This review is based on a three-week test of an F100 borrowed from my friend
Wilson
The F100 is of similar dimension to the F90x but slightly wider, longer and
taller. The F100 is marginally heavier then the F90x by about 30 grams but when
hefting the F100 it felt very much lighter in my hands then the F90x. Only when I
checked the manual was it confirmed that the F100 was indeed heavier. But later
on I realized that I had packed in regular alkaline AA batteries in the F90x
while the F100 had the lighter lithium AA batteries.
Although only slightly heavier then the F90x the F100 is far more solid in the
hand due to its magnesium alloy build. The F90x has metal construction (aluminum)
under a polycarbonite shell and while solid and well sealed against the elements
still smacked of some delicacy like certain Canon EOS bodies. It's a body that
you wouldn't want to see dropped on a hard surface because of the plastic. Indeed
there have been a few reports of the plastic on the prism cracking or being
stressed, pointing to a weak juncture in build. I would still not want to drop
the F100 but I would have far more confidence of it surviving a drop and only
suffering superficial scuffs.
The F100 is no F5 but there is enough solidity and metal to inspire confidence
in a variety of harsher shooting situations. Not only is the top deck made of
cool to the touch metal but also the bottom plate and the front of the body. The
body is wrapped around with the same type of textured rubber as the F5 to allow
for a better gripping surface then the smooth and very thin covering of the F90x
and F70 bodies of the early/mid 1990s. Given my concern about the plastic covered
prism of the F90x, I very much appreciate the all metal prism of the F100.
In the hand the F100 is a better ergonomic fit then the squatter F90x as the
right hand grip is deeper allowing for greater reach around. The controls and
dials very much harken to the F5 but a bit more cluttered as all the buttons are
exposed whereas the F5 has less used buttons hidden behind a small trap door
below the camera back door. The F5 required this layout to accommodate the manual
rewind lever on the top left side of the body. The F100 like the F90x uses this
space for flash, shooting mode and ISO control. One difference to this
configuration is the Mode button. While the F90x had the Mode button to select
through Aperture Priority, Shutter Priority, Program Auto and Manual control on
the left side of the top deck, the F100 sees this button moved to the right side
of the body in front of the LCD display. This allows the F100 to accommodate a
feature sorely missed on the F90x without the costly MF26 data back, which is
bracketing.
The F100 answered the criticisms leveled at Nikon for not including various
features not found on the F90x of which Bracketing was but one. My F90x with the
MF26 back actually still has more features then the base F100 but I found the
control of the MF26 to be such a nuisance that I could never remember how to use
the features with any confidence. Now ambient exposure bracketing, flash
bracketing and multiple exposure can be accessed with minimal fuss.
At first glance the F100 could be seen as an updated and improved F90x but a
closer look at the F100 reveals it to be closer to the top-of-the-line F5. I've
already mentioned the metal build but all of the styling and layout of the F100
are directly descended from the F5.
Control Layout
Starting from the top left side we have a cluster of three function buttons in
a circular array. Bracketing, Flash and ISO controls are the three main buttons
on top with a Film Advance control ring at the base of the three-button cluster.
The usual options are available such as Single Frame, Continuous Frame advance,
Continuous Silent Frame advance. The Self-Timer and Multiple Exposure features
are also accessed through this base ring but both functions are hidden from view,
as they are less used features. This base ring locks whenever it is in a
particular mode and requires the push of a small button to rotate the ring to
another feature or function.
The prism has the standard Nikon four point hotshoe and like the F5, the
F100's prism on the right side has the Exposure meter selector. This is another
locking selector that requires the push of a central button to release the ring
to select through the Spot, Matrix and Center Weighted meters. More then a few
people were disappointed that the F100 did not incorporate the F5's 1005 pixel
RGB Color Matrix meter or some lesser version of such. Instead Nikon chose to
increase the number of segments of their venerable Matrix meter from the F90x's
eight-segment to the F100's ten-segment meter.
From what I can see of the technical literature the F100 rearranged the
central Matrix segments and utilizes the five Autofocus points as part of the
Matrix pattern. The Matrix meter is simply a database of about 30,000 exposures
that Nikon felt would be representative of what a photographer would come up
against for any given scene. Nikon went to great expense to hire many
photographers from around the world to take photos of complex and ordinary scenes
for the database. From actual field exposures the Matrix meter takes a reading of
a scene and compares it to the built in database and then sets the exposure
accordingly. Its good but it's not fool proof and complex metering scenes will
still require some thought from the photographer to render an accurate exposure
but this should come as no surprise to an experienced photographer. This database
was first used for the no longer current F801 (8008 in the US) some twelve years
ago and originally had over 80,000 and then over 100,000 exposures of
information. It was a surprise that Nikon decreased the base number to less then
half of the original 801's database but this is probably due to some archaic
mathematical formula devised by Nikon to weed out the unneeded information.
The Center Weighted meter takes a 75% weighting for the central circle seen
inside the viewfinder with the remaining 25% for the outer portions. The Spot
meter is a true 1% type and corresponds to any of the five autofocus points in
the central viewfinder area for more versatility.
Moving on to the right side of the F100's top deck we have the LCD readout
that will indicate the functions or modes selected by the user as well as
exposure information and any compensation selected. The LCD will also show which
of the five autofocus points is selected and when Custom Functions have been set.
Nikon made a good move to always show the frame number even when the camera is
turned off. No need to turn the body on to see which frame you're on for a roll
of film. The LCD is also backlit by a blue Indiglo type of light that is turn on
or off by the main power on/off ring.
In front of the LCD display is the Mode button and the +/- Compensation
button. In front of these two buttons is the Shutter release button, which has
the Power On/Off and LCD light control ring surrounding it. The Compensation
button and the Bracketing button act as the user rewind buttons when the end of
the roll of film has been reached. Nikon chose not to provide the user with the
ability to leave the film leader out but the F100 could be programmed for such by
a Nikon Service depot. The way Nikon chose to implement the film leader out
option for the F5, F100 and F90x is quite intelligent. Pushing the two rewind
buttons will rewind the film but a three-inch leader is left out but with another
push of the two-rewind buttons, the film leader will be wound back into the film
canister. This allows the user to make a conscious choice about needing a film
leader or not instead of always having to select a custom function to set the
feature. Like the F5 the F100 also has a sub-command dial in front of the shutter
release button which can be used to select either the shutter speed or the
aperture value.
The F100's top deck is quite simple and clean and any previous Nikon autofocus
user will find the F100 to be intuitive to use right away. The front of the F100
is also very clear with the familiar controls for Depth of Field Preview on one
side and the lens release button and Autofocus mode selector switch on the other.
A ten-pin socket for a cable release as well as a PC sync socket is also
available on the front, situated almost exactly as the F90x.
The back of the F100 is where the new features and functions of the body are
revealed though. The first thing the new user of the F100 will notice is the
circular control pad reminiscent of a Nintendo Gamepad. This control is for the
five-point autofocus module that is directly taken from the F5. This is the same
CAM1300 module that provides the F5 with its superior autofocus speed and focus
tracking ability. There is a lot more to the CAM1300 module that will amaze the
user but I didn't want to simply regurgitate the technical brochure. Suffice to
say its impressive even four years after its introduction in 1996.
Beside the autofocus selector pad is the AF mode selector that allows the user
to choose either single mode or dynamic mode AF. Single mode uses only the
selected AF point to focus whereas Dynamic mode allows the user to set the
initial AF point and when the subject moves the camera will automatically track
the subject to the other focus points. A very useful tool for action photography.
The user can also lock in a particular AF point for use all the time via a
locking switch surrounding the AF control pad.
The top left-side of the camera back are two buttons, one is the Lock button
that allows the user to lock in a particular Aperture or Shutter value (I think
this is pretty useless actually) and the other is one that probably has a few
Canon users smirking in sarcastic irony. Nikon has followed Canon's example and
provided the user with a number of Custom Functions to fine-tune the features and
controls of the F100 to the user's personal settings. Although Custom Functions
is more familiarly associated with Canon EOS bodies the term Custom Functions has
been in the Nikon lexicon for a number of years with the F90x and its ability to
link up to a Sharp Personal Organizer and then later on to a personal computer.
With the hookup the user could set a limited number of Custom Functions to the
F90x. Minolta has also utilized the term for similar user changeable settings on
the Maxxum 9 body.
For the F100 the Custom Functions are as follows and are accessed by pushing
the Custom Function button and then turning the Main Command dial:
- Auto film rewind at end of film roll
- Disabled (default)
- -Activated
- EV steps for exposure control
- -1/3 stop (default)
- -½ stop
- -1 stop
- Bracketing order
- Metered value, under, over (default)
- Under, metered, over
- AF activated when Shutter Release button lightly pressed
- Activated (default)
- Disabled
- DX reading error warning
- After film loading (default)
- When power switch is on
- Focus Area selection
- Normal selection (default)
- Enables successive rotation of the focus area selection
(I.e. press the AF pad in one direction and the AF point will continue to cycle
through in the same direction, left to right or top to bottom or vice versa)
- AE lock when shutter release button is lightly pressed
- Disabled (default)
- Activated
- Auto film loading when camera back door is closed
- Disabled (default)
- Activated when power is on
- Dynamic AF mode in AF-S
- Closest focus area is priority area (default)
- Selected focus area is priority
- Dynamic AF mode in AF-C
- Selected focus area is priority (default)
- Closest focus area is priority
- Auto Exposure/Flash Exposure bracketing
- AS: both exposure value and flash output are shifted (default)
- AE: only exposure value is shifted
- SB: only flash output is shifted
- Command Dial functions
- Main Command dial for shutter speed: Sub command dial for aperture
(default)
- Main Command dial for aperture: Sub command dial for shutter speed
- Use either dial for exposure compensation settings in P, S and A mode
- Disabled (default)
- Activated
- Multiple Exposure
- Single shutter release operation (default)
- Continuous shutter release operation
- Time delay for auto-meter shut off
- Four seconds
- Six seconds (default)
- Eight seconds
- Self-Timer duration
- Two seconds
- Five seconds
- Ten seconds (default)
- Twenty seconds
- LCD illumination with auto-meter switch
- Disabled (default)
- Activated
- Data imprint on frame #0 (must have MF29 data back)
- Cancelled (default)
- Activated
- Aperture setting during zooming
- Shutter release indication via self-timer LED
- Disabled (default)
- Activated
- AE-L/AF-L button
- AF AE simultaneous lock (default)
- AE lock
- AF lock
- AE lock (continues to lock until button is pushed again)
- Aperture selection
- Via Sub-Command dial (default)
- Via lens aperture ring
Moving to the other side of the camera back, has a Diopter dial that allows
adjustment of -3 to +1. Beside the Diopter dial is the AE/AF lock button, the
AF-On button to start autofocus and then the Sub-Command dial.
The bottom of the F100 has the standard tripod socket mount, the battery
chamber access door and a covered socket that allows for connection and
transferring of control to the optional MB15 battery pack/grip.
F90x and F100 Differences
The F100 is more than double the price of the F90x. Here are the primary
differences not yet mentioned:
| |
F90x |
F100 |
| Viewfinder |
92% with viewfinder shutter |
97%; no viewfinder shutter |
| |
Both cameras have poor interfaces for the head to
camera coupling and I find that Canon bodies are superior in this regard with a
generous rubber surrounding of the eyepiece. With the F100 and F90x the use of
the round rubber eyecup is highly recommended for greater comfort and
stability.
|
| Depth of Field Preview |
mechanical and works when camera is powered off |
electronic |
| Camera back door release |
two levers to push together to release the door, allowing for easy one handed
operation |
one lever but with a locking button, one handed operation still possible but
not as easy |
| Lens-to-camera contacts |
not compatible with VR lenses |
contacts to allow the use of new Vibration Reduction (VR) lenses |
| Rated Durability |
50,000 shutter cycles |
100,000 shutter cycles |
Autofocus F90x and F100
I was very interested to see how the new CAM1300 would fare in terms of speed
given how much hype had been accorded to the F5. I was quite happy with the speed
of AF from the F90x especially when using my older 80-200mm f2.8 lens (one ring
AF-D version). My F70 body was very slow and sluggish in focusing the big lens
despite its more advanced AF CAM then the F90x. More advanced but certainly not
more robust as the F90x is regarded as being as fast as the Canon EOS 1n, which
is well regarded for AF speed.
When I mounted the 80-200mm on the F100 I got nice AF speed but I wasn't blown
away, in fact I had to say that I was let down as I was expecting so much more
given all the hype. When doing direct comparisons to the F90x and focusing the
lens from near to far subjects I would have to conclude that the F100's faster AF
speed was noticeable but the F90x held its own. Where the F100 won outright was
in terms of control and less tendency to hunt. The F100 had a better ability to
brake the lens right at the proper focus point and it did so in a very smooth way
that spoke of refinement in contrast to the rawness of the F90x. I had previously
described the F90x to an American built muscle car (my F90x review). One with
immense power under the hood but also sounds like it.
I've never been entirely satisfied with the higher noise levels emanating from
the F90x especially in quiet and delicate situations such as the exchanging of
vows in a marriage ceremony. It's disconcerting and embarrassing to have your
camera go "schwack" with everyone looking on. It was one of the main reasons I
wanted to move up to an F100 as I found the refined operation to be much better
then the F90x, the F5 and even my F70. Even when autofocusing the F90x is loud as
it screw drives the lens elements back and forth. The F100 walks all over the
F90x as far as refinement is concerned for AF and shutter release/mirror
slap.
Use and Handling
All this typing over what the F100 is and can do but how does it handle? Very
nicely thank you very much! Although, I missed the extra grip that the MB15 would
have provided as I very much like the F90x and MB10 combo, the F100 was very nice
to hold due to its better contours and very grippy textured rubber covering. My
friend Wilson likes street shooting and eschews the extra bulk that the MB15
would add whereas when I buy my own F100 I will also buy the MB15 at the same
time.
When I took delivery of the borrowed F100, I knew that I would have some
misgivings about the control of certain functions, essentially the AF selection
control and to a lessor extent the default use of dials for aperture value. These
would be the biggest learning curves for me to get acquainted as it means a
retraining of sorts to use the F100 effectively and enjoy the greater control it
offers. But there were also other features and functions that I took to
immediately with nary a thought to how I did things previously with the F90x and
F70.
The first time I came across the AF-On feature was not on a Canon body (they
originated the feature as far as I know) but on the F5. Then I became more aware
of how it allows the user better control over AF when I read Philip Greenspun's
review of the EOS 5 (A2E) body. The
AF-On button allows the user to disengage the AF start from the shutter release
to only the AF-On button so that the user decides when to AF. The feature is
really used to full advantage when a Silent Wave lens is used since these lenses
allow instantaneous manual focusing even while in AF mode on the body. With such
lenses the user has the best of both worlds in that he can manual focus during
slower moments yet still have automatic AF when required during some fast paced
action. Or the user can AF most of the time yet be able to tweak the focus
manually.
Although I have no AF-S lenses and have yet to even use one I still appreciate
being in control of the AF when I want to and being able to keep my AF
essentially locked and not having to re touch up my AF every time I touch the
shutter release button. This was probably the best feature for me among all the
fine ones offered on the F100 and it allowed me to slowly get use to using the AF
control pad to select between the five AF points. When I was taking my time and
doing things in a controlled fashion then it was nice to select an AF point
especially one of the side points as they are sufficiently wide enough to be
useful as far as viewfinder coverage is concerned. But when I was in a hurry
trying to catch something I found myself doing the old AF shuffle of locking
focus first with the central AF point and then recomposing. I had been doing this
type of shuffle for so long that it was natural for me to continue and the F100
actually made it easier for me to do so.
I could start AF first and then lock the exposure value with shutter release
button (Custom Function #7) then simply shift whichever way for my intended
composition. But I do see the benefits of the five AF points and the selector pad
to simply compose first and then select the proper AF point, lock exposure for
that point and then release the shutter. I just find it a bit awkward to do so
now as I find that I move the camera away from my forehead slightly to allow my
thumb to access the AF control pad. Practice will make perfect.
Another awkward way of doing things is to use a command dial for selecting
aperture value. There is nothing more natural then to select the aperture via the
lens ring and I really do like this way of doing things but Nikkor lenses do not
have half click stops with their aperture rings. The lenses are certainly capable
of half stop values when the ring is mid way between full stop values but it
would be much better if the ring was built that way. Using the command dial
allows for such half stop or even third stop accuracy for aperture value and this
is very much a good thing if you're into getting exact exposures for a given
scene using slide film. The command dial control of the aperture is also good for
when using very large lenses. I found it sometimes awkward to access the aperture
ring of my 80-200mm lens especially when my Kirk EZ360 bracket is attached and
the even bigger telephoto lenses pretty much require that the command dial be
used.
I'm currently setting the aperture through the main command dial as opposed to
the sub- command dial on the front of the body as it seems more natural to do it
this way but given how much the right hand thumb has to do at the back of the
camera I'm not so sure if I shouldn't change it back to the sub-command dial.
More experimentation will be required for a final choice. I've also set the
command dial for easy exposure compensation. This allows me to adjust
compensation without having to push the +/- button.
I very much like having numerous custom functions to personalize the F100 to
suit my needs but twenty-two is a bit much to remember and I certainly don't care
to carry a card with me all the time to try and remember which function is what.
Fortunately only a few functions require memorizing while the rest can be set
once and then left alone. For me these would be #2 for setting the exposure
compensation steps. At present I have the camera set for ½ half stop
increments but sometimes I want greater accuracy or refinement in 1/3 stop
increments. #11 for choosing between ambient and flash bracketing or choosing
both to be changed at the same time. #16 for self time duration. When caught
without a cable release then selecting a two-second duration is best but when
trying to get myself in a photo with others fussing around then 20 seconds might
be better.
With continued use of the F100 I've become comfortable and the initial
awkwardness I felt in the beginning is pretty much gone.
F5 and F100
The F5 offers a few more features and abilities to warrant its extra cost and
weight:
- mirror lockup
- flash sync speed of 1/300 (versus 1/250 on the F100)
- manual rewind, good for prevent static discharge in cold climates
- more durable and rated for 50% more shutter cycles
One other feature that can make the world of difference for some photographers
that the F5 has over all other current Nikon bodies including the F100 is less
shutter lag time. Shutter lag time is the amount of time in milliseconds it takes
the camera to register your finger pressure on the release button to the time the
shutter actually goes through the exposure making cycle. I was in Broadway Camera
late 1999 and happen to meet a local photographer working on staff for the China
Daily News. Sam (use to work for noted Canadian stock photographer Daryl Benson
when he lived in Alberta) does a variety of work for the paper from
photojournalism to sports as well as his own freelance work. We had a nice
hour-long chat with our man Henry at the store on a variety of topics about Nikon
and Canon.
We got to comparing the F100 and F90x to the F5 and his take on the situation
was that a person who feels he needs an F5 should never, ever cheap out and buy
and F100 or F90x instead. The money would be wisely spent on the F5. His major
reason for not using the cheaper bodies had to do with shutter lag time. His
experience with Nikon F3's, F4's and F5's was that from the time he pressed the
shutter release button to the time the camera actually makes the exposure is as
fast as it can get. But when he used a F90x in the same situations (sports
photography, especially basketball with the local NBA Grizzlies) his timing would
be completely off and he would have to compensate. With the F5 he could count on
getting the first frame right during a three frame burst but with the F90x he
would never get the first shot and would have to go with the second and often
times the third shot.
What does this have to do with the F100? Sam felt that the F100 suffered from
the same type of slow shutter lag time as the F90x and for that reason it was not
suitable for his professional requirements as a photojournalist. After talking to
Sam I reflected back on my own experiences with my F90x during various candid
moments in the weddings I covered and I found that I experienced problems with
shutter lag as well. At the time I wasn't aware of what the problem was but I
knew on a few occasions that a shot would come up and it felt like a long time
before I could get the camera to respond and consequently the taken shot wouldn't
come up as I first saw it. This is not a big issue for me since I don't shoot
sports and no paper or magazine has come to me offering me fame and fortune for
my abilities as a photographer. I don't need an F5 and its near instantaneous
shutter lag to take the shots I like to take. I think my friend Wilson would
probably pooh-pooh the Nikon shutter lag anyway and say that his Leica has zero
shutter lag due to its rangefinder design.
Exposure - Ambient and Flash
My initial roll through the F100 was with Fuji Velvia rated at its 50 ISO.
Wilson and I met downtown at Leo's before heading off to Stanley Park for a walk
around session. He with his Leica M6 and I with his F100 and also with his 20mm
f2.8 AF-D lens along with my own 50mm f1.8 AF lens. I shot a variety of subjects
in afternoon and late afternoon sun as we tried to get to a good position for
some sunset shots. The sunset sucked and we didn't shoot much of it but I liked
most of what I got back from the lab. The slides had the telltale Velvia
saturation with a few shots looking like they had been polarized but given the
folly of using a polarizing filter on a 20mm lens, I actually had not.
Most of the other shots had a pleasing balance when the bright sky was mixed
in with some darker subjects. I shot the roll entirely on Aperture Priority and
Matrix metering to see how the F100 would do with my most-used settings on my
F90x. About the only shot that gave me some pause was a shot I took of Wilson as
he was taking a shot with his M6. He was in dark shade with the background lit by
the full force of the afternoon sun. It could be construed as a backlit scene but
the sun was actually to the side of me when I took the shot but again we were
both in deep shade. The end result was Wilson coming out dark but not silhouetted
against a very light background. Detail is still there but the slide would
require a large amount of work to make it useable. So high tech ten-segment
matrix meter perhaps but still requires some thought from the photographer to
make things work. If I had a flash then it would have saved the shot or if I had
spot metered Wilson then the shot would also have been more accurate.
The next roll of film through the F100 was for testing out the flash
capabilities. I had never really done much testing of the Nikon flash system so I
decided to try it out a bit more. Previous settings using Galen Rowell's
recommended minus 1.7 compensation in standard TTL mode have provided me with
very good fill flash shots. The slide or print would just have the barest
presence of flash and usually only if you looked at the subject's eyes could you
detect the highlights and know that flash had been used. I decided to test out
Matrix balanced fill flash with that of Standard TTL with a variety of minus
settings to see if one particular combination struck me as being the best.
With 35mm flash system I tend to get lazy since I buy into 35mm gear for the
high tech wizardry and convenience factor. This is the main reason why I never
bothered to do much beyond Nikon's 3-D Matrix flash exposures. With my Bronica
6x6 medium format system then I mix manual ambient and automated TTL flash for my
subjects as I take an incident reading of the scene first for my base exposure
and then let the TTL flash adapter control the flash output. I suppose I'm still
being lazy with my flash work here too but I don't like to suffer through
calculations much and my results have been quite decent.
My very basic flash testing consisted of me chasing my son, dressed in a
bright yellow jacket, around the yard and then some green vegetables planted by
my parents in a small plot of dirt in the backyard. I shot Fuji Provia 100 (RDP
II not the new Provia F) and the results indicated that Nikon's 3D Matrix
Balanced Fill Flash is not as good as I would have been led to believe. Much
better then Standard TTL flash with an overall balance about one stop less then
Standard TTL. But again I found that I preferred a minus 1.7 fill flash setting
as being the most natural looking. The vegetables shots as mundane as they were
actually helped to bring out the differences and comparing the flash shots to an
ambient light shot allowed for the best looking slide to be easily soon on the
light table.
Since my main photographic love is outdoor nature work and scenes then flash
work is less important. If I did a lot of macro work then I would probably
appreciate the Nikon flash system more but I've never been much for chasing
insects around and I yawn at pictures of flowers. Most of my flash work is in the
form of the standard and horribly rote family pictures that nobody else in the
world cares for or in the form of wedding candids that nobody else outside of the
wedding couple's friends and family would care for. It's in these situations that
Nikon's flash system works so well for me as I don't have to think or more
importantly worry about it. D lenses and metering may not mean a whole lot for
ambient exposures but I think it makes a nice difference for flash work. I can
lock AF on a subject and recompose with proper flash exposure for that locked
subject instead of the back of the hall or on some other person at a different
distance to the flash.
As good as Nikon's flash system is it's still not perfect. I see this every
time I see a gaggle of photojournalists working on TV or in the papers and notice
that a good chunk of them have tried to compensate for the weaknesses of direct
flash. Some use the Stofen Omni Bouncer attachment to diffuse the flash in all
directions. Others tilt the flash head at a 45-degree angle with a bounce card to
reduce the amount of harsh light falling on the subject while keeping the loss of
the flash power to reasonable limits (the Stofen robs 1½-2 stops of flash
power when used). I'll be trying out some more flash experimentation once I order
my own set of Stofens for my own flashes.
As far as ambient light work is concerned I think that if you relied on Matrix
metering, you would still have to bracket the shots in order to cover the bases.
In certain types of conditions that have more complex lighting and exposure
values the Matrix meter will not be able to provide an accurate exposure. Mostly
the same types of conditions that will give pretty much every built-in meter fits
such as back lighting or extreme contrast conditions of snow or sand. Galen
Rowell learned a trick from an old pro when he was starting out and that is to
always expose for the most important aspect of the scene/subject. Following this
rule has mostly allowed me to get what I saw onto the film. It won't save you
from blowing out the shadows or highlights but you at least get the essence of
what you wanted.
As I use my Bronica 6x6 more often, I find myself trusting my Sekonic 508
meter in incident mode more and more and will go with that for the slower and
more methodical tripod work. For street shooting or shooting on the run, Matrix
metering can be a great way to forget the technical and go for the
subjective.
Conclusions
The F100 is very nearly the perfect body for most users. Except for mirror
lockup the F100 pretty much has it all. It is the size of the traditional
high-end camera instead of the Schwarzenegger-like F5. When the extra grip is
needed for use with longer lenses or for people with larger hands then an MD15
can be added. It lacks the viewfinder shutter of the F90x and F5 but I can't
recall the last time I actually used this feature on my F90x so it's not a vital
omission.
The build and robustness is almost as good as the F5 and certainly feels far
more solid then the plastic build of a competitor's offering (again very
subjective). It inspires confidence that it can handle the toughest shooting
conditions with aplomb and hell if you drop it, just dust it off and continue
shooting. When you take everything the F100 offers you and compare it objectively
and even subjectively to other cameras the value is clear and unmistakable. This
camera is a winner and it is very easy to understand why it has sold like
hotcakes since its introduction in 1999. Now I just have to sell off my old
bodies and get my own as soon as possible.
Where to Buy the Nikon F100
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