Modern Classic SLRs Series :
Nikon F2A Photomic w/DP-11 Finder
Instruction Manual -
Part III

 
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Focusing
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Focusing is done at full aperture with Nikkor lenses fitted with an automatic diaphragm. This technique provides the brightest possible images on the focusing screen for easy focusing and composing. It also minimizes depth of field so that the image snaps in and out of focus distinctly.

The Nikon Type K screen comes with the camera as standard equipment. To focus, turn the focusing ring on the lens until the two halves of the rangefinder image coincide to form a single, crisp image,

infocus.jpg OUTfocus.jpg
When using the microprism ring, turn until the microprism pattern shifts to a sharp and crisp image. You can also focus on the matte field that surrounds the rangefinder/microprism central area.

The lens can also be prefocused using the distance scale engraved in both meters and feet on the lens barrel. Simply turn the focusing ring until the desired camera-to-subject distance (as measured or estimated) is lined up with the distance scale index on the lens barrel. This technique is useful for candid shots of elusive subjects when time does not permit through-the-lens focusing.

Infrared Photography

The plane of sharpest focus for infrared light is slightly more distant than its counterpart for visible light as seen through the camera's viewfinder. Thus, for sharpest focus in infrared photography, adjustments must be made.

InfraFocus.jpg
To compensate for this shift in focus, first focus the image sharply through the viewfinder. Then, turn the focusing ring counterclockwise until the point focused is aligned with the red dot (or line) provided on the lens barrel. For example, in the picture below, the lens has been focused for infinity (oo) infrared shooting. Note that when lenses having a focal length of 50mm or less are used stopped down to f/8 or below, no adjustment is necessary due to the large depth of field available.

Note: Some new optics using Nikon's Extra-low Dispersion (ED) glass, as well as reflex (catadioptric) lenses, do not require refocusing for infrared photography. Refer to individual lens instruction manuals for details.

Film-Plane Indicator
FilmPlane.jpg
Under various precision shooting situations, such as close-up photography, it is often necessary to measure the film-to-subject distance to ensure the sharpest focus. The camera's film plane is indicated by the top edge of the figures making up the serial number at the upper left of the camera body. Note that these figures are 46.5mm from the front surface of the camera's lens mounting flange.

DEPTH OF FIELD

Depth of field refers to the zone of acceptable focus extending in front of, and behind, the plane of sharpest focus. Within this zone, image blur is negligible and everything may be considered as being in sharp focus. Three factors greatly influence the depth of field: the focal length of the lens in use, the camera-to-subject distance, and the 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 shallower the depth of field. These three factors can operate independently or in conjunction with one another, with any one factor capable of partially canceling the effects of the other. Thus, by careful selection and use, the photographer can exercise wide creative control over the final picture.
(Relative: Depth of Field and correspoding elements in Shutter Speed and Aperture)

Depth-of-Field Preview Button

DOF Preview.jpg
As most Nikkor lenses are operated at full aperture for ease of focusing, visualization of the depth of field at the shooting aperture may be difficult. Thus, the camera's depth-of-field preview button often can come in handy. The depth-of-field preview button lets you check (or "preview") the zone of sharpness at any time before (or after) shooting. Simply by depressing the button, the lens is stopped down to the pre-selected aperture to allow you to see how much background and foreground is in or out of focus.

Note: Take notice of the subject and turn the lens aperture to see differences, the finder is dimmed if you are changing to a smaller aperture but the depth of field is significantly improved.

Depth-of-Field Indicators

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Depth of field can be read directly from the distance scale in meters or feet with the aid of the color-coded depth-of-field 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.

<<< --- Thaipusam Festival, Batu caves, Malaysia... (Jpeg File 55k) Copyright © images 2000. MCLau® Hosted by: Malaysian Internet Resources

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. The three photos shown clearly depict the changing depth of field,- with the photo to the right, the field is shallow at the f/4 setting, while the photo at the far right shows a depth of field extending from approximately 2.7m (9 ft) to infinity (OO).

20dofillus.jpg 20dofillus2.jpg 20dofillus3.jpg

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The Eyes of Nikon:-
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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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MIR Supports for Photographic Community: Various Message Boards/Community Forums
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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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