NIKON CAMERAS

Some cameras mark a moment in your life. For me, Nikon has marked many. From my first black F3HP in 1985 to the sleek D700, and even a pocketable 35Ti that followed my son’s childhood, these cameras weren’t just tools; they were part of the story.

Nikon and I go way back. I bought that first F3HP new from the counter at 47th Street Photo in 1985, right at the start of my commercial career. That camera felt like an extension of my hands, and for years, Nikon was my constant companion.

Eventually, the DSLR era arrived, and my first digital Nikon was the D200. My last was the beautiful D700, a camera that still makes me smile when I think about it. While teaching, I used a D750, one I personally chose for the program, though it belonged to the college, not me.

For personal moments, I had my “mommy camera,” the Nikon 35Ti. Small, quick, and precise, it captured my son’s childhood in a way no bulky studio camera could. I still have an F3/T in my film kit, and every so often, I take it out for the sheer joy of it. 

When I returned to large format after a stretch with medium format digital, I went with Nikon large format lenses; they deliver exactly what I need with elegance and precision. Over time, I also picked up a small collection of Nikon filters. For fellow detail enthusiasts, I’ve included a quick reference chart comparing Nikon filter types to Kodak’s. From here, we will move into a closer look at the specific cameras I’ve worked with and how each one has shaped my approach.

The Nikon D200 was my first step into digital photography, and in 2005 it felt like stepping into the future. It had the solid, reassuring build of a classic Nikon film body, but with a 10.2-megapixel CCD sensor that opened up a whole new way of working. Colors were rich, files had a certain crispness, and the controls felt like home to someone who’d spent years with Nikon SLRs.

Sure, it had its limits: push the ISO past 800 and you could see the noise creeping in, and the buffer filled up faster than I would have liked, but I didn’t care. The D200 gave me the freedom to experiment without the cost of film, to see my results instantly, and to blend my film-trained instincts with a brand-new tool. For me, it wasn’t just my first digital camera; it was the bridge between two eras of my career.

The Nikon D700 was the kind of camera that made you feel unstoppable. Introduced in 2008, it brought full-frame capability into a body that felt familiar, balanced, and built for real work. After the D200, the D700’s jump in low-light performance was jaw-dropping; suddenly, ISO 3200 was not only usable, it was beautiful. The files were clean, the dynamic range forgiving, and the color rendering felt natural yet rich.

Its 12.1-megapixel sensor might sound modest today, but back then it was more than enough for commercial work, and the files had a depth that kept me coming back. The D700 handled like a true Nikon: intuitive controls, rock-solid build, and that reassuring shutter sound that made every frame feel deliberate.

For me, the D700 wasn’t just another camera; it was the DSLR that made me believe digital could finally stand shoulder to shoulder with the film systems I had trusted for decades.

The Nikon 35Ti was my “mommy camera,” the one that never felt like work. Compact, beautifully built, and topped with that iconic analog dial on the top plate, it was as much a design statement as it was a photographic tool. Inside, the 35mm f/2.8 Nikkor lens was sharp, quick to focus, and rendered with a warmth and clarity that made every frame feel special.

It was the camera I trusted to capture my son’s childhood: small enough to slip into a pocket book, fast enough to grab fleeting moments, and precise enough to make me confident I got the shot. In an era when I was juggling studio assignments and commercial deadlines, the 35Ti gave me a way to switch off “work mode” and just enjoy photography for myself.

Looking back, those images are priceless. The Nikon 35Ti wasn’t just a camera; it was a quiet companion through some of the most critical years of my life.

The Nikon F3HP was my first serious Nikon, and the camera that launched my commercial career. Introduced in 1980 and designed by Giorgetto Giugiaro, it had a sleek, purposeful look that felt every bit as professional as it performed. The “HP” stood for High Eyepoint, meaning you can see the entire viewfinder image even with glasses, a small but meaningful comfort for long shooting days.

Built like a brick and powered by a silky-smooth shutter, the F3HP had that perfect balance between mechanical reliability and modern electronics. Its center-weighted metering was consistent and predictable, and with the bright interchangeable viewfinder, it felt like a camera that would do exactly what I asked, no more, no less.

I bought my first F3HP new at 47th Street Photo in 1985, and from the first assignment to the last roll of film I ran through it, it never let me down. Over my film career, I’ve had more than a few Nikon F3 bodies, each as dependable as the last. For the past decade or so, one of my favorites has been the beautiful champagne F3/T pictured above, a camera that manages to look elegant while being as tough as ever.

For me, the F3 series wasn’t just a tool; it was a badge of arrival. Even today, picking one up is like shaking hands with an old friend.

After medium format digital showed up, I sold off my 4×5 field camera kit to help finance new gear. After a few years, I regretted selling the 4×5 equipment and wanted to build a new kit when possible.

In the past, I primarily shot with German lenses, Schneider and Rodenstock, but now we were in new territory as the manufacturing of Copal shutters had ceased. After a bit of research, I realized some of my favorite 4×5 landscape photographers were happy with Nikkor large-format lenses, so I decided to give them a try, and I’m glad I did.

My ‘holy grail trifecta’ when shooting landscape and travel photography with my Ebony RSW is the Nikkor SW 75/4.5 S, Nikkor SW 90/4.5 S, and W 150/5.6 S. The Nikkor M 300/9 is set aside for when I travel with my Linhof MT or Ebony RW and a few lenses. I also use a Nikkor W 210/5.6 on my Sinar in the studio for product shooting.

After years of shooting a Rodenstock Grandagon 90/4.5 with an Ebony 4×5, I knew I wanted to stay with f/4.5 with the Nikkor SW 90 because I did not want to deal with focusing issues. I eventually replaced the Fujinon SW 90/8 on my Fotoman 6×17 with the Nikkor SW 90/4.5 and could not be happier.

The W 150/5.6 S is small enough to stay on my Linhof MT when closed, which is convenient. The M 300/9 replaced my Docter 240/9 because I wanted the 90-150-300 range, and I am glad to have it in my kit.

Even though Sony replaced Nikon for my digital full-frame needs, I am delighted it is my lens maker of choice for shooting 4×5″ and 6×17 these days.