Why would I buy a new film camera? My 50-year-old Nikon F2 is already perfect!

A Nikon F2 with accessories — Modularity isn't something you see much of in 35mm but the F2 has it, in spades (Image credit: Rob Redman)

I’ve talked about gear before. Many times. In fact, I am going to write a piece about my gear acquisition syndrome and how I doubt I’ll ever stop buying cameras. But it’s time to look at things from a different perspective, and this is my take on desert island discs.

I have a lot of gear. As a photographer and reviewer, I am constantly staying up to date with the latest photographic technology, but there are a couple of items that I will never part with, and I would be happy if I only ever got to use them and them alone. Not that I want that to happen, but if it did, I would manage, somehow.

First up is the Hasselblad 500C/M, which is my medium format camera of choice but that’s not without its limitations. Secondly, and this is where it’s at for me, is the Nikon F2. There really is no need to buy another film camera, unless it’s a second F2 body!

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My Nikon F2 is older than I am, being built in 1974, and it is in far better shape than even my Fujifilm X100V and instills more confidence than any other camera I’ve ever used.

While it is built like the proverbial tank, has a heft that can be felt, without tearing any muscles, it’s the overall form factor and modular nature which wins me over.

I love the fact that it can wear many hats, from stripped down, mechanical only, old school shooter, with a waist level view finder, to the beefed up, motorised bulk loaded monster it can be with just a select few accessory swaps.

My preference for the F2, which is my daily 35mm film camera, is to use the DP-1 metered prism finder, a Nikkor 50mm f1.8, paired with the wonderful 105mm f2.5 and a grip with a built in Arca Swiss plate. I do have a brass soft shutter button mounted and usually carry the DW-1 waist level viewfinder in my bag too, as I love that view.

The F2 meets all my needs and would probably do the same for any film photographer. It is capable of speeds up to two thousandths of a second, won’t bat an eyelid if the battery runs out (it’s only used for metering) and the range of glass is phenomenal.

Nikon’s F mount lasted for decades, and while there are a few less desirable options, many are excellent and available for reasonable prices too. The 105mm f/2.5 is a telephoto, ideal for portraits and can be had for around £100. When I compare that to my Sony G Master lenses, it makes my eyes water!

My only concession to modernity is a pair of Peak Design anchors, used simply so I don’t need to have camera straps on every body I own and the costs associated with doing so!

So, if you shoot film and only have room for one 35mm camera, the F2 is as near to perfection as it gets. Make it into whatever you want and feel confident that it will take everything you throw at it and more.

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Rob is Editor of ImagineFX magazine and also works as creative director for his own studio, Pariah Studios, producing 3D animation, film and VFX for a variety of clients.

He started his career as a photographer, slowing adding 3D, film and visual effects and film into his toolbag, working across TV, web and print, with clients ranging from Blackmagic Design and HMV to Games Workshop and Royal Mail.

When not on at his desk he can be found building and playing guitars or out in the wilderness with his dog.

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