The Nikon FM3A is an interchangeable-lens, focal-plane shutter, 35 mm film, single-lens reflex (SLR) camera. It was manufactured by Nikon Corporation in Japan, on small-volume assembly lines, from 2001 to 2006. The camera was available in two colours: all black and satin chrome. The introductory US list price for the chrome body only (no lens) was $820.
The FM3A was the successor to the renowned Nikon FM2N camera of 1984 and was the last member of the successful, semi-professional line of Nikon compact 35 mm film SLRs. The other members were the Nikon FM (released 1977), FE (1978), FM2 (1982) and FE2 (1983). They (and the Nikon FA) all used the superficially similar (but not identical) rugged copper-aluminium alloy chassis and high-quality Nikon vertical bearing-mounted metal shutter and ball-bearing mounted film advance, but with improved feature levels, minor external controls and cosmetic differences.
KEN ROCKWELL says......"The Nikon FM3a is one of the very best cameras ever made by Nikon, or anyone "
I SAY.......... Ditto to the above and, from my own point of view, it's a really nice camera to use and produces good results👍
Developing film in my Lab-Box has generally gone well, although there have been a few problems along the way. Bit by bit I've found ways to overcome them and nowadays each roll develops pretty much perfectly.
One problem I had was in the film occasionally catching itself together at the sides as it wound onto the spool, thus not allowing the developing liquid to flow evenly through the slots of the spool and encasing the negatives. I was getting a few ruined negatives, with black or white blotches, over the frames, where the negatives had caught together.
My solution has been to attach the end of the negative to the spool clip, and not wind it onto the spool until the developer is in the tank. I clip the end of the negative to the spool clip and leave it high as shown in my photo above. The film itself is still safely encased in the film housing so the light won't get to it. At that point I pour in the developing liquid and then I put the lid on the Lab-Box.
Now I carefully wind the film onto the spool and the developing liquid acts as a lubricant to stop the film from sticking together at any point. The key is to make sure the film is clipped squarely onto the spool winder - it must be absolutely square on. I'm finding this method to be successful and have not had any problems since following it.
After much research, I have recently acquired ....................
It's almost fully automatic which I like because (these days) my eyesight isn't what it used to be and I have a little trouble setting a manual focus correctly. There is Manual mode should I want to use that.
As with more modern cameras, Minolta Dynax 500si has the standard PASM presets, along with other preset modes such as double exposure. The auto focus is fast enough and the camera sits in my hand just perfectly. I understand the 'si' model (si = super) is a slightly better than the standard Dynax 500 due to its metal lens mount.
All in all I love using this camera, despite the slight 'clunk' it makes when the mirror tucks back when I take a shot.
Here are some of my first shots with it, using Kodak Portra 400 film, taken in Russell, Bay of Islands..................... click on each picture to see a larger view.
*Black and White film development in the Lab-Box is easy. The best part about using the Lab-Box, for me, is that at no time do I have to handle the film until it has been fully developed.
DEVELOPING times will be different for each film brand, based on the water temperature median of 20C.
I use THE MASSIVE DEVELOPMENT CHART to work out the correct developing time for my film.
Then I use the TEMPERATURE COMPENSATION CHART to determine the appropriate developing time in accordance with the temperature of the liquid on the day.
* * * Before I start, I set up all the components I will need for the process.
Click through each picture below to see the details for each -
Pour about 400ml water into the Lab-Box and turn handle for 30-40 seconds.
DEVELOPER: 300ml in LabBox
Minutes according to film chart for the film brand/type.
Turn knob for entire time.
Pour Developer back into container if using again immediately, otherwise discard.
WASH: 400ml water in 3 jugs
Fill and empty tank 3 times, turning knob for 30 seconds in-between.
FIX: I make up 1 Litre of fix and keep it in a black bottle.
I mark off the number of films used as I go.
For 1 film - 300 ml pre-mixed fixer into Lab Box
Time for 5 Mins
Turn knob for the entire time
Pour Fixer back into container
Film is now light safe.
Remove lid from tank, then remove film spool side section.
FILM CANNISTER SECTION REMOVED FROM LAB-BOX
FINAL WATER WASH:
Run cool water over the film for 20 mins.
Pour out water.
NOTE: When I'm only developing one roll of film I leave the spool and film in the Lab-Box compartment, for the running water time (20 minutes). When I'm developing several films at the same time, I transfer the first roll to a jug for the 20 minutes under running water, to enable me to begin processing the next roll while the other roll is still washing.
FINAL ACTION: WETTING AGENT (STABILISER)
WETTING AGENT (STABILISER):
Ensure clean water is covering the spool.
Add 2 drops wetting agent.
Proportion = 500ml water + 2 drops wetting agent
* Lab-Box Method: 1 min Turn knob 30 secs, then leave to sit 30 secs.
Pour off water and hang film to dry..
* Jug Method: Move spool around in the jug for 30 secs, then leave to sit 30 secs.
Pour off water and hang film to dry.
HANG FILM TO DRY:
HANG FILM TO DRY:
I use these clips that I bought on Amazon, to hang my film to dry.
I add the butterfly clip on the bottom of the wet film to keep it straight.
I find the Tetenal Mirasol 2000 to be so good that I do not need to sqeegee down the film
before hanging it up to dry. I just hang it up completely wet and it drys beautifully.
The first colour film I developed in my Lab-Box was Kodak Ultra Max 400, using Cinestill C-41 chemicals. I'm not sure that I like the results from this film, but the Lab-Box did a great job of the processing and made the whole process easy.
I plant to try different colour film types as I go along, so I'm looking forward to the journey.
I'm also in the process of buying a couple of different film cameras, so those will make the journey even more interesting.
Below are my first pictures taken with my Nikon F65 film camera. There are more pictures in the pipeline.
→ Click on each picture below, to see a larger view..............
I bought a Lab-Box for my film development. The reason was because I found using the black bag for loading my film onto a spool for the Patterson Tank, to be problematical and I damaged a number of films trying. The Lab-Box provided a tidy and easy way to load the film onto a spool, without any damage, so I did my research and eventually bought one.
I find it a wonderful thing and really enjoy my film development using it.
Here's my method and my gear.
For colour developing I'm using the CineStll C-41 chemical kit to make 1 litre.
I mixed the packets of powder as instructed and stored them in 1 litre black opaque bottles to protect them from light and deterioration. It's important to keep the chemicals quite separate, so I marked each bottle with coloured tape and wrote the name of the liquid on the tape. Yellow tape for Blix, red tape for Developer.
As I use the chemicals, I make a note of the date and how many rolls of film. There are instructions in the C-41 kit, outlining how many rolls of film the 1L mix is good for. After that you must discard it and make up another batch.
To develop the film, both Developer and Blix must be set at a temperature of 39C / 102.2 F.
To heat them I use a straight-sided pot with a thermal immersion circulator heater clipped to the side.
I pour the developer and the blix into square glass bottles to heat the liquid and set a digital thermometer into the neck of each one. When I have finished developing I pour the chemicals back into their respective black opaque bottles.
DEVELOPER & BLIX at 39 C
Here they are. The first photos from my plastic 'toy' camera. Analoge 35mm Reusable Film Camera from AgfaPhoto.
This has got to be the easiest camera I have ever worked. Basically: you put the film in, find a subject, point the camera at it using the viewfinder, hold the camera very still, click the shutter, wind the film on.
It's so light, you barely know you're holding it. The whole experience is just plain fun.
But then...don't take the results too seriously either. Some pictures might not work out, but most are pretty cool.
**These photos were taken in Russell, Bay of Islands, New Zealand.
Click on them to see a larger view.
MY NEWS PAGE
My little logo says "Shooting film is not a negative experience".
I thought it fun to set my profile avatar as a negative, seeing that's what we film shooters work with all the time.
And then, rather than calling this a Blog, I thought "NEWS" will be a more fitting title because each post here will be my news, as I dabble through my lovely film experiences.
It arrived yesterday.
This is how they promote it - the Analoge 35mm Reusable Film Camera from AgfaPhoto is an easy-to-use film camera for general use. The camera has a fixed-focus wide-angle lens, perfect for capturing most well-focused daylight scenes, and the camera also features a built-in flash for night time shooting. Compatible with 35mm color negative or black and white film, the Analog 35mm Reusable Film Camera allows you to capture quick snapshots or moody monochrome scenes.
It's basic, pocket size, cute, very light, very analogue.
Easy, easy, easy.
Oh, and it's cheap.
I bought it for fun, so I would have a little lightweight film camera in my pocket when I go for walks.
I have a roll of Rollei Superpan 200 in it and have taken 6 photos so far.
Will show the photos when I have them.
I'm Julie Camera Vause and I'm passionate about my photography.
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