Modern Classic SLRs Series :
Nikon F2 Photomic w/DP1 Prism- Instruction Manual
Part IIa

 
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The signal lights are arrow-shaped so that by the direction of the arrow you will know at a glance if the exposure must be increased or decreased. For added convenience, the actual shutter speed and aperture selected also appear in the viewfinder.

In low light, the two signal lights may light up at "B" setting on the shutter-speed scale. If so, correct exposure time is 2 seconds.

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Either the aperture ring or the shutter-speed selector (except for speeds slower than 1/80 second) permits reliable intermediate settings for more precise exposure. The signal lights also appear on top of the finder for convenience when the camera is held at waist level or mounted on a tripod.

Choice of Shutter-Speed/Lens-Aperture Combinations

The amount of light reaching the film is determined by the combination of lens aperture and shutter speed. Since the two are interrelated, different combinations will give the same amount of exposure. The best combination depends on the results desired. Use fast shutter speeds to freeze motion or slow ones to create deliberate blur. Small apertures give greater depth of field, large ones let the subject stand out against an out-of-focus background.

The table below shows how the aperture and shutter speed are interrelated. All the combinations give the same exposure.

Example:
Shutter speed (sec.)

1/2000

1/1000

1/500

1/250

1/125

Aperture (f/number)

4

5.6

8

11

16

More info is available at a | separate section | on the topic "Exposure" and its relation to Shutter Speed and Aperture.


Metering Range

If the two signal lights do not go on even after all possible shutter-speed/lens-aperture combinations have been tried, then the available light is too bright or too dim for the meter's range. Switch to a new film that matches the available light or mount a neutral density (ND) filter onto the lens to cut down on the amount of light or use artificial lighting to increase luminosity, whatever the case may be..With the 50mm f/1.4 lens and a film speed of ASA 100, the meter's effective range extends from f/1.4 at 8 seconds to f/8 at 1/2000 second.

Unusual Light Situations

When there are severe brightness differences between the subject and the background, you will often obtain better results by setting up the camera so that the subject fills the central part of the viewfinder during exposure measurement. For example, if the picture includes an unusually bright source of light, such as a light bulb, move the camera to center the subject for reading, or if accessible, move in on the subject and take a close-up reading of the part you want to emphasize, and then move back until the desired composition appears in the viewfinder.

For landscapes which include an expanse of sky, tilt the camera downward during measurement to prevent underexposure of the main subject caused by the bright skylight. For backlighted subjects, move up close to and include dark areas of the subject in your reading. The finder is designed to minimize the effect of light entering through the finder eyepiece under normal conditions. However, in the following situations, the use of a finder eyecup is recommended

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(1) Measuring the bright area in the center of the screen will cause underexposure of the main subject. (2) For correct exposure, first measure the light striking the main subject, then compose And shoot.

When the camera is in sunlight and the subject is in shade.
When the stop-down method is used at small apertures.
When a shaft of sunlight falls between the eye and the eyepiece.

When the signal lights on top of the finder are used to determine exposure, the eyepiece should be covered with the hand to prevent extraneous light from entering the finder.

Depth of Field ( Supplementary info provided in MIR's site )

Depth of field refers to a zone extending in front of and behind the plane of sharpest focus. Within this zone, blur (or lack of definition) will be negligible and everything can be accepted as being in sharp focus. Depth of field extends a greater distance behind the subject in focus than in front. Depth of field depends on three factors: the focal length of the lens, lens-to-subject distance and taking aperture. The smaller the aperture and the shorter the focal length of the lens, the greater the depth of field. Also, the closer the subject, the smaller the depth of field. These three factors can be adjusted independently or in combination to give the photographer creative control over the final picture.

Depth-of-Field Preview Button

The depth-of-field preview button lets you check the depth of field before shooting and make desired adjustments.

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Press the button and the lens stops down to the preselected aperture to allow you to see how much background or foreground is in or out of focus. Press the button and simultaneously turning the lever will lock the main reflex mirror in upward position.

* Note: When the button is activated, the viewfinder will dim (other than the largest aperture used), but you can notice significant increase of depth of field when smaller aperture is used. For newer AI bodies and non-coupled extensions, this button is also acted as a stopped down exposure metering button.

Depth-of-Field Scale

Depth-of-Field Indicators (ON THE LENS SECTION)

Depth of field can be read directly from the distance scale in meters or feet with the aid of the color-coded depth-of-fleld indicators engraved on the lens barrel. Each pair of colored lines on either side of the central distance scale index line corresponds to f/numbers of the same color on the aperture scale.

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For example, f/16 on the aperture ring of the 50 mm f/1.4 lens is blue. With the lens prefocused at 17 feet (5 m), the numbers on the distance scale opposite the blue lines show that the depth of field extends from 9 feet (2.7 m) to infinity (OO).

To find the depth of field at a particular aperture, first focus the lens on the subject while looking through the viewfinder. Then check the numbers on the distance scale to determine the zone of focus for the aperture in use. (Check Here for an Illustration)

By stopping down the lens aperture, the depth of field will increased, as illustrated by the three photographs at an Illustration Page at the Nikon F2S section.

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The Eyes of Nikon:-
Nippon Kogaku KK Rangefinder RF-Nikkor lenses:- Main Index Page
Nikon Auto Focus Nikkor lenses:- Main Index Page
Nikon Manual Focus Nikkor lenses- Main Index Page

Fisheye-Nikkor Lenses - Circular | Full Frame | Ultrawides Lenses - 13mm15mm18mm20mm | Wideangle Lenses - 24mm28mm35mm |
Standard
Lenses -
45mm 50mm 58mm | Telephoto Lenses - 85mm105mm135mm180mm & 200mm |
Super-Telephoto
Lenses - 300mm 400mm 500mm 600mm 800mm 1200mm |
Special Application lenses:
Micro-Nikkor Lenses - 50mm~55mm -60mm 85mm -105mm 200mm Micro-Zoom 70-180mm
Perspective Control (PC) - 28mm 35mm PC-Micro 85mm
Dedicated Lenses for Nikon F3AF: AF 80mm f/2.8 | AF 200mm f/3.5 EDIF
Depth of Field Control (DC): 105mm 135mm
Medical Nikkor: 120mm 200mm
Reflex-Nikkor Lenses - 500mm 1000mm 2000mm
Others: Noct Nikkor | OP-Nikkor | UV Nikkor 55mm 105mm | Focusing Units | Bellows-Nikkor 105mm 135mm
Nikon Series E Lenses: 28mm35mm50mm100mm135mm | E-Series Zoom lenses: 36~72mm75~150mm70~210mm
MF Zoom-Nikkor Lenses: 25~50mm | 28~45mm | 28~50mm | 28~85mm | 35~70mm | 36~72mm E | 35~85mm | 35~105mm | 35~135mm |
35~200mm | 43~86mm | 50~135mm | 50~300mm | 70~210mm E | 75~150mm E | 80~200mm | 85~250mm |
100~300mm | 180~600mm | 200~400mm | 200~600mm | 360~1200mm | 1200~1700mm

Tele-Converters: TC-1 | TC-2 | TC-200 | TC-201 | TC-300 | TC-301 | TC-14 | TC-14A | TC-14B | TC-14C | TC-14E | TC-16 | TC-16A | TC-20E

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Nikon F
| Nikon F2 | Nikon F3 | Nikon F4 | Nikon F5 | Nikon F6 | Nikkormat / Nikomat |
Nikon FM
| Nikon FE/ FA | Nikon EM/FG/FG20 | Nikon Digital SLRs | Nikon - Other models

MIR Supports for Photographic Community: Various Message Boards/Community Forums
Nikon F-series| Nikon F2-series| Nikon F3-series| Nikon F4-series| Nikon F5-series|Nikkormat/Nikomat-series
Nikon FM-series
|Nikon FE-series|Nikon FA|Nikon Digital SLR series|Various Nikon Models|Nikkor Optic -shared

Others:- Free Trade Zone - Photography| Free Trade Zone - Business Community |Free To Zouk - Photographic Community
Apple's
Mac Public Community Message Board | Windows based PC & Apple/Mac Public Community Trade Exchange Centre

Recommended links to understand more technical details related to the Nikkor F-mount and production Serial Number:
http://rick_oleson.tripod.com/index-153.html by: my friend, Rick Oleson
http://www.zi.ku.dk/personal/lhhansen/photo/fmount.htm by: Hansen, Lars Holst
http://www.mir.com.my/rb/photography/hardwares/nikonfmount/lens2.htm
http://www.photosynthesis.co.nz/nikon/serialno.html

About this photographic site.

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Copyright © 2000. leofoo ®. MIR Web Development Team.

In memory of my friend Com. Augusto Staut, Brazil, 1971-2000.

Credit: Chuck Hester, US for his patience, encouragement and help to setup the various content in this site; Robert Johnson for some of his original images on the F2H-MD appeared in this site; my ex-staff, KiaSu for his superb 3-D logo appeared in this Nikon F2 site; Marc Vorgers from Holland who generously provide me with some of his images of F2AS; MCLau®, who has so much time with me to re-edit the content in this site and not to mention buying a Nikon Coolpix 990 just for this site. Keat Photo, Kuala Lumpur for providing their Nikon F2A to take some images for this site; again, Mr Edward Ngoh the great camera collector who provides us his collection of F2AS with MD-2; hawkeye.photographic.com for their images on the Speed Magny film backs; Sean Cranor for his image on Nikon F2 25th Anniversary Model; Ted Wengelaar®, Holland for his continuous flow of input on some of the early Nikon bodies; CYLeow ® , photo editor of the Star newspaper, Malaysia for some of his images used in this site. Ms Rissa Chan, Sales manager from Shriro Malaysia who has helped to provide some of the very useful input. HiuraShinsaku®, Nikomat ML, Japan for some of his images on various F2 models; my staff, Wati, Maisa, Mai and my nephew, EEWyn®, who volunteered and helping me did so many of the film scanning works. Contributing photographers or resellers: Jen Siow, Foo KokKin, Arthur Teng, Mark Fallander, John Ishii, Ed Hassel, YoonKi Kim, Jean-Louis, M.Dugentas (Dell Corner.com.), Mr "Arsenall" and a few images mailed in from surfers with no appropriate reference to their origin. Dedicated to KU Yeo, just to express our mutual regrets over the outcome of a recent corporate event. Made with a PowerMac, broadcast with a Redhat Linux powered server.

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