Morning light, hotel window Nikon F3, 35mm f/2.8 AI Nikkor Kodak T-Max P3200 2018
Just one more shot from the F3 on that remarkable T-Max P3200. It did a wonderful job rendering both the light and dark areas of this scene. As I shot this, through my viewfinder I could clearly see a television on top of the cabinet at right. The P3200 does have its limits.
It’s a bold statement, I know: if I could own only one camera, it would be the Nikon F3.
My camera collecting has been, in part, a journey toward finding the cameras that work best for me. I think I’ve tried enough cameras now to make this judgment.
I’d miss my other SLRs, especially my Pentaxes ME and KM. Once in a while I’d pine for my autofocus, autoexposure Nikon N90s. There would be times I wished I could slip my Olympus XA into my pocket, or enjoy a Kodak Retina.
But if I owned only my Nikon F3, I’d make wonderful images for the rest of my life, and be perfectly happy doing it.
The rugged Nikon F3 can withstand any conditions I might subject it to, including my own considerable klutziness. After I send it out for a CLA, it should work beautifully for me for the rest of my life. I own a good range of capable Nikkor lenses. I’m ready for pretty much anything I might want to shoot.
The F3 offers aperture-priority exposure, my favorite way to shoot. It also offers full manual exposure.
The F3 is heavy. One could argue that I might enjoy one of Nikon’s lighter semi-pro bodies more. I own one, an FA, and it’s a good camera — and less fatiguing at the end of a long day slung over the shoulder.
But it took me no time to adapt to the F3’s ways, and now whenever I shoot it I feel one with it. That kind of bonding has happened for me with only a few cameras, my FA not included.
This was going to be my Operation Thin the Herd writeup on the F3. But it is silly to keep you in suspense through a long post when I’ve always known there was no way I would get rid of this camera. So here now, the photos that would have graced that Operation Thin the Herd post. The lens is the 35mm f/2.8 AI Nikkor, and the film is Kodak T-Max P3200.
These are from our December trip to Chicago. I really enjoyed being able to capture the city at night on that fast, fast film.
I just can’t get over how good these night photos are. That P3200 really performs.
Heavy cloud cover made for poor light during the day. The P3200 let me shoot at comfortable apertures for plenty of depth of field.
The F3 hung off my shoulder nonstop for three days. By the third day I was beginning to wish for relief. That’s my only beef with the camera.
I love Chicago as a photographic destination. I haven’t even begun to exhaust the obvious subjects yet.
The F3 is quiet for an SLR perfect for shooting inside a museum like the Chicago Art Institute.
I managed one photo inside the Merchandise Mart before security sternly warned us that photography was prohibited.
I made a portrait of Margaret at our Sunday lunch, at a restaurant called The Dearborn. We shared a bottle of delicious Spanish wine.
All was not perfect with the F3 on this outing. I didn’t know it until the images came back from the processor, but the shutter was acting up a little. On my first roll it affected about a dozen shots, but did not occur at all on the second roll. It’s possible that the shutter was just a little crabby from disuse. I had been using my F3 regularly until about a year ago, when Operation Thin the Herd began. It’s kept me busy with my other cameras!
I’m going to shoot a few more rolls through my F3 to see if the problem recurs. This is a good reason to use up some ten-year-expired Kodak Max 400 I have in the fridge. If I see more of this, I’ll move the camera up in the CLA queue and include a repair to the shutter.
View from the hotel window Nikon F3, 35mm f/2.8 AI Nikkor Kodak T-Max P3200 2018
I just love how much definition the T-Max P3200 delivered at night through our Chicago hotel window. Just look at the cars in the glowing parking garage! They’re so clear you can almost tell what make and model some of them are.
If you’re looking at this on a computer monitor rather than on your phone or tablet, you can see how even at this larger size the considerable grain doesn’t detract at all from the image.
Despite our many weekend getaways to Chicago’s Loop, this was the first time we sought out Central Camera. We found it closed on Sunday. But because we were staying over through Monday, we went back.
We stepped in, and it felt like stepping into 1948. There were counters on both sides and an aisle down the middle. The left side was crammed with used gear. I dared not dwell. I passed through to the film counter. Oh my gosh, but I’ve not seen that much film for sale in one place since the 1980s.
The array of films in stock was impressive. I bought four rolls of Arista.EDU 200. Yes, they carried Arista.EDU from Freestyle Photo! The kind young woman behind the counter wrote my receipt by hand.
I did get one color shot of the exterior, so you can take in the sign’s great shade of green.
Our visit to Chicago included a ride on the L down to Chinatown. We just wanted to see it.
Our view of it began as we exited the train. It stretches out right there before you.
Our visit consisted mostly of walking down and back up Chinatown’s main drag, Wentworth Avenue. We were surprised by how varied the buildings’ facades were.
Ours were the only Caucasian faces out and about here this Sunday morning. While nobody appeared to give us a second glance as we walked and made photographs, I had a distinct feeling of not belonging.
At least the Chinese Christian Union Church had a very kind word for everyone, emblazoned on the side of their building.
Canon PowerShot S95
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Turbaned man passing a Catholic church by Canon PowerShot S95 2018
Have you ever made a photograph and then, later, you noticed something in it that made the image? This is one of those times for me.
Margaret and I happened upon St. Peter’s Church, on W. Madison St. in the Loop in Chicago. It’s such a stunning structure that we had to pause for photographs. Madison St. is relatively narrow, and I couldn’t back up enough to capture the whole building. So I looked for interesting framing within what I could capture.
The building’s symmetry appealed to me — my goodness, but do I love symmetry — so I went for that. Then today, while reviewing these images, I noticed the man in the turban passing by. What a joyful juxtaposition!