Panning and Praying: Shooting Formula Fixed 24’ with the Nikon F3
By Ryan Kim
Hello everyone! I'm super happy to share this guest article from Ryan, who went to Formula Fixed 24’ with his new film camera and some guts to get results in such a challenging environment for film photography. I'm always keen to do more guest articles, so don't hesitate to use the contact page to get in touch!
Enjoy the read!
Anyone with any familiarity with film photography will either laugh or question the sanity of a person trying to shoot an indoor event at night on their forty-year-old camera without a flash. Well, call me crazy: I have managed the impossible and I'm here to share my experience of shooting film at Formula Fixed 2024 and about my Nikon F3.
I have been shooting almost exclusively on film since 2021, mainly with my Kodak Ektar H35 half-frame point-and-shoot camera. (You can check out my other photos on another SSS post here.) This affordable $40 camera revived my interest in film photography, and I have been on the hunt for an SLR ever since. Eventually, I decided to purchase the Nikon F3, which is widely regarded as one of the best SLRs ever made, due to numerous reasons, and renowned for its buttery-smooth mechanisms. So, I placed my order, waited patiently for the delivery, and two weeks before Formula Fixed 2024, the camera was here.
Initially, this race was going to be shot using my new F3 camera, along with some very fast Ilford Delta 3200 film, and two lenses: the Nikkor 80-200 f/2.8 zoom lens and the Nikkor 50mm f/1.8 pancake. This fast black-and-white film seemed particularly suitable for my needs as I wouldn't be using a flash and was unsure about the track lighting conditions. My objective was pretty straightforward: maintaining sharp focus while keeping the shutter speed below 1/500. However, all of this was based on theoretical knowledge, and I had little to no hands-on experience with this specific camera. Being underprepared would be an understatement, as I had only ran three rolls through my new Nikon.
Nervous, hardly describe how I felt on the track as I entered five minutes before the race began. Sport photography was unfamiliar territory for me, and I was already feeling the pressure. I soon became aware of my impending doom as the race track grew darker and the sunlight faded away. At the brightest section of the track, where most of my shots had to be taken, I was barely managing a 1/250 shutter speed, which was barely fast enough to capture bikes flying around the track. The intricate balance between composing, the light conditions, adjusting the aperture, focusing, and panning my shots, all while trying not to drop my 40-year-old camera, became a chaotic sequence of stress every time a rider was passing by. Needless to say, I forgot to breathe a few times.
Halfway through the semifinals, I ran out of the Delta 3200 rolls. In panic, I managed to find some Fujifilm 400 color film instead, but due to the fog machine, the track appeared even dimmer at this point. I was using shutter speeds between 1/100 and 2 seconds, so I completely gave up on using the zoom lens because it only opens up to f/2.8. With the 50mm set all the way at f/1.8, I continued to shoot, burning through a roll per race during the redemption and final rounds.
By the podium, I had two shots left, and the light conditions were even worse – I couldn't even see the backlit shutter speed display on the F3, which, at this point, would be my only complaint about the camera. I ended up shooting a total of 5 rolls at the race, totalling to 180 shots. After the weekend filled with dread, I received my pictures from the lab and was able to salvage approximately 35 shots, which is far better than what I had anticipated. Here are some of my favorite shots:
Finally here is my review of the Nikon F3, three weeks into ownership.
The Nikon F3 is just a great balance between size, durability, and functionality. While larger than a point-and-shoot, it never felt heavy, especially with a 50mm pancake lens. The metal construction feels solid, and even after 30 years, the camera’s controls are smooth, satisfying to use, and super easy to understand. And of course, this incredibly butter smooth advance action is just perfection to me.
Lens Compatibility and Performance
The F3’s has wide lens compatibility, accepting everything F mount, from AI-converted, pre-AI lenses to more recent autofocus models (you’ll need external aperture rings). I picked up my Japanese 50mm f/1.8 for just $60, and the sharpness is amazing! It is known that a majority of the National Geographic cover photos from the 80s~90s were taken with the Nikon F3, so there's that.
Pricing
At $370 in 2024 for the body alone, the Nikon F3 is an excellent deal compared to its original $2,000 price. Lenses range from $50 to over $300, and as I said before, the choice is wild!
Final Thoughts
Connection and simplicity are aspects that intersect between fixed gear bikes and film photography for many people. They speak of a connection to their bike or how it feels like an extension of their body. Similar sentiments apply to film cameras for me. One realization I've had is that as technology advances, DSLRs come with an overwhelming number of functions, resulting in countless potential errors that leave me feeling disconnected from this mass of plastic and computer chips. Instead, I yearn for a simpler photography experience, just as fixed gear biking represents the most basic form of cycling. The Nikon F3, with its mostly manual functionality and robust metal construction, seems to be an ideal match for my desires so far. I look forward to capturing more images of bikes and events with it.
Wishing you all a great day, I will be back soon with another article.
Special thanks to Paul for helping me with post-processing!
Ryan
✍️: @ryanleokim
📸: @ryanleokim
🎞: Fuji Color 400, Ilford Delta 3200
📷: Nikon F3
📍: Los Angeles