Filmwasters
Which Board? => Articles => Topic started by: Michael Raso on February 05, 2015, 02:39:28 AM
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The Best SLR ever?
Rick Paul's Review - http://youtu.be/4y1Q3ucFa78 (http://youtu.be/4y1Q3ucFa78)
Resident Nikon guy, Rick Paul has returned, with the ultimate in the Nikon professional line of SLRs. The Nikon F6. The F6 released in 2004 showed a marked difference in who Nikon aimed their professional 35mm SLRs at, rather than the photo journalist market, which by that point had converted to digital, the F6 was aimed at the advanced amateur who wanted a slick, stylish, and feature rich SLR. Enter the F6, this camera is simply top notch, from the bright 100% viewfinder, full exposure recording (you can even download the information to a compact flash card using the MV-1 accessory), a top notch metering system that works with any lens down to the original AI glass from 1977, shutter speeds from 1/8000” to 30” (stepless in program and aperture priority modes), and full iTTL support for even modern flashes (like the SB-910). The battery grip is a separate unit, which makes the body a little smaller, you can get the older MD-10 or MD-40. The camera is still produced today! So you can find it both used and new at places like KEH or B&H. This is truly the ultimate in 35mm SLR technology out there.
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http://www.apug.org/forums/forum52/137891-f6.html (http://www.apug.org/forums/forum52/137891-f6.html)
thanks
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The Best SLR ever?
I guess, if you are into that "dead accurate metering every time" kind of thing. I just make a guess and then subscribe to the Indofunk School of Developing where our motto is "Rodinal 1:100* stand will develop anything!" ;D
*may substitute caffenol-cl
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The 3D colour matrix metering is brilliant. Have had a camera with the vII of that system and it was bomb proof. Only ever used exposure comp when it was blindingly evident it was needed.
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I don't think I have every really used a 'modern' film camera. like a lot of us my golden age of cameras is late 70s early 80s when bodies where still metal and electronics were still fairly basic.
I have never used a camera like the F6 and don't really think it would do it for me. Reminds me too much of my DSLRs haha.
I also want to have cameras that will work forever (with minimal servicing as that will be harder to find) and I don't think any of these new cameras will run faultlessly decades from now. That is in fact one of the attractions to pinhole - which I need to get back into - as they are cameras that can work forever.
And this last point is dumb. But I hate auto winders. I like the winding action after shooting. It is part of the action and it feels weird and incomplete when it does not happen. We bought our first automatic transmission car half a year ago and my wife and I both still miss the clutch ;)
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I'm with you Mcduff, Glass, Brass, Chrome and leatherette. The more complicated the better, fully manual, no light meter... I guess I like a challenge and I don't mind taking my time to get a shot. It makes you think through every aspect of the shot more thoroughly. Plus, I can repair it and it will probably out last me.
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It depends on the definition of "best" - i.e. best for what.....??
I've owned my F6 for about 4 years. I have the battery grip and the camera is absolutely brilliant at everything it does. However, whilst it is very solidly built, it isn't as solid as my F5 - but then, the F5 doesn't allow the battery compartment to be removed as a "lightweight" option. The F5 does, however, allow different "heads" to be used - whereas the F6 doesn't.
In terms of the shutter, I'd call it a dead-heat. Metering is also too close to call, for me, as they are both incredibly accurate. Mind you, I tend to shoot B&W film at half box speed (+1 stop) all the time and it's difficult to get it wrong enough to have that be a problem. I tend not to use flash, so I can't comment on that sort of whizzy stuff.
Both F5 and F6 feel extremely well-balanced - especially when using large, heavy or long lenses (I use the 14-24mm/f2.8, 28-70mm/f2.8 and 70-200mm/f2.8 Nikkors and they all feel very comfortable). A good example of an F5 (now out of production) can be had in the UK for £200-250. A nice s/hand F6 will cost up to three times that amount (retail prices) but the cameras will last and last...
These cameras aren't for everyone. The F5 was definitely aimed at professionals. The F6 was an exercise in making the best possible 35mm film SLR but I've seen quite a few pros use them.
These are not cameras for stealthy street shooting - though I do shoot street stuff with mine, as well as travel, landscape, etc. Neither are they for anyone with a bad back or weak wrists. It's results that count, however, and when I want something to be exposed accurately and as sharp as it possibly can be, these are the tools to use. Then again, I am a bit of a control freak..... :o
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We bought our first automatic transmission car half a year ago and my wife and I both still miss the clutch ;)
Even worst when you still drive the standard, and the auto has a low parking brake where the clutch should be. :D
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My F6 is a great camera 8) But then again, so is my OM1, and OM2, and F100, and F4s ~ 'Horses for courses' . . . simples ;)
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Been comparing meerkats Roger? ;)
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Ya for sure Roger, horses for courses* - I know for a fact that my "golden age" for cameras is not only older than those that love things like the F6, but is also bit more recent than what some fancy. For example, while Bryan agreed on his love of metal bodies (etc), I get the feeling his golden age is a bit before mine as I am lazy and like a built in light metre and shoot a lot if pics from my OM-2 in auto exposure (what shame haha).
*i always found that a funny saying - but then again, most are.
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I have a question about cameras us has the F5 andF6. The only autofocus SLRs I have used have been DSLRs. I presume that you do not have the option of any focusing aids (such as spit prism) when you are focusing manually. Is that correct?
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Usually, you have an AF based assist in the form of a round dot with two arrows that indicate which direction to turn the ring.
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It was probably a dumb question. Ya I know Francois, there is that option (as I do have a couple of DSLRs). I was just wondering if on the pro AF cameras (particularly those focused on the film crowd) if there was any better manual focus options such as an optional split prism screen. I realize it would make the AF inoperable when it was in.
Frankly the autofocus aspect of my DSLRs is one of the things that drives me nuts about them (other than their lack of helping me waste film). And I was wondering if there was a way that a modern film camera would let me escape that issue. Don't get me wrong, I frequently like AF on my DSLR (when I do use it), and I am sure on occasion I would use a good AF option on a film camera. I just wish when it was turned off you had good aids. I don't consider the red dots as good aids as that is still relying on the AF system. And yes I know there is focus-lock. I guess I just love my split prism finders (and their fresnel-related ilk) ;)
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I know most Nikon's can be modified to get a different finder. But you do loose the autofocus.
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Im adding a split screen microprism focus screen to my Canon EOS 3 (High end Cannon 35mm) its a genuine Canon item and allegedly the only adverse effect is on the centre spot when using it for spot metering, but as any of the 45 points can be used for metering its not an issue. AF still works when needed
Some High end DSLR's (5D, 1D etc) have original options available too, but I don't own a camera that fancy
Im also waiting on a non genuine item for my 550d, however im prepared for it to be rubbish, but would be nice on my manual lenses not having to use live view x10 to focus