Nikon F3 Tribute

[Timmyjoe]

This thread is causing serious gear lust. Quick question, if I'm lucky enough to score a beautiful F3, who in the States do you recommend for a CLA or full overhaul? Who does excellent work on these old Nikons?

Best,
-Tim

 

[Paulbe]

Tim---Jim, at Vermont Camera Works, is excellent. Prices are reasonable, good turnaround, excellent work. Website is http://vermontcamera.com/
Highly recommended. Also works on Fs, F2s and FE2s; probably others.
You'll LOVE the F3. The one you buy may not need anything done--most of the ones I've had do pretty well as received. Great camera---good luck!
Paul

 

[Timmyjoe]

Thanks Paul, I'll look him up.

Best,
-Tim

 

[Calzone]

This thread is causing serious gear lust. Quick question, if I'm lucky enough to score a beautiful F3, who in the States do you recommend for a CLA or full overhaul? Who does excellent work on these old Nikons?

Best,
-Tim

Tim,

I bought a late F3 HP at Adorama for $150.00 that was so fresh it was In "LN" condition. Because I live in NYC I frequently find that the grading systems at B&H and Adorama are kinda fuzzy. This is how I found my Noct-Nikkor for $2,499.00.

No need to pay for service when you can locate a clean one that is good-to-go. My F3P was overhauled by Nikon when they had a repair facility in Garden City, New York (currently now in Melville, Long Island). Nikons are not high maintenance and my F3P ( a real press camera that was owned by the newspaper "Newsday") had service because it had just returned from Kuwatt after Operation Desert Storm.

Basically change the foam seals and you are good-to-go. This is a task I do myself. I say just get a clean one and be done.

Cal

 

[Calzone]

Cal, your post inspired me to rebuild your rig and have a go with it to empty those two remaining bricks of Neopan 400, I keep in the freezer:

scruffy F3-HP body [√]
H-2 full matte screen [√]
high mag prism [√]
DK-17 [√]
winder [√]
NOCT [√]

I just have to figure out where I put those light seals I got from Jon Goodman months ago …

Anybody has a good lead how to perfect the advance lever on the F3 bodies?
Mine has just enough play that it bothers me - is it a CLA job of the advance or a swap parts job with these (this body doesn't look like a heavy user, so I suspect it not necessarily to be worn out)?

Dirk,

You had wisdom when you told me never to sell my Noct-Nikkor. Its a really special lens. Perhaps the only good thing is that I sold it to a friend. Also know that my friend in the military displayed talent setting up sniper rifles. He is particularly great at shooting hand held wide open. For him the Noct-Nikkor is his favorite lens, but also know that he currently owns a 0.95 Noctilux, and at one time also owned a 1.0 Noctilux at the same time.

I still have the switch shimmed so that the light comes on whenever the meter is activated. I find the meter lock has great ergonomics with a MD-4, and that is how I used it with the Noct-Nikkor.

Using a chrome 50 Lux ASPH on a black paint MP with 0.85 VF'er is not the same as shooting the Noct-Nikkor on my F3P even with a TA Rapidwinder and TA Rapidgrip.

Cal

 

[Calzone]

Darn, I just got my third F3 with MD-4. Stupidly sold the first two. The first one I used while working for a daily newspaper when I was 18-21. I even had a motorcycle accident with it once, on a shoulder strap. It hit the pavement and got a few shiny spots for it, but still worked fine. My biggest mistake was to sell two Angenieux lenses that are worth thousands now, the 180mm f2.3 and 35-70. I plan on getting the Nikkor 50/1.2 now, the 28/2.8 and the 105/2.5, perfect kit in my opinion.

Gil.

Gil,

The 50/1.2 AIS is on my list. Make sure you get the 28/2.8 AIS for the new formulation that includes CRC.

Also consider the 105/1.8 AIS if you don't mind the increase is size and weight. The added brightness comes in handy and the bokeh provided by additionall aperture blades is really nice. I once owned the 85/1.4 AIS and the 105/1.8 AIS. I first sold the 85/1.4 AIS first and kept the 105/1.8 AIS because of the rendering. To me it was like a 105/2.5 AIS on steroids.

Cal

 

[Calzone]

Hi all, (Hi Gil, nice to meet you here too) I am having some kind of transition period here. I got a deal with a guy to buy all his camera, FM2n, FE2, F4s, and a Canonet. F4s meh, functionally okay but with LCD leak. Canonet, also meh, RF patch is not clear. FM2n is something, very nice condition, early model with honeycomb curtain. Sold within days. Now the FE2 is something else. It offers many things I actually use over the F3HP. 1/4000 top speed and 8s low speed (more with A mode I think - same as F3). Metering is easier to read with needles, I never liked F3's LCD, then again 5 stop light like Pentax MX would be perfect. I know the F3 is a system camera, but I never buy anything to add to the rig. F3HP+MD-4+MK-1 Firing Rate Converter.

Now I know prices for F3 and FE2 won't force me to sell one or the other, but I am considering to thin out my herd, and have been having fun doing it. This is to make way for an FX camera, a D700. Since I feel like this is my home thread, can I hear your thoughts on D700? I hope Cal and the others won't mind. I currently use D7000, around 11.000 clicks, official warranty. The D700 has 69.000 clicks and was grey market, and I have to top up about $200.

If I'm honest, my ideal kit would be one FX digital body, FE2 or F3HP, a Mamiya RB kit, and one nice large format camera. I thought I am well past this stage. Who am I kidding, right?

Jonathan,

I have been known to create vast amounts of GAS, but I have a suggestion for you. If you are serious about getting a Nikon FX camera consider getting a Noct-Nikkor and doing sticked panoramas instead of getting a large format camera. The results I've seen are mucho impressive and since large format requires the use of a tripod not so different. The key seems to be the Noct-Nikkor for the combination of sharpness and shallow DOF. Of course the lens is shot wide open for the effect.

There's this guy who does wedding photography who in particular is great I think his name is "Brezner" or some other unbutcher spelling that is somehow associated with being synonoumous with stiched panorama.

For me the F3 would be the film SLR, and for medium format film all I would need is a 3.5 F Rolliflex.

Cal

 

[Calzone]

Cal, I feel you, I was on the fence selling off the noct-nikkor recently, last second, I decided to keep it it's unique and one of those 'cold dead hands' lenses.. 🙂
I'll maybe start looking for a DK-17, my F3P came with and all clear screen 'no focusing help' but it's so bright, all pops in focus almost automatically. the build and feel and sound of F3P are uniqe imo. should I see a good noct around on the used market I'll drop you a line, best maitani

Maitani,

Thanks for the scouting offered. All I can say is that the Noct-Nikkor has a very unique rendering that really is optimized for F1.2. The F3P seems to be the perfect film body to compliment the speed of the lens.

I'm considering getting a 50/1.2 AIS as an interium lens, but the Noct-Nikkor used between F1.2-F4.0 is unbeatable.

Right now I'm kinda broke, but one day I'll get another Noct-Nikkor.

Cal

 

[jwicaksana]

Jonathan,

I have been known to create vast amounts of GAS, but I have a suggestion for you. If you are serious about getting a Nikon FX camera consider getting a Noct-Nikkor and doing sticked panoramas instead of getting a large format camera. The results I've seen are mucho impressive and since large format requires the use of a tripod not so different. The key seems to be the Noct-Nikkor for the combination of sharpness and shallow DOF. Of course the lens is shot wide open for the effect.

There's this guy who does wedding photography who in particular is great I think his name is "Brezner" or some other unbutcher spelling that is somehow associated with being synonoumous with stiched panorama.

For me the F3 would be the film SLR, and for medium format film all I would need is a 3.5 F Rolliflex.

Cal

Hi Cal, thanks for the detailed response as always. So I decided to rent it for profit (HA!) in that I bought it, played with it overnight, and flip it the next day. Overall, I am impressed with the camera and the files it produced. Another note, I just realized that a used D600 can be had for $150 more than a D700, and a D3 for about $400 more than a D700, all being more or less the same condition. Any pointers here, Cal?

The Brenizer Method, yes, I have heard of it but have never tried it. Just looked it up once again after reading your post and now I wanted to try it. Thanks for the food for thought.

 

[menos]

If I may jump in Jonathan, if you don't really need that smaller, lighter camera body option the D700 provides, by all means go with a D3.
The D3 has a better finder, an even tougher body, better battery life, better handling with bigger lenses (and smaller ones in regard of shooting verticals) and in my opinion the best dual card slot option: 2 identical CF card slots, none of that mixed slot thingy nowadays in fashion.

If a D3s is in your budget, it offers some serious improvements over the D3, making it worth a second look.

For me the biggest + of the D3/D3s is it's rear LCD for quickly setting and checking ISO (I always shoot manual ISO and quickly setting and checking it with a glance on that additional LCD is priceless.

The D3 has one downside to the D700 though: you will end up cleaning your sensor more often than with the D700.

Another option to the Noct-Nikkor which I find myself liking a lot recently is the new 58/1.4 AF-S.
Simply ignore the naysayers who stamp it to be a hugely expensive marketing Noct. It is a wonderful lens with a lot of character similarities to the Noct. It is less than half the cost new to a Noct nowadays and it is it's higher price worth over the pedestrian 50/1.4 AF-S (I never liked the 50/1.4 AF-S).

If it's your cup of tea, you can wait a little more and see those D800E bodies falling in price on the second hand market as people storm the shops for the D810, but that is a lot of data to move around you might not really want or need.

If you plan to shoot manual focus lenses, there are screen options available from different manufacturers.
I currently like the most a modified Canon Precision Matte screen, you can buy from focusingscreen.com
This screen is blank full matte and you can focus anywhere in the finder.
It is so far the only manual focussing screen I tried with the D3, that provides better precision with a f1.2 lens (I find it better even than Nikon's full matte screen for the F3).

 

[jwicaksana]

Dirk, please do feel free to share, I really appreciate your insights. Well noted on your points, D3 is feasible, D3s and D800 or D800e, not yet. 😀
On big hole lenses, I currently have 55 1.2, and my uncle bought it new back in the 70s. So, back to F3, please allow me to post the F3 with 55 1.2:

Bang Joe by jwicaksana, on Flickr

P.S. How cool is it to have F3 and D3 together on my desk. Yumm.
​

 

[gilgsn]

Gil,

The 50/1.2 AIS is on my list. Make sure you get the 28/2.8 AIS for the new formulation that includes CRC.

Also consider the 105/1.8 AIS if you don't mind the increase is size and weight. The added brightness comes in handy and the bokeh provided by additionall aperture blades is really nice. I once owned the 85/1.4 AIS and the 105/1.8 AIS. I first sold the 85/1.4 AIS first and kept the 105/1.8 AIS because of the rendering. To me it was like a 105/2.5 AIS on steroids.

Thanks Cal,

I shot my first film with the 50/1.2. Still need to scan it, but it look good. I am getting a Pacific Image 120 this week, so no use to scan with the old V500. I thought about the 105/1.8, we'll see. Most come from Japan it seems, though I have ordered from it Before and it was very fast.

What do you mean by the "new formulation that includes CRC," are the newer lenses better? I was planning on buying that one mew..

Gil.

 

[Calzone]

Jonathan,

I don't mind at all introducing Nikon DSLr's into this thread. I'm no film snob, but my digital experience is limited to the Leica Monochrom, and I will refrain and allow others who have much more experience to chime in.

The only thing I will add is that Phil who sometimes goes to the NYC Meet-Up has an impressive Nikon D3 that has a modified Canon screen that enhanced the VF'er especially for manual focus lenses. It was through Phil that I discovered the DK-17. Phil has a very cool rig with a great VF'er for use with Nikon manual focus lenses.

The 5-7 shot Brezener panoramas I saw rivals large format in every way. Shot using a Noct-Nikkor it had that shallow DOF focus with a dreamy OOF. The reason I mention this is that although the Noct-Nikkor is an expensive piece of glass it can also serve to get that large format look without having to aquire another expensive kit (large format). In this way you could justify getting a Noct-Nikkor and limit your expenses. Think of all the money you would save. LOL.

BTW be aware that Dirk, who is advising you, has mucho nice gear, and he can be a great creator of GAS. LOL.

Cal

 

[Calzone]

Thanks Cal,

I shot my first film with the 50/1.2. Still need to scan it, but it look good. I am getting a Pacific Image 120 this week, so no use to scan with the old V500. I thought about the 105/1.8, we'll see. Most come from Japan it seems, though I have ordered from it Before and it was very fast.

What do you mean by the "new formulation that includes CRC," are the newer lenses better? I was planning on buying that one mew..

Gil.

Gil,

I'm specifically speaking of the 28/2.8 AIS which is the latest Nikon manual focus lens. The AIS version has updated optics and also features CRC for close focus correction. I would say that even though this is an SLR lens that its performance rivals Leica rangefinder 28's. Basically the 28/2.8 AIS (the latest version) is the best version. This is a stunning lens that is also rather stubby, but I would not call it a pancake lens. It definately is compact.

For me it seems that many people favor the 85/1.4 AIS for the extra half stop of speed over the 105's F1.8, but to me the extra reach of the 105 is what makes the OOF better over the 85/1.4. Also I failed to mention that the 105/1.8 has more aperature blades than the 105/2.5 AIS, and to me it has both smoother and even better bokeh.

I think the 105/1.8 AIS is very under rated because: one the 105/2.5 is such a great lens for no money (or a lot less money than the 105/1.8); and also because the 85/1.4 has a bit more speed and is also so close to the 105/1.8. Like I said before I owned both at the same time, both were great lenses, but I favored the 105/1.8 for the OOF rendering.

Cal

 

[nobbylon]

Agreed Cal, there are very few mf nikkors that stand out for me and the 28 AIS 2.8 is one of them. I've had 3 to date and all have been spot on. Close to zero distortion and at the close end it is so sharp on both film and digital. My latest is an ex pro user lens and a bit beat up but optically even with cleaning marks etc is easily as good as my Summicrons.
I've never had the 105 1.8 but one of my other favorite Nikkors is the 105 Ai 2.5. Sharp as a razor wide open and gorgeous bokeh for bargain money.
I tend to use my F3 only with the 28.
For 50 to 60 I use Leicaflex R and now Pentax again.
85 1.4 afd on the F5 and 90 R on the Leicaflex.
Yes it's a bit of a pain with all the different bodies but I think I've finally got my film SLR lens favorites covered!

 

[menos]

… I currently have 55 1.2, and my uncle bought it new back in the 70s. So, back to F3, please allow me to post the F3 with 55 1.2:
…
P.S. How cool is it to have F3 and D3 together on my desk. Yumm.
[/CENTER]

You have the 55/1.2, no absolute need to dream of a Noct ;-) … (except for the thing the Noct does better than any other lens).

In my opinion the D3 is the modern worlds F3 (not just by naming coincidence but by how far they have brought technology in an indestructible package).
Like the F3 the D3 also has tiny flaws.

Where the F3's viewfinder LCD display is pretty laughable and hardly usable by modern standards, The D3 tends to get a moist driven hazy LCD cover on the back. It is also the dirtiest of the modern day digital Nikons (in terms of how often you need to clean the sensor when you shoot stopped down a lot).

The only thing I will add is that Phil who sometimes goes to the NYC Meet-Up has an impressive Nikon D3 that has a modified Canon screen that enhanced the VF'er especially for manual focus lenses. It was through Phil that I discovered the DK-17. Phil has a very cool rig with a great VF'er for use with Nikon manual focus lenses.

Cal, this screen sounds exactly like the screen I got from focusingscreen.com which I have permanently in my D3.
It is made from a Canon full matte screen, does show the difference in focus between f2 and f1.4 (modern DSLR screens do not), hence improving manual focus A LOT.
I like that it is a full matte screen without any markings or additional focus aids - completely uncluttered yet extremely precise.

The good thing with this screen: it works perfectly fine even when shooting the 300/2.8 AF-S with teleconverters!
Also all focus brackets with the D3 work as designed, as these are displayed through an additional thin screen layer above the focussing screen.

BTW be aware that Dirk, who is advising you, has mucho nice gear, and he can be a great creator of GAS. LOL.

Hehe ;-)
Never intentionally of course …

Btw, thanks for mentioning the 105/1.8 again, always wanted to try one but they seem to be hard to find at decent prices in non PJ beaten condition.

 

[Calzone]

Cal, this screen sounds exactly like the screen I got from focusingscreen.com which I have permanently in my D3.
It is made from a Canon full matte screen, does show the difference in focus between f2 and f1.4 (modern DSLR screens do not), hence improving manual focus A LOT.
I like that it is a full matte screen without any markings or additional focus aids - completely uncluttered yet extremely precise.

The good thing with this screen: it works perfectly fine even when shooting the 300/2.8 AF-S with teleconverters!
Also all focus brackets with the D3 work as designed, as these are displayed through an additional thin screen layer above the focussing screen.
.

Dirk,

Phil was mucho creative and modded a Canon screen that had a large split prism. It seems like the Canon screens work great on Nikon VF'ers when fitted.

Also Phil's D3 seemed to be a DSLR on steroids with a muscular build quality. It was almost weapon like and had that "Pro" level build quality.

Cal

 

[menos]

Dirk,

Phil was mucho creative and modded a Canon screen that had a large split prism. It seems like the Canon screens work great on Nikon VF'ers when fitted.

Also Phil's D3 seemed to be a DSLR on steroids with a muscular build quality. It was almost weapon like and had that "Pro" level build quality.

Cal

Yes, the Canon screens seem to be great for modding into Nikon FX cameras. I think mine came originally from a 1D.
The vendor I buy these screens from basically buys stock screens form the manufacturers and grinds them to specific sizes to fit them in different camera models.

I have an modified Nikon F6 split prism screen from him as well (modified to fit the D3) but didn't test it out yet as I am so happy with the Canon one.

The D3 is legendary. I am no war photographer, but the D3 is the one camera I own the longest, have used the most and treated the worst and still it looks great.
It is the one camera that I am absolutely not shy about leaving on the porch in a rain shower. It will probably just work the next day.
Its the real successor to the F3 and the very last camera line where Nikon simply cuts no corners in build quality 😀

Now if that D3 would have the M Mono sensor inside, I would have a camera for life.

 

[jwicaksana]

So yeah I tried the Brenizer method, D7000 and 55 1.2 wide open. This was stitched from about 21 images. Very hard to do when background has no texture and we are too close to the object.

 

[menos]

The closer the subject distance the harder it is to do and the less it looks special.
Try to do this method with some medium distance and a background that will show the slim DOF of the wide open lens.