Pete Askew
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Nikon SLR cameras fall into two broad categories; digital cameras (designated by the letter D followed by a number) and film-based cameras (designated by the letter F followed by a number/letter). The numbers (and, in some cases additional letters) after the first letter code relate to the model / type of camera. Thus you have cameras such as the D7000 and the, recently released, D600 (cameras fitted with and APS-C sized DX sensor and 'full frame', 35mm film frame sized, FX sensors respectively).
Nikon D600
Image courtesy of N-Photo Magazine - N-Photo is the independent magazine for Nikon photographers.
These various models are designed to satisfy different categories within the market such that you have models suited to the casual / first-time photographer (eg D3000), through the enthusiast (eg D7000) to a professional, press photographer (eg D4). And it is with the single digit numbers that Nikon has always denoted its professional models. At present this includes the digital, D3s, D3x and D4 and the film-based, F6. However, there has always been some overlap within the Nikon range and many of the 'high-end', 'non-professional' models have found favour with professional photographers either as second cameras or as a camera more suited to a particular need. For example, many social photographers favour the lighter weight of the D700, D800 and D600 to the D4 and D3x. Indeed, the D800 is something of a departure as it presents the highest resolution of any Nikon camera at present (36MP as opposed to 24MP in the D3x) but in a smaller, lighter body form than the D3/4. Before digital capture became essentially the norm, a similar trend existed with models such as the FE finding favour with photo-journalists especially when accompanied by a motor drive (eg MD12), with its mix of aperture priority automation and full manual control. And then there was the all manual FM (still manufactured as the FM10) favoured by some street photographers, serious enthusiasts and the photographic 'artists' of the world.
The other interesting feature of Nikon SLRs (digital and film) is the lens mount. While it has been refined over the years, it has remained essentially unchanged since 1959, providing a massive amount of cross, backward and forward compatibility (http://www.realphotographersforum.com/your-kit/8094-why-nikon.html).
Nikon FM10
Image courtesy of Nikon USA
These days, the professional D and F cameras are distinguished by more robust, fully weather-proof housings, faster frame rates, improved handling and ergonomics and shutter mechanisms designed to last longer than in the enthusiast models. But in the past, the Nikon F models were system cameras with interchangeable prisms, focusing screens, backs and all manner of accessories. The first of these was the Nikon F (introduced in 1959) and was continued with the F2, F3, F4 and F5 - all with interchangeable viewfinders and backs - and represented at present by the F6 (the first with a fixed pentaprism and with many of the functions of the D3). The Nikon F was refined over the years and was manufactured until 1974, culminating in the, so called, 'Apollo' F (http://www.realphotographersforum.com/film-conventional-cameras/8030-nikon-f-apollo.html) and overlapping with the Nikon F2.
So what is a 'system' camera? What Nikon created was a professional tool which was essentially modular. A range of focusing screens were available (although interchangeable screens were a feature of other models as well, such as the FE and FM), plus different backs (such as bulk film backs, data backs - for imprinting data on the film), motor drives and frame-rate adapters etc. But the big feature was the interchangeable focusing prisms, some without a metering system, some with. Others gave 'automatic' meter control so you didn't need to stop-down to meter and still others offered higher viewing points as well as waist-level finders and magnifying hoods for use in close-up work.
To illustrate this, and as a precursor of a more extensive article on the Nikon F 'Apollo (http://www.realphotographersforum.com/film-conventional-cameras/8030-nikon-f-apollo.html), below is shown the anatomy of a classic Nikon professional camera, the Nikon F2 with an 'automotic' photomic prism (ie a metering prism that provides automated meter coupling with the aperture selected).
This shows the top view of the Nikon F2 Photomic.
As mentioned above, the focusing prism / metering module can be removed from the camera allowing the focusing screen to be changed and a different head to be fitted (or allowing the camera to be used as is, on a copy stand or similar - as this example was for many years). Here it is with the prism removed.
Removing the prism is simple. One pressed the rear release button (protected from accidental release by a surrounding collar)...
Followed by the release catch on the prism itself (you must press the catch in before rotating it).
The camera itself is fully manual and so the only control on the body itself is the shutter speed dial (note that there is no provision for setting the speed / ISO / ASA of the film used as there is no meter in the body). Also shown is the frame counter, film advance lever as well as the shutter release which has a lock (L) position, a normal shooting position and a timed (T) position - more about that later. You lift and rotate the collar around the shutter release to change these.
Film advance is by manual lever advance. This is plastic tipped, a feature 'inherited' from the Nikon F 'Apollo' in response from feedback from users. However, a motor drive can be fitted.
Other controls on the body include a depth of field (DoF) preview button (the upper, silver ringed button on the front of the body), allowing the aperture to be closed from its maximum viewing setting to the one selected for the exposure. Surrounding this is a lever allowing the mirror to be raised in advance of a shot (you need to depress the DoF preview button at the same time as rotating it). Also on this side of the front of the camera is a self-timer. When the camera is in its normal shooting mode, this lever is moved to the delay interval required (up to 10 seconds) and then the small button that this process reveals is pressed. This starts the count-down, at the end of which, the shutter is released. However, this timer has another function. The standard shutter speed range is from 1s to 1/2000s (plus B). By setting the shutter release to the T setting and the shutter speed to B, exposures from between 1 second and 10 seconds can be selected via the self-timer. When the shutter release is pressed, the mirror flips up and the exposure starts and is controlled by the self-timer mechanism.
On the other side of the front of the camera is the lens release button as is normal practice with Nikon. The camera offers flash synchronisation (up to 1/80s - marked in red on the shutter speed dial) via either a standard 'PC' connector or the dovetailed, Nikon flash coupling bracket located around the rewind crank. This allows the fitting of either a Nikon Speedlight of the era or a third-party flash via a hot shoe adapter (as shown in the thread on the Nikon F 'Apollo' - http://www.realphotographersforum.com/film-conventional-cameras/8030-nikon-f-apollo.html). When used with a Nikon Speedlight unit and a Photomic head, a red, ready light is displayed 'in' the viewfinder notifying the user that the flash is ready for use.
The film rewind release and motor drive coupling are on the underside of the camera...
as well as the back release and the chamber used to house the batteries used by the metering head (the shutter mechanism itself is fully mechanical).
As stated, the viewfinder assemblies are removable and interchangeable. The one shown here is the DP-11 making this combination of head and camera an F2A.
The first thing you will notice is that the prism is equipped with a dial for setting the speed of film used (ASA / ISO). This dial couples with the meter mechanism in the prism (powered by the batteries housed in the body and switched on by moving the wind-on crank away from its closed position against the body) and the shutter speed dial on the body.
It engages via a pin and collar with the shutter speed dial.
The output of the centre-weighted meter is displayed both within the viewfinder and on the top of the prism and is actuated by depressing the silver button on the front of the prism.
Over and under-exposure (1-stop) are indicated by the areas either side of the centre of the scale.
This system of interchangeable components persisted up to and including the F5 and I have quite a few for the F3 system and a smaller selection for the F2. On the whole, they are well thought out and very well made and provide the system with a huge level of flexibility. I will follow this article up with a description of some of them at a later date.
All images not credited were taken with a Sony RX100. PP in LR.
Nikon D600
Image courtesy of N-Photo Magazine - N-Photo is the independent magazine for Nikon photographers.
These various models are designed to satisfy different categories within the market such that you have models suited to the casual / first-time photographer (eg D3000), through the enthusiast (eg D7000) to a professional, press photographer (eg D4). And it is with the single digit numbers that Nikon has always denoted its professional models. At present this includes the digital, D3s, D3x and D4 and the film-based, F6. However, there has always been some overlap within the Nikon range and many of the 'high-end', 'non-professional' models have found favour with professional photographers either as second cameras or as a camera more suited to a particular need. For example, many social photographers favour the lighter weight of the D700, D800 and D600 to the D4 and D3x. Indeed, the D800 is something of a departure as it presents the highest resolution of any Nikon camera at present (36MP as opposed to 24MP in the D3x) but in a smaller, lighter body form than the D3/4. Before digital capture became essentially the norm, a similar trend existed with models such as the FE finding favour with photo-journalists especially when accompanied by a motor drive (eg MD12), with its mix of aperture priority automation and full manual control. And then there was the all manual FM (still manufactured as the FM10) favoured by some street photographers, serious enthusiasts and the photographic 'artists' of the world.
The other interesting feature of Nikon SLRs (digital and film) is the lens mount. While it has been refined over the years, it has remained essentially unchanged since 1959, providing a massive amount of cross, backward and forward compatibility (http://www.realphotographersforum.com/your-kit/8094-why-nikon.html).
Nikon FM10
Image courtesy of Nikon USA
These days, the professional D and F cameras are distinguished by more robust, fully weather-proof housings, faster frame rates, improved handling and ergonomics and shutter mechanisms designed to last longer than in the enthusiast models. But in the past, the Nikon F models were system cameras with interchangeable prisms, focusing screens, backs and all manner of accessories. The first of these was the Nikon F (introduced in 1959) and was continued with the F2, F3, F4 and F5 - all with interchangeable viewfinders and backs - and represented at present by the F6 (the first with a fixed pentaprism and with many of the functions of the D3). The Nikon F was refined over the years and was manufactured until 1974, culminating in the, so called, 'Apollo' F (http://www.realphotographersforum.com/film-conventional-cameras/8030-nikon-f-apollo.html) and overlapping with the Nikon F2.
So what is a 'system' camera? What Nikon created was a professional tool which was essentially modular. A range of focusing screens were available (although interchangeable screens were a feature of other models as well, such as the FE and FM), plus different backs (such as bulk film backs, data backs - for imprinting data on the film), motor drives and frame-rate adapters etc. But the big feature was the interchangeable focusing prisms, some without a metering system, some with. Others gave 'automatic' meter control so you didn't need to stop-down to meter and still others offered higher viewing points as well as waist-level finders and magnifying hoods for use in close-up work.
To illustrate this, and as a precursor of a more extensive article on the Nikon F 'Apollo (http://www.realphotographersforum.com/film-conventional-cameras/8030-nikon-f-apollo.html), below is shown the anatomy of a classic Nikon professional camera, the Nikon F2 with an 'automotic' photomic prism (ie a metering prism that provides automated meter coupling with the aperture selected).
This shows the top view of the Nikon F2 Photomic.
As mentioned above, the focusing prism / metering module can be removed from the camera allowing the focusing screen to be changed and a different head to be fitted (or allowing the camera to be used as is, on a copy stand or similar - as this example was for many years). Here it is with the prism removed.
Removing the prism is simple. One pressed the rear release button (protected from accidental release by a surrounding collar)...
Followed by the release catch on the prism itself (you must press the catch in before rotating it).
The camera itself is fully manual and so the only control on the body itself is the shutter speed dial (note that there is no provision for setting the speed / ISO / ASA of the film used as there is no meter in the body). Also shown is the frame counter, film advance lever as well as the shutter release which has a lock (L) position, a normal shooting position and a timed (T) position - more about that later. You lift and rotate the collar around the shutter release to change these.
Film advance is by manual lever advance. This is plastic tipped, a feature 'inherited' from the Nikon F 'Apollo' in response from feedback from users. However, a motor drive can be fitted.
Other controls on the body include a depth of field (DoF) preview button (the upper, silver ringed button on the front of the body), allowing the aperture to be closed from its maximum viewing setting to the one selected for the exposure. Surrounding this is a lever allowing the mirror to be raised in advance of a shot (you need to depress the DoF preview button at the same time as rotating it). Also on this side of the front of the camera is a self-timer. When the camera is in its normal shooting mode, this lever is moved to the delay interval required (up to 10 seconds) and then the small button that this process reveals is pressed. This starts the count-down, at the end of which, the shutter is released. However, this timer has another function. The standard shutter speed range is from 1s to 1/2000s (plus B). By setting the shutter release to the T setting and the shutter speed to B, exposures from between 1 second and 10 seconds can be selected via the self-timer. When the shutter release is pressed, the mirror flips up and the exposure starts and is controlled by the self-timer mechanism.
On the other side of the front of the camera is the lens release button as is normal practice with Nikon. The camera offers flash synchronisation (up to 1/80s - marked in red on the shutter speed dial) via either a standard 'PC' connector or the dovetailed, Nikon flash coupling bracket located around the rewind crank. This allows the fitting of either a Nikon Speedlight of the era or a third-party flash via a hot shoe adapter (as shown in the thread on the Nikon F 'Apollo' - http://www.realphotographersforum.com/film-conventional-cameras/8030-nikon-f-apollo.html). When used with a Nikon Speedlight unit and a Photomic head, a red, ready light is displayed 'in' the viewfinder notifying the user that the flash is ready for use.
The film rewind release and motor drive coupling are on the underside of the camera...
as well as the back release and the chamber used to house the batteries used by the metering head (the shutter mechanism itself is fully mechanical).
As stated, the viewfinder assemblies are removable and interchangeable. The one shown here is the DP-11 making this combination of head and camera an F2A.
The first thing you will notice is that the prism is equipped with a dial for setting the speed of film used (ASA / ISO). This dial couples with the meter mechanism in the prism (powered by the batteries housed in the body and switched on by moving the wind-on crank away from its closed position against the body) and the shutter speed dial on the body.
It engages via a pin and collar with the shutter speed dial.
The output of the centre-weighted meter is displayed both within the viewfinder and on the top of the prism and is actuated by depressing the silver button on the front of the prism.
Over and under-exposure (1-stop) are indicated by the areas either side of the centre of the scale.
This system of interchangeable components persisted up to and including the F5 and I have quite a few for the F3 system and a smaller selection for the F2. On the whole, they are well thought out and very well made and provide the system with a huge level of flexibility. I will follow this article up with a description of some of them at a later date.
All images not credited were taken with a Sony RX100. PP in LR.
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I love how its modular, its kind of like a 'live view' for film cameras lol 
