art the best kind of art. 

Image scanned from the same 35mm roll from the picture above. Here I am tangled up with an off-camera flash cord. I clearly haven’t upgraded to wireless systems yet!

Developing Film

Pre-Heating all the black and white film chemicals to hit around 20 degrees celcius.

Why Develop Film?

The simple answer is because it’s fun! There is just something oddly thrilling and satisfying about the delicate workflow that holds you completely accountable for mistakes; it can either make you feel great or incredibly disappointed, but I found after about 4 rough attempts, I was getting great consistent, clean and accurate results. Hanging up that perfectly developed roll enhances the already rewarding experiences of shooting on a film camera even more, especially if that roll took months to finish. I could even go a step further and say that even the waiting process of 4-8 hours for the film to dry is fun because the rest of the day feels like Christmas Eve (I love the process that much). In conclusion, give film developing a chance! 

Film hanging to dry for scanning!

Film Developing Without a Darkroom

A lot of misconceptions with film developing in the digital age is that most people including myself (when I first started), think that you need a fully equipped darkroom to develop film. While it’s 100% obvious that you need to develop film in complete darkness, the part that I didn’t understand was that the darkroom is only to give you the space for the equipment to print on photographic paper. The printing of the film negative itself actually just needs to be processed inside a light sealed bag and tank, giving you a portable darkroom solution.

Film Developing In A Nutshell

Developing film is like cooking spaghetti in boiling water; you want to boil the pasta for just the right amount of time so that you don’t over or undercook the noodles. I first learned this analogy by YouTuber ‘Eduardo Pavez Goye’ - as funny as it sounded to me at the time, it’s actually what encouraged me to develop film.

Developing film needs to be submerged in 5 substances: film developer, stop bath, fixer, hypo clear and room temperature water for rinsing. The film developer is what makes the image appear on the negative. Stop bath is a strong vinegar based solution that essentially removes any excess developer left on the film. The fixer is the solution that makes the film no longer sensitive to light allowing the image to stay on the film permanently. Hypo clear is a soap-based solution that washes the film and also makes it water resistant so that no water stains appear once dried. Lastly, the film goes through a final rinse in regular room temperature water before hanging to dry.

Sometimes I develop film outside too! The best ventilation.

Developing Film On A Regular Basis

I remember telling myself when I first started “that I would only shoot film occasionally”, but that quickly changed once film developing became second nature. I have learned that once I have found a rhythmic process that is both effective and efficient; I honestly started to forget that I began the project with film, especially when the momentum of output has picked up speed. Of course if there are tighter project turn-arounds, less room for errors or if the project simply doesn’t call for that “film look”, then I turned to my trusty full frame digital Nikon D800e instead.

Combining Old Tech With New Tech

I currently don’t have the space and the proper ventilation to build a darkroom complete the other 50% of the analog experience so I use a Epson V600 scanner for output. While it seems to defeat the purpose of starting the workflow in the analog method then ending up with a digital image, real public darkrooms are still available at a cost. It’s something I look forward to as I build up a collection of home developed negatives. I also aim to build my own darkroom one day once space and safe ventilation permits.

The first image to appear in my scanner from the very first roll I ever developed. It’s in pretty rough shape and the image looks a lot older than it really is. But hey, you gotta start somewhere right?

The Scary Upfront Costs And Maintenance

The aspects of film developing that intimidated me the most were the expensive upfront costs of the essential equipment and the responsibilities of handling toxic chemicals.

The good news is that I only had to buy the essentials once: the developing tank, film reels and film changing bag. All the essential gear is also built to last for a very long time, so that is great peace of mind for my long term goals. There are also other official accessories that add convenience like dedicated film bottles, thermometers, flasks etc. but you can improvise all that stuff by using cheaper household cooking accessories and recycled bottles.

Severe perforation scratches partway up the middle of the frame. I didn’t realize how fragile film can be when not gently handled.

The bad news is that the film chemicals require quite a bit of maintenance and organization. Film chemicals have a shelf life just like any perishable product and will shorten even more once fresh chemical bottles are opened. I’ve learned that unopened liquid chemicals can last a few years, but mixed solutions can only last about up 3 months before having to make fresh batches. Black and white film developer is a “one shot” solution, so I have to make a new batch for each session. The stop bath and fixer are re-usable for about 10+ rolls of film. I use a bottle “Hypo Check” which requires just a single droplet into the fixer to test if the solution is still fresh. If it needs to be changed, I will see white clouds appear.

Film chemicals, especially the re-usable mixed solutions, need to be stored away safely from regular living spaces in sealed up containers when not being used - especially C41 colour chemistry kits. I cannot emphasize this enough! You don’t want to be breathing that stuff in on a regular basis! I keep my chemicals stored away in the garage in a plastic bin. Disposal of exhausted chemicals are dropped off at any chemical waste facility just like any other hazardous household products - labeling the contents of the bottles is always appreciated by the facility technicians.

In the end, I have learned that shooting 2-3 rolls a month and staying committed to developing the rolls, make the regular maintenance costs and effort worthwhile. If you made it this far into my film developing blog, thanks for reading! I hope this encourages you to give this whole film developing process a try.

Late Passions

I am a 34 year old millennial born in 1986, who was just old enough to enjoy the last generation of film cameras made for the masses between the mid 1990s and early 2000s. But I missed out on all of it until August of 2018 when I picked up my first 35mm film camera.

For as long as I can remember I’ve always been a creative person. I have childhood memories writing stories, drawing, shooting on DV cameras and video editing but film photography was never a part of that self discovery. Although there were opportunities in my life where this undiscovered passion was literally just at arms reach, there was no immediate connection. I remember in grade 10 art class, I used to walk by a display case full of vintage cameras and a darkroom not realizing the impact these things and places would have in my life over a decade later. 

Photo Credit: April Beatson (www.aprilbeatson.com)

Approximately 10 years before realizing what I was looking at would become an incredible fixation! Disregard my haircut!

The beautiful thing about life is that it starts as a rough draft, constantly being re-written; the story only becomes more exciting as you grow into a more improved version of yourself everyday. While this mindset brings me a mix of both comfort and frustration, I’m learning to just enjoy the ride. The mystery of why film photography never existed in my mind in the past fuels me to be the best photographer I can be today in both the digital and film worlds (more stories to follow about that later).

I am grateful that my generation and the generations after me can still enjoy shooting film. In a world of nearly endless conveniences now, it’s an enlightening experience to learn how our parents, grandparents and great grandparents had to take pictures. Film has taught me to slow down, breathe and appreciate the memories of what I saw at the time the picture was taken; the decisive moments when and when not to take the shot are both uniquely rewarding experiences.