A Sentimental Sixteen-Year Long-Term Review of the Nikon F3

The Nikon F3 is undeniably one of, if not the most sought-after film camera ever created by Nikon. Having stood the test of time proven by its durability long after its production ceased in 2001. And as a proud owner of three Nikon F3 cameras over the last sixteen years, I can confidently say that it is the best 35mm film camera ever made.

My Second Love: Almost Two Decades with the Nikon F3

In 2008, while working at La Cañada Camera, I acquired my first Nikon F3 along with a Nikkor 50mm f/1.4 Ai-S lens. And if you weren’t into photography then, you missed out on this crazy era when people would literally throw film cameras in the trash because you couldn’t give ‘em away if you wanted to. Both at this camera shop and the previous one I worked at, King Photo Supply in Lancaster, California, customers would leave behind boxes of "junk gear" at least twice a month. And because of this, you could pick up full Hassy outfits for no more than $250 on the high end.

A Camera Left for Dead

On my day off, one of our frequent customers came in with her F3 paired with the Nikkor 50mm f/1.4 Ai-S, saying that Samy’s Camera Pasadena—a shop I would work for a few years later—told her it was "unrepairable," so she gave the camera to my co-worker. The next day, I offered him $5 for it, slapped in a new battery, and it worked! You should have seen the look on his face. But I was like, "Nah! No trade backs." He wasn’t a photographer anyway, so he didn’t really care. He was just salty he didn’t get $20 for it.

Mind you, I did offer to give it back to the customer after explaining what happened, but she kindly told me to keep it and to put it to good use. She even showed me pictures from around the world that she took with that F3. Unfortunately, I too was a victim of the digital mania of the era. I had a Nikon D200, which pretty much took over the job of my Nikon F5. The Nikon D3 and D700 were hot off the press, so, like most people, I had no need for the F3. So, off it sat in my Domke bag in the closet for a few years.

Film is Not Dead

In 2010, film made an unexpected comeback thanks to the likes of Jonathan Canlas, Tanja Lippert, Jose Villa, Jen Huang, Caroline Tran, The Film Show, Richard Photo Lab’s heavy presence at WPPI, new photo labs popping up, The FIND Lab, Indie Lab, and so on. It seemed like every film photographer had a workshop of some sort. It was a great time to be into film photography because the prices of both film and gear were still reasonable, amidst all the daily online buzz on Facebook.

However, the catalyst for dusting off the F3 was Jonathan Canlas’ 2012 book, Film Is Not Dead: A Digital Photographer's Guide to Shooting Film. His words inspired me to embrace manual mode, manual focus, and to photograph my own neighborhoods—seeing them as world-class destinations with the cameras I already had. But after getting the scans back from my first roll, most were out of focus, so I picked up a new Type D focusing screen—the red dot version—which is brighter compared to standard-issue F3 focusing screens, as well as a new DE-2 viewfinder, both of which made manually focusing extremely easy.

This Summer Imperfect

And so began an intense love affair with the F3 around 2012, lasting until sometime in the summer of 2018. More on that in a bit—spoiler: it involves sand. The F3 was with me everywhere I went, helping refine my style of photography—composition, subject matter, and all that. It traveled with me to Oaxaca, Tijuana, and Guadalajara, while also pushing me to explore the many neighborhoods in and around Los Angeles that are often overlooked. It’s difficult to rationally explain, but somehow, this camera instilled a sense of adventure, making every corner of both Los Angeles and my hometown of Oaxaca feel worth capturing on 35mm film.

It took photos of my five dogs, who are no longer with us; my Grandparents back in Oaxaca when my Grandfather was still able to walk; my Nephew when he was a baby and toddler; my backyard when it still had a little flower garden; my Mom cooking; random buildings and streets around L.A., many of which no longer look the same; both of my cars which I no longer own—an ’89 Mercedes E300 and ’01 Volvo S60; and friends who are either no longer with us or have moved away, some of whom I haven’t seen since.

And because I was impressed by pretty much every single photograph taken with this camera, I started blogging (this very blog you’re reading now, This Summer Imperfect) a few months later as an excuse to show off my pictures. Of course, this was a couple of years before Instagram was a thing. I eventually hopped on in early 2014, and for a long time, my feed was made up almost entirely of photographs taken with the F3.

No! Your First 10,000 Photographs Are Not Your Worst

We’ve all heard the famous quote from Henri Cartier-Bresson about how the first few thousand photographs a photographer takes suck. And it’s astonishing how many out there actually believe it—though I’d say it’s mostly the gear shills on YouTube who buy into this line of thinking. Worse yet, photography instructors in college continue to push this notion day in and day out.

I’ve never bought into Cartier-Bresson’s garbage line of thinking, but maybe you do, and that’s fine. Me, personally? Some of my best photographs were taken well under that 10,000 mark—more so because the people in them are friends and family. Photographs that are priceless to me, many of which were taken with my F3. I don’t know—maybe Bresson didn’t have friends or close family, so he couldn’t have cared less about such photographs.

I Don’t Like Sand, It Gets Everywhere

As with most good things in life that eventually came to an end, my love affair with the F3 came to an abrupt halt in 2018 after taking it to the beach for the first time. While helping friends with their light setup, I left my F3 in my Domke bag on the sand. Walking back to it, I accidentally kicked sand over the bag, and unfortunately, sand got inside the camera. Took it to a local repair shop in Montebello to have it cleaned. Mind you, I’d taken both the F3 and 50 1.4 Ai-S to this shop twice over the years.

Got a call week later, went in the same day to pick it up, only to find out homie "lost" my F3 or, more than likely, sold it. After a heated back-and-forth, he agreed to replace it. And yes, I was expecting him to give me back MY F3, but no—it was a different F3 with a 50 1.4 AI lens. And while yes, it was an F3, it wasn’t MY F3, the camera that had been with me for ten years. It didn’t have the pristine Type D red dot focusing screen. It didn’t have the new DE-2 viewfinder. It didn’t have the now unobtainable Legacy amber leather wrist strap from Tap & Dye.

But more importantly, it didn’t have the personal legacy behind it. It was just a random F3—with a huge dent on the viewfinder. Was I salty about it? Yes, yes, I was. But think of it like your first car. Whether it was reliable or not, you never forget the adventures your first car was a part of during your formative years. So, I sold it. A couple of years later, in 2022, I picked up a practically new F3 HP but ended up selling it a year later because I didn’t want to be the one to put a scratch on it. Figured I’d let it go to someone who was actually going to use it. Since then, both my Nikon N75 and Olympus E-M1 have filled the void my F3 left behind.

Nikon F3 Sample Photos
taken with the Nikkor 50mm f/1.4 Ai-S

Oaxaca, Mexico during Day of the Dead on Fujifilm 400H in 2015

Nikkor 50mm f/1.4 Ai-S: Nikon’s Crown Jewel

I’d be remiss not to mention the lens the F3 is usually paired with: the Nikkor 50mm f/1.4 Ai-S. A lens quickly dismissed by the gear-peddling shills on YouTube for being just another 50-mil lens. And next to The Angry Photographer, I’m probably the only other nut who has owned and tested almost every 1.4 and 1.8 50mm Nikkor lens—not counting the Ai and Pre-Ai versions. I don’t care too much for those; they don’t look aesthetically pleasing to me. I appreciate cameras and lenses that look cool—don’t judge me.

Now, Nikon claims the optical formula is identical among the 50 1.4 Ai, Ai-S, AF, AF (N), and both the made-in-Japan and made-in-China AF-D versions of this lens. However, after extensively testing practically all the 50 1.4 Nikkors in real-world situations over a span of twenty-something years, I find the Ai-S version to be the one with the best micro-contrast, color, and tonal rendition. In other words, so-called Zeiss-quality images, only rivaled by, of course, the Zeiss 50mm 1.4 ZF, ZF2, and the Voigtländer Nokton 58mm f/1.4.

The Nikkor 50mm f/1.4 Ai-S is not a sharp lens by any means, but as they say, sharpness isn’t everything. However, what you get in return are gorgeous images with a slight dreamlike quality and rich tonal depth. It’s sharp enough when it needs to be and soft when required—as in, when you don’t nail accurate focus. The best part is you can pick one up for around $200, with the only drawback being that it’s not weather-sealed.

Four Reasons Why the Nikon F3 is the GOAT

Nikon knocked it out of the park designing a near-perfect precision instrument that outlived both the F4 and F5 in terms of production. Was it because of the materials they chose to use? Or maybe the collaboration between Giorgetto Giugiaro, who handled the timeless design, and Yasuo Kashiwa, who oversaw engineering and mechanics? Who knows? But what I do know is that a camera like the F3 will probably never be made again. And that’s okay—there are plenty in circulation anyway. So, if you’re thinking of getting one, here are my four reasons why I believe the F3 really is the best 35mm film camera of all time.

Exquisite Craftsmanship and Minimalist Design

Proudly made in Japan, the F3 exhibits unparalleled craftsmanship of its era, featuring all-metal construction that develops a beautiful patina over time. A testament to Nikon's dedication to quality. The F3 exemplifies minimalism. Every feature serves a purpose and never gets in the way of the creative process. Apart from learning how to manual focus, there is no steep learning curve associated with this camera.

Compact, Travel-Friendly and a Superb User Experience

Both the F3 and accompanying Ai-S lenses are relatively small compared to modern digital SLRs and mirrorless setups, making them perfect companions for traveling light. All while providing a delightful user experience with its bright and very large viewfinder, solid film advance lever, commanding shutter dial, and satisfying mechanical sounds. Instilling confidence with every shutter cycle.

Versatile Lens Compatibility and Extensive Customization Options

The F3, like many pro level Nikon film cameras, can use almost every Nikon F mount lens, including modern Zeiss and Voigtländer lenses. Allowing you to explore and experiment with a comprehensive library of lenses dating back to the original Nikon F of 1959. Add to that, Nikon went above and beyond with the F3, offering a wide range of accessories and variations to customize it according to individual preferences.

Long Battery Life and Stable Resale Value

The F3's battery can last through approximately thirty rolls of film, and even if the battery fails, the F3 can operate at a shutter speed of 1/60th. In the sixteen years I had mine, I replaced the battery no more than ten times if that. Maybe it’s why any variation of the F3 retains its value, ensuring you can recoup your investment if you decide to sell it. Although, I wouldn’t bank on flipping it unless you have pristine copy.

Four Drawbacks of the Nikon F3

Aside from the artificial price hike over the last five years—more on that in a bit—there’s not much to complain about. However, depending on your habits and even where you live, a few aspects of the F3 are worth mentioning as potential drawbacks.

No Weatherproofing

The F3 is not weatherproof. While I’ve seen people use their F3s in the rain, I wouldn’t recommend it. That said, the F3 was, after all, a workhorse for many pros worldwide in its heyday, and no one seemed to complain about the lack of weatherproofing. I live in L.A., where it rains maybe once a year, but it's something to consider if you live in an area with frequent rain. Or Heaven forbids you get sand in it like I did with mine.

Cumbersome Flash Setup

The standard-issue F3 does not have a universal hot shoe, forcing you to purchase proprietary Nikon flash adapters. While they’re neither difficult to find nor expensive, they do limit creativity. More than anything, though, they make your otherwise minimal setup rather cumbersome—especially since you must remove the flash contraption to rewind the film and open the film chamber door.

No Focus Confirmation

Unless you have the Type K split-image focusing screen and or have never used a manual focus camera, achieving accurate focus will require a lot of practice and patience due to the lack of an electronic rangefinder (focus assist indicator) in the viewfinder. However, if you have good eyesight, the Type D focusing screen is your best option—especially if it’s the red dot version, which is brighter than the standard issue.

Artificially Overpriced

I don’t need to tell you that over the last five years—thanks to YouTube gear "photographers" of both the analog and digital variety who jump on every trend for clicks—the price of the Nikon F3 has skyrocketed. Their Disney-Marvel-shill level of overhyping everything has driven up prices not just for the F3, but even for shitty digital point-and-shoot cameras. Thank God, the F3 has been the only Nikon these corporate shills have ever been interested in.

Is the Nikon F3 Worth Purchasing in 2025?

Hard to believe there was a time when people threw F3s in the trash. And it wasn’t that long ago you could pick up minty F3s with a 50 1.4 Ai-S for $250 tops—but those days are long gone. But I’m hopeful the price of the F3 will come down within the next year or two, thanks to the Nikon Zf satisfying the corporate YouTube shills who obsessed over "retro cameras." Plus, it seems the Nikon F2 is the next film camera these YouTube locusts are going to destroy.

However, with the rising cost of film and "film" presets, there’s little practical reason to pick up an F3 today. But if you have a genuine love and long-term appreciation for the aesthetic of film, the F3 stands out as an excellent choice—it’s durable, widely available on eBay, and even with the artificial price hike over the last five years, you can find one to fit your budget. And thanks to its long production run until 2001, you can still find like-new models.

That said, for digital users new to 35mm film, the F3 might not be the ideal starter camera. Instead, the Nikon N75, Nikon N80, or Canon Rebel Ti are budget-friendly alternatives with automatic features and are priced around $30–$50, often with a little zoom lens. These offer a far more accessible entry point into 35mm photography—especially if you already own a DSLR with compatible lenses of the same mount.

The Legacy of the Nikon F3

Next to the Nikon N75, which was a high school graduation present that opened the floodgates of analog photography for me, no other camera has rekindled and kept the burning passion of film photography alive like the F3 since 2012. Along the way, photographs I have taken with the F3 together with the 50 1.4 Ai-S, have been featured in several publications, including LAMetro, and have been exhibited twice at the Vincent Price Art Museum.

And no, simply picking up an F3 will not make you a renowned photographer. However, it will make you want to go out and use it because it feels that good in the hands, along with the confidence it instills each time you hear the mechanical shutter and film advance cycle. Ultimately, that's how you hone your craft. By using the tools at hand day in, and day out.

It's fascinating to think how an inanimate object like the F3 has instill so much creativity in my life, from long-form writing to seeing the mundane neighborhoods I grew up in as world-class travel destinations, as well as appreciating handmade craftsmanship in all aspects of life, including architecture, clothing, and paper goods. And I believe Nikon feels the same way, as traces of the F3 are seen in Z mirrorless cameras today. And it saddens me to think that perhaps no other camera will ever replicate this emotional affection ever again.