Nikon FA

Starting With Nikon FA 35mm SLR

The Nikon FA SLR camera which first came out in 1983, and finished production in 1987. It was revolutionary in many ways and a lot of our digital photography today has been influenced by something that resides right at the top here.

I'm going to break down all the different components of this camera, and where you can go away and start shooting with it, so let's dive in.

Understanding Nikon FA Lenses

Let's start off by looking at the lens. To remove the lens, you just need to press this silver button here and then rotate. This is a 35mm lens perfect for street photography, and it's the original one that came with the body itself.

The brilliant thing about Nikon is that you can use modern lenses with an F Mount. Therefore you can go ahead and shoot with a 50 mm or a 70-200 mm that you bought for your DSLR.

To change the aperture, you rotate the dials on the lens itself. So this particular lens goes from F2 all the way through to F22. Changing the focus is pretty simple and straightforward, you just need to rotate on this grip on the lens and then you're good to go.

What is the Close Loop Exposure System

The Close Loop Exposure System was revolutionary when the Nikon FA was first released. Once you have focused your shot and pressed the shutter, the exposure will be adjusted electronically in the camera itself. It actually exposes one stop down to compensate for how the light is going into the diaphragm of the lens itself, which is incredible, because every single time you'll get that shot spot on.

Back in 1983 there were a lot of photographers who didn't like that. They were kind of averse to anything new coming out, they wanted to stick with what they knew, and what worked for them. As such Nikon added this little button to the bottom left side of the lens.

By pressing and rotating it, it takes it back to the original exposure system that existed prior to the system that was developed in this camera. Therefore if you want to stick to the old school settings, all you have to do is use that function there.

I’m not sure if the close loop exposure system works with modern F Mount Lenses but if you do let me know!

Adjusting the Shutter and Aperture Settings

Let's have a look at the dials at the top of the camera itself, on the left hand side of the camera here, you've got your ISO settings, and you can just plug in what speed ISO film you'll be using, so for example, in this case we'll be using some Ilford HP5, you just lift this up a little bit and then rotate the red mark until you hit ISO 400.

If you wanted to bracket your images, that's pretty simple to do, depress and rotate the little silver button at the top.

At the top also on the right hand side of the camera, you will find the shutter speeds. The Nikon FA goes from bulb mode all the way to 1/4000th of a second. Ideally you should be using a dedicated light meter when finding the ‘correct’ settings for your image.

Nikon FA Matrix Metering System

The camera does have its own matrix metering system which was revolutionary at the time. It has continued to be used in digital cameras up till today. I'm not so familiar with whether that's the case with the mirrorless cameras but certainly with DSLRs has been used across all different brands from Canon to Sony.

For the first time, you also had ‘Program Mode’, ‘Shutter Priority Mode’, ‘Aperture Mode’, and complete ‘Manual Mode’ too. For anyone who has picked up a modern DSLR will know and often be scared off by these dials! My preference is to gravitate to manual mode. However most amateur photographers prefer to be in program mode.

Managing your Hot Shoe

At the top, you've got the shutter release as well as the hot shoe. Remember always to, regardless of a camera you've got, look after your hot shoe. Don't just rip off any remote that you might have plugged in at the top. Gently take it out cause you want to look after the metal bits and particularly with all the cameras. You don’t know if you'll be able to source parts for it, so bear that in mind.

Film Loading Basics

Once you've loaded up your film, to the first frame all you have to do is pull on the shuttlecock. Press the shutter and repeat until you get to the first frame. If you're careful and for example, if you load your film in a dark bag, you can actually start firing and get probably one or two extra frames on your roll film.

My advice would be to pull off the side of the box the the cover, and then slide it into the holder on the back of the camera. When you finish your 36 frames or maybe 37 or 38, press the silver button found at the bottom of the camera. Then once that's been depressed inside so you can't feel it on the outside, you can go ahead and roll your film and so just rotate it and then keep going until you hear a little click at the end. Once you've done that, all you have to do is open up and pull out your canister. Close the back and then send off for development!

There are some wonderful other little functions. There's a self timer, which is found at the front of the camera. Pull the lever with a dot on down and then once you depress the shutter, it will release, and at 10 seconds the picture will be taken. That's something for you to use if you want to do a selfie. You have also got a cable release option at the top and the left hand side here, there's two different versions, one which goes directly into here and also a cable release at the top here, which you can screen at at the top.

At the bottom of the camera, you may have noticed that there are some different things going on here. If you're going to be using the light meter embedded within the camera at the top, then you're going to need to have a functioning battery. Using a coin twist, open the silver tab. You will need two A76 batteries.

I would recommend investing in the A76 batteries, because there is a traffic light system on display when you look through the viewfinder. Red obviously means you are not advised to shoot the frame, amber it's exposed ok, and green obviously is good to go.

You'll notice on the far left hand side of this camera, there are these golden bits, which is where you can add a speed grip to your camera. The grip itself requires eight AA batteries to function and consequently adds more weight. I find that it comes in handy if you're doing a fashion shoot or you are doing some portraits perhaps in a studio, as such, I strongly recommend it.

When to Shoot with the Nikon FA

Use an appropriate lens for the conditions that you are working in. If you're doing some street photography, then I recommend using a 35 mm. If you are working with a singular person or a couple of people, then I would go for the 85 mm. Alternatively a 50 mm is perfect if you're not sure about whether you're going to be shooting some landscapes or portraits.

A 70-200 mm, especially if you're going to be shooting from some distance, would become highly recommended. You can use the newer DSLR F Mount VRII 70-200mm, obviously the auto focus is not going to work on this but the manual will, and you'll get some beautiful images for sure especially with that new glass that you might have.

The fact that you can use F-Mount DSLR lenses can be for most photographers a game changer. The ability to be able to use modern and older lenses easily on analogue and digital bodies saves you considerable amounts of money.

The Nikon FA is hardly ever talked about, you're going to find this camera online, at a very modest price compared to say the Nikon FM2, which is a very, very popular Nikon camera. In fact, I would strongly recommend investing in one if you are a Nikon shooter already.

You'll save a lot of money too. Generally these older cameras are really super well kept. It is a little bit trickier to find the black bodied ones with the silver bodied ones being a lot easier to find.

Finally, this is a super light camera to carry, once you've taken the handheld grip off, easy to use. Iif you've used the Nikon before, you know exactly how to use it straight away, It would just be seamless. It's lightweight, easy to carry, perfect, I would strongly recommend it if you're looking to do street photography, very easy to throw into your bag, and take with you anywhere that you go.

Fujifilm Neopan Acros II on Nikon FA

It's not your dream yet.

As you're aware, British weather can be a little bit of a variable. This time, I decided to control my environment, get a little bit more technical, go into a studio, and shoot with this film to make sure that I would capture each image to the best possible standard.

Neopan Acros II is a panchromatic film. Which means, it is sensitive to all spectrums of light. It's made on an acetate base. The reason why it's made on an acetate base is the previous versions of film stocks, which were made back over 120 years ago now, were extremely flammable. As film stocks improved over time, they moved towards an acetate base, which was less flammable, and more stable as a film stock itself.

This film has a ‘box speed’ of ISO 100 but officially has a speed rating between 50 to 800 ISO. If you're familiar with film stocks, then you would know that Acros I existed prior to 2018. Fujifilm have upgraded this film stock. If you're going to be shooting with this film stock, you should expect to get really fine grain, and really crisp shots. With that in mind, we should find that the mid-tones are well balanced, and we're going to get some really nice detail in the highlights and the shadows.

Neopan Acros II is very simple and straightforward to use. You might be outside on the street. You can just get your camera out and roll up some in your chosen 35mm camera. You can start shooting straight away within 60 seconds. Alternatively you might be on the beach, a hillside somewhere, or even you're having a studio portrait shoot. It will be challenging to take a bad picture with the Neopan Acros II.

As you can see from the images already, they're showing some serious contrast, the dynamic range of the film is fabulous. As mentioned before, ranging between 50 to 800 ISO. So, even if you decide that it's a little bit too dark, you can push the film a little bit further, and you should expect to get some great results from it.

There's only a limited range of ISO 100 black and white film stocks out there. Generally, the most popular ones are by Ilford. Ilford Delta 100 and Ilford FP4. You've also got Kodak T-Max 100, and Fomapan, I believe, also do a 100 ISO range as well.

Fujifilm say that you can push this film from 50 ISO all the way up to 800 ISO, and it has excellent reciprocity. Now, I think that's a challenge. And for sure, I want to try and go out, and see what I can get by pushing this film further too. Why not you too?

Building on a previous point about it's wide exposure latitude, this means that you can really use this film for a multiple range of projects. Whether it's sports photography, whether it's landscape photography, portraits, and Fujifilm themselves on their documentation, say that you can use Acros II for Astrophotography. Yep, it's there. I think that's worth checking out. So, if you live somewhere where you've got beautiful open skies at night time and fancy a little test, go for it.

As this is a panchromatic film, I think it will be fun to see how it handles and manages filters. So if you've got some filters at home, take them out, take them for a whirl, see what you get with them.

Now there's two reasons why you probably don't want to shoot with Neopan Acros II. The first one is, it's £12 pounds a roll, that's $16 [US] dollars guys. That’s quite pricey. Shout out to anyone in the US: Can you just ship me some Neopan Acros II? I'd really appreciate it. Seriously, that's probably one reason why you probably want to test it out, and if it's for you, then great, go ahead, shoot with it if you can.

The second reason why you probably don't want to shoot with this film is because obviously the grain is substantially less than what you would get on other black and white film stock. If you prefer the mysterious dark, sort of grainy sort of look that you get with HP5 or Tri-X, or T-Max, for example, then this film is definitely not for you. Now, I say that with a caveat, because I don't know if I pushed Acros II to 400 or 800, whether it would start to exhibit similar qualities. And then, the only way I'm going to do that is by doing it myself. It might be worth pursuing if that's the sort of look you're going for. Just on a hunch, I don't think it will be, as you see it with HP5 or Tri-X, for example.

I think Neopan Acros II is a reliable film stock if you're shooting on ISO 100.

You've got the wide exposure latitude, which is available to you, should you want to push it. And they themselves say that it has excellent reciprocity. Although, I think that remains to be tested. And you can see from the highlights and the shadows in the images that I've shown you, that the image has come out really, really beautifully.

So definitely, I would highly recommend going out and shooting with it. Obviously, the downside is the expense involved. But I think if you love photography, and you're exploring new ways to shoot, maybe you'll find something new with this film stock that you resonate with, and you will create something really cool.

Choosing the favourite image can be tricky too, no? Which one was your favourite from the shoot?

Do go ahead and subscribe and turn on the bell icon so you'll know exactly when the next video of this series of videos is gonna drop and I look forward to seeing you in a workshop with me very, very soon.

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Creating with Kodak Portra 160 on Nikon FA

How to shoot Portra 800 on 35mm: https://youtu.be/a9s6h3XRtLE 

Shooting Kodak Portra 160 in typically very poor English weather, is a bit of a risk! At one moment we had a drizzle. Next minute, it was like no I'm not going to rain. Then it rained. Then it was dry again and cloudy. Then it drizzled. In England we're just going to get that kind of weather. You just have to accept it for what it is. 

I'm super pleased with the outcome with the Kodak Portra 160 considering the challenges it was well worth it in the end. Massive shout out to Luke & Lucas in particular who came out with some killer outfits and made the BTS video in the background. 

Get out there and shoot whatever the situation is gonna be. Get out there, enjoy it. Here are some more videos for you to check out! I'll see you In the next one.

Any questions about 35mm or Medium Format film, shoot a message in the comments! 

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Nikon FA with Ilford HP5+ Photo Walk

Nikon FA was my first ever 35mm film camera. I had been on the fence for quite sometime so when an opportunity presented itself I jumped on board.

It had been quite some time due to our rolling lockdowns since I had an opportunity to get out and shoot with Lucas. We were both chomping at the bit for some time so at our first opportunity we headed out to East London for some film fun!

We started off outside the ExCel Centre with the aim of heading eastward before turning back here. The walk took us through parts decaying through to the ultra modern (and of course, deserted). Nikon FA was my first ever 35mm film camera. I had been on the fence for quite some time so when an opportunity presented itself I jumped on board.

It had been quite some time due to our rolling lockdowns since I had an opportunity to get out and shoot with Lucas. We were both chomping at the bit for some time so at our first opportunity we headed out to East London for some film fun!

We started off outside the ExCel Centre with the aim of heading eastward before turning back here. The walk took us through parts decaying through to the ultra modern (and of course, deserted).The weather was extremely cold, you could feel the windchill working its way through if I stood around or decided to take a break for too long. The overcast weather also helped the film choice. Ilford HP5+ has a wide latitude so you could easily shoot it at any range from 200-800 ISO without much problem. A good idea is to figure out how much grain you want in your image before you get going.

The first few images of an abandoned building which was bought by Newham Council back in 2015. It sits on prime land, opposite the huge ExCel International Exhibition Centre directly across the River Thames. To its east lies London City Airport and to the West the Financial Capital of the World, Canary Wharf. Unsurprisingly, no decision has been made with regards to those abandoned buildings. Although, how long are they going to ponder on it?

The sky is clear, the sun is out as we continue our walk along the River Thames. Just behind the conference centre is plonked a ‘mobile mini’ which makes no sense either. Anyway, a good snap! As we were coming out of lockdown I could help but think why flights were still going out of London City Airport?

A little further along and more abandoned buildings, brand new ones this time. Empty offices with residential complex above. We arrived just at the right time, the light and shadows with the buildings seemingly converging at the end. One of my favourite shots was the reflection of Canary Wharf behind us in the distance, the clouds and the sun at its full brightness.

We took a break for a bit and started to plot out the rest of the walk. A few clouds rolled in and I remember looking up the flight schedule so Lucas could grab a shot on his Canon 35mm. Luck would have it that as we had walked further along we saw a plane taxiing in the distance (not on the rosta!) and he was able to grab a few shots!

We reached the end of the line to find a water pumping station. We hadn’t been walking along the Thames afterall! It was the end of the Gallions Point Marina. The sun was getting lower at this point and we decided to hustle a bit to a spot Lucas had found on the River Thames. The decaying boat would make a perfect subject for a long exposure shot. Which Lucas had prepared very well for with his 10 stop Lee Filter! We worked our way around to North Woolwich through the Royal Victoria Garden, in much more of a hurry due to light starting to go.

We found our way out to a bridge directly underneath the flight path of City Airport after walking along a dead-end footpath. Perfect opportunity to capture the East London Skyline but this time with Lucas’s ND filter. Unfortunately, I didn’t have the right thread to hook it up so decided to take a risk and take the shot with the ND Filter handheld. The first shot needed better focus as you can see in the video, however, the second attempt was far better. I really like that shot, definitely will need to find some time to have a play with these filters in the future!

Scurrying our way past the Tate & Lyle factory as pedestrians stopped and asked us for directions to the nearest tube station. We made our final stop at the Thames Barrier which has been in operation for over 40 years now. Little is known about how crucial this system is in preventing wide scale flooding in London. The question remains whether it can withstand the future rising challenges the Thames will pose.

The light was almost lost now as I burned off my final few shots checking how well the HP5+ can handle these conditions. A tripod would probably have been useful at this point but otherwise a very fruitful and productive day out shooting film!

Massive thanks to IG @analog_square who is always a dream to work with on any shoot for all the little videos along the way.

Support my work here and get your hands on my prints: https://www.patreon.com/ahsanabbas

Apocalyptic London with CineStill 800T on Nikon FA

We all love the cinema; the films, the emotion, the story. Trying to recreate that cinematic feel has been made easier by the crowd funded CineStill brand which removes the remjet layer from the original Kodak films for the film photography enthusiast to have fun with! 

I am a big fan of futuristic type films such as Blade Runner but what drew me in more was the rendition of colours and light. I always wondered how the filmmakers were able to achieve such depth and unbeknownst to me it was this special cinematic film that was being used. 

It was an absolutely delight when I heard that this film was available to shoot with and after making several calls to photography specialists around the UK, I landed my first few rolls that had literally just arrived at the wonderful Analogue Wonderland (www.analoguewonderland.co.uk) Their friendly service dispatched the films that very day and I was so excited start shooting with this film as soon as possible! 

I decided to find an evening to shoot this roll in Central London, where I could find bright lights in to the late evening. For this walk, I took my Bronica Zenza ETRS medium format camera. Fifteen shots of high density cinematic film were about to be shot! 

Wandering the streets, I took my time framing each shot, trying to capture scenes which afforded plenty of night light. This being a test roll, I wanted to see how these images would fair under relatively bright night conditions. 

It wasn’t until many weeks later that I would find out from my developer that there was something seriously wrong with the images. Ricardo had seemed really worried when I initially spoke with him about the issue but he had taken the time to research the issue and postulated that the Remjet layer had not been fully removed properly. As such, when developed, it created this large orange haze across the whole image. Later, Magda emailed me some links to forums where this was being discussed in much detail. Turns out there was a whole batch of this film which CineStill was now recalling.  I called up, Analogue Wonderland and as usual they took care of everything with ease. 

Perhaps surprisingly, I am quite pleased with how the images have come out. The tungsten lighting has been amplified in deeper red/orange colours and in contrast with the black in the images, it gives a really apocalyptic feel to the set. Brighter white lights gave a bright yellow feel (the Waffle Cones image!) and it would have been interesting to see how other similar scenes may have come out too! My favourite image is right at the end of the selection, walking towards the West End theatres. The large lit billboards, street lamps and taxi headlights with the red sky and floor give a real feel the pandemic times we are all going through today. 

What is the Remjet layer? 

This is a black layer made from a coating of black particles that is found on motion picture Cine film.  

What is its purpose?

The Remjet layer protects the film from static and halation of lights and is most commonly used on Kodak films. 

What needs to be done in development?

The black layer must be carefully removed during the development process. If it is not properly removed it can lead to the images coming out with a dull orange complexion as you can see from the video. 

How can I save time and money in development of motion picture film?

The easy answer is to use CineStill 800T. Their film removes the Remjet layer for you so you can process it with ease in C41 chemistry. 

However, there are some downsides to pre-removal of the Remjet layer. It will lead to your images coming out with halation of any lights in low light conditions. If a subject and location is chosen appropriately the images have a great potential to the viewers delight! 

Another advantage of using CineStill 800T is you can use develop this film from the comfort of your own home using C41 chemistry, or simply take it to your local developer! 

No thank you, I want to use the original motion picture film! Where can I get that?

You can get Kodak Vision 3 200T and 500T Colour Negative Film from specialist film stockists. A simple search online will point you to a wide range of stockists closest to you. 

Pushing Fuji XTRA 400 3 stops on Nikon FA

Nikon FA with a roll of Fuji XTRA 400 had been sat waiting to be shot... but by the time I got to checking it again it had expired. Now more than ever was a good time to experiment with some 400 ISO film. 

Over a few weeks I carried my Nikon FA and looked for opportunities in the evening to shoot a few shots until done. 

If you are pushing film to the max and shooting at night, you should expect there to be a muddy brown tinge to the images. 

In a nutshell, I found that in very low light conditions a muddy brown look gets more amplified. It is possible to reduce this in post after if required but depending on what your aiming for you might just keep it. 

The last image of the petrol station was one of my favourite shots from the roll. With a bit more experimentation using brightly lit areas it would be fun to see how else other 400 ISO film would fare! 

Overall, it certainly worth playing with in different conditions but remember to end all good shoots with a good a place to eat! 

Shooting Ilford HP5 on Nikon FA

Shooting Ilford HP5 on Nikon FA

Ilford HP5 Plus is a great film stock for anyone who wants to create drama and atmosphere in their images. It's wide exposure latitude is great for anyone new to trying this film so you really can't go wrong. It may not be the preferred choice of film for those who are more technical. If you're looking to shoot landscapes then this is probably not the right film because of the grain.

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