Nikon FM2
Version 1.0.1, last modified March 16th, 2024.
Overview
Mechanical. rugged. Reliable.
The Nikon FM2 enjoyed a production run of almost two decades—and for most of that time, it was an anachronism, even by Nikon’s own standards. When the FM2 was released in 1982, the electronically controlled FE, which included aperture-priority auto-exposure—a feature conspicuous for its absence in the FM2—had already been in production for 4 years; only a year later, Nikon unveiled the “technocamera” or FA, which premiered what came to be known as matrix metering and also incorporated shutter-priority auto-exposure for the first time in a Nikon body; and, at the same time, the company added autofocusing to its flagship camera, in the F3AF model. Until the time the FM2 was finally discontinued in 2001, Nikon continued to iterate its professional line of cameras, including introducing the F4 (1988) and the F5 (1996), while only giving the FM2 a modest upgrade (in 1984, to the FM2N, which featured a new, titanium-bladed shutter and an increased X-sync speed from 1/125 s to 1/250 s). Nikon’s high-end line also underwent an evolution during this period, including introduction of the F90 (1992), F90x (1996), and F100 (1999) series of semi-professional cameras, while the FE was upgraded to the comparatively short-lived FE2 (1983-1987). In its consumer offerings, Nikon experimented across a wide range of cameras with plastic components, new form factors, and electronically-controlled, automatic shooting modes tailored to beginning photographers. And all the while, the venerable, rugged, reliable FM2 looked on, essentially unchanged, inheriting none of these improvements. The frothy competition between the major Japanese brands in the 1980s and 90s gave rise to many innovations, some useful and others faddish. This “progress” in camera technology left the FM2 behind—and yet, the camera only appreciated in value and found its way into the bottom of many a professional’s camera bag as a trusty back-up. The FM2 was a loyal friend that could be relied upon to keep shooting when batteries died and temperatures reached –40 ℃.
Shown above is my Nikon FM2N in all-black, mounted with a 50 mm f/1.4 AI Nikkor lens. This was my favourite camera and lens combination for several years.
Construction and Power Supply
The FM2 succeeded the FM (1977-1982) and was available in two finishes: all-black and black with chrome trim, just like its predecessor. The chassis of the FM2 was constructed from an extremely durable alloy of copper, aluminum, and silicon, called “silumin,” and its compact, straight-edged, not-quite-ergonomical form factor was shared with the FM, FE, FE2, and FM3A. In 1993, Nikon released the FM2/T, a slightly lighter, much more expensive version of the FM2 constructed from titanium, which was sold alongside the silumin original until 1997.
Over the four decades since its introduction, the FM2 has earned the reputation for being the best and most ruggedly built mechanical 35 mm SLR camera of all time. The hardness of the materials from which it was fabricated, the precision of its construction, and its lack of electronics combined to make the FM2 extremely reliable. Moving parts, such as the mirror and shutter mechanisms and the film transport were made from hardened metallic components, gears, and bearings; these were assembled with extremely close tolerances and required minimal lubrication. This enabled the FM2 to operate reliably over the extreme temperature range of −40 °C to +50 °C.
The FM2 was a fully mechanical camera that did not require batteries for operation of the shutter. However, two 1.5 V A76 (LR 44) batteries were needed to power the camera’s through-the-lens light meter. The FM2 could be fitted with the optional MD-12 motor drive which required eight AA batteries for operation and delivered 3.2 frames per second.
Layout and Nomenclature
Reproduced below are pages 2 and 3 of the FM2 user manual showing in detail the layout of the camera.
Features
Shutter and X-sync speeds. The FM2 was a fully mechanical camera with shutter speeds ranging from 1–1/4000 s and bulb. The original FM2 (1982-1984) had a maximum X-sync speed of 1/125 s; in the “new” FM2N (1982-2001), this was increased to 1/250 s. Shutter speed was selected using a large, knurled dial on the right-hand shoulder of the camera body.
Exposure Modes. The FM2 had only one exposure mode: manual. This meant that the photographer alone was responsible for setting the shutter speed and aperture combination to achieve the desired exposure.
Metering Modes. The FM2 had only one metering mode: through-the-lens (TTL) 60:40 centre-weighted. This meant that the metering system favoured properly exposing the centre of the scene over the periphery, which is probably what the photographer wanted in most cases. Accurate metering required that the film ISO/ASA rating be conveyed manually to the camera. This was done by lifting and turning the collar of the shutter speed selection dial. Film speeds could be set in the range of 12-6400. The FM2 did not have automatic DX decoding.
The intensity of light falling into the FM2 was measured buy a pair of silicon photodiodes. The working range of the meter was 18 stops. The possible combinations of aperture and shutter speed giving a reliable reading depended on the sensitivity of the loaded film and the maximum aperture of the mounted lens. With ISO 100 film loaded, for example:
With a 50 mm f/1.4 lens mounted: 1 s at f/1.4 to 1/4000 s at f/8 (EV 1 to EV 18)
With a 135 mm f/2.8 lens mounted: 1 s at f/2.8 to 1/4000 s at f/16 (EV 3 to EV 20)
What is metering?
If you’re new to (film) photography, check out my article on the fundamentals of metering.
The FM2’s meter was activated by moving the film advance lever to the stand-off position (a 30 degree angle from the body) and half-way depressing the shutter release button. (Only when the lever was in this position could the shutter release button be depressed. When the film advance lever was flush with the camera body, the meter was deactivated and the shutter release button locked.) Once the meter was activated, it would turn off automatically in 20 s to conserve the battery. The meter was deactivated automatically whenever the shutter speed was set to “B” (bulb).
Metering information was conveyed to the photographer simply and elegantly through three red LED symbols stacked along the right-hand edge of the viewfinder: +, o, –. Five different combinations of these were possible:
Overexposure by at least 1 stop: +
Overexposure by 1/5 to 1 stop: + o
Correctly exposed: o
Underexposure by 1/5 to 1 stop: o –
Underexposure by at least 1 stop: –
I typically expose my photographs when the meter reads “+ o”. To my eyes, this approach produces thick negatives that scan well.
Focussing. The FM2 had only one focusing mode: manual. Focus was achieved by turning the barrel of the lens until the bottom and top halves of the split screen were aligned within the viewfinder (in the standard case of a K2 type focussing screen, see below). In more sophisticated cameras, like the F100, manual focus was confirmed by illumination of an in-focus indicator light in the viewfinder. The FM2 did not have this feature.
Reproduction of page 26 of the Nikon FM2 user manual describing the K2 focussing screen in detail.
More about focus
If you’re new to (film) photography, check out my article on the fundamentals of focussing.
Viewfinder and focussing screen. The FM2 had a large and bright viewfinder with 93% coverage and 0.86x magnification (with a 50 mm lens mounted, set to infinity). The camera was typically sold with a split-image microprism type (K2) focussing screen (above). The focussing screen was interchangeable by the photographer. Matte type (B) and matte with horizontal and vertical line edging type (E) screens were optionally available.
Lens Compatibility. The FM2 was broadly compatible with the majority of Nikkor F-mount lenses, stretching back to the introduction of “automatic maximum-aperture indexing” (AI) lenses in 1977.
Other Features. In no particular order:
Aesthetics and Handling
Measuring approximately 143 × 90 × 60 mm and weighing 540 g, the FM2 is compact and solid. Although the camera falls comfortably to hand, it lacks a formed grip. That being said, the distance from the centre of the pentaprism housing to the right hand edge of the body is noticeably longer than the corresponding distance on the left hand side, so the FM2, though grip-less, does nod towards the right-handed shooter. The feeling of shooting the FM2, especially if you are used to the ergonomics of late-model SLR and DSLR cameras, is of not quite having a firm hold on it. In my hands, the camera calls out for additional support by the palm of my left hand, particularly when I am shooting in landscape orientation. This feels quite natural as I typically use the thumb and index finger of my left hand to focus and adjust aperture. Using the camera is generally a two-handed business.
If you are coming to the FM2 from a DSLR or late-model, electronically controlled SLR, you may be surprised by how simple and stripped-down it is. The camera body has very few controls. There is a shutter release button for taking pictures, a depth-of-field preview lever, an integrated shutter speed and ISO selection dial, self-timer control, and a film advance lever. That’s it. These analog controls are laid out beautifully and provide very positive tactile sensations, so the camera can be used easily without the photographer having to take his eye from the viewfinder.
Pros and Cons
PROS
Extremely high build quality (Leica level), durability, and reliability.
Simple, intuitive controls with excellent layout and positive feel enabling shooting without removing the eye from the viewfinder.
Large bright viewfinder with aperture, shutter speed, and metering information. Easy focussing via a split-screen.
Wide lens compatibility. Generally, if the lens has an aperture control ring, it should work with the FM2.
Retro-aesthetic (if you go for that kind of thing.) Related to this is brassing over time of the black finish, which can look cool (or not.)
CONS
Lack of automatic functions. In order of importance, the two biggest missing automations for me are aperture-priority auto-exposure (my preferred shooting mode) and auto-focus. Depending on how you prefer to work and your subject matter, lack of automation may slow you down unacceptably and also lead to missed shots (incorrectly exposed and/or out of focus.)
The left-eyed shooter may find the FM2 uncomfortable because the film advance lever doubles as the shutter release lock. This lever needs to be in the stand-off position (at a 30 degree angle to the body) for a photo to be taken, which means that it may poke you in the right eye when the camera is held in landscape orientation, or in the forehead when it is held in portrait orientation. Sometimes, I find this annoying, but for the most part I have become accustomed to it.
Lack of mirror lock-up and eye piece blind (both available in the Nikon F3). To my way of shooting, these are very minor defects that can be ignored.
Buying Advice
The Nikon FM2 does not come cheaply on the used market. Current prices on eBay for decent copies (with and without lenses) range from $500-$800, reflecting the camera’s well deserved reputation for build quality and reliability. Like new, boxed cameras go for well north of $1,000. Is this too expensive? That depends, of course, on what you are comparing it to. I know that this is going to sound like sacrilege to Leica fanboys, but the FM2 is just as good a camera as the vaunted M6 compared to which it is cheap (though there is a legitimate debate to be had over the relative quality of F-mount and M-mount lenses.) On the other hand, it is more expensive than the similarly featured Pentax KX, which to my thinking is reasonable given the lower build quality of the latter. And these comparisons are moot, if you’re not prepared to make the jump to a fully manual camera, in which case an FE2 or FA would be a better bet, or, if you want more automation, an F100.
Sample Photos
Other Resources
Other camera reviews
Since 2023, I have been working to review all of the cameras that I own and use. This is a large project because my collection contains 25 cameras spanning 5 brands. For a complete list of my cameras and the current status of the project, see Completed and Upcoming Film Camera Reviews.
This is the fourth in my series of Nikon camera reviews, and the first of a fully mechanical, manual focus model. Listed below are reviews of three fully electronic, autofocus cameras that were introduced by Nikon during the production run of the FM2. If you’re looking for a camera that will do more for you automatically, you might be interested to read one of these.
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The F65 was an electronically-controlled, single-lens-reflex, 35 mm film camera introduced by Nikon in 2001. Marketed as the N65 in the United States and the U in Japan, it succeeded the F60 at the low end of Nikon’s autofocus line-up. The F65 included a depth-of-field preview and remote shutter release, which the F60 lacked. The F65 was also available as the F65D variant, which included date-and-time imprinting capability. Offered in both black and silver, the F65 was often bundled with a 28-80 mm f/3.3-5.6G kit lens. Both the body and lens were constructed of polycarbonate plastic and manufactured in Thailand. The camera required two, 3 V CR2 batteries for operation. Nikon offered an optional MB-17 battery grip for the F65, which took 4 AA batteries instead.
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The F80 was an electronically-controlled, single-lens-reflex, 35 mm film camera introduced by Nikon in January, 2000. Sold as the N80 in the United States, it succeeded the F70 in the mid-range of Nikon’s autofocus line-up, though it appears not to have inherited its design from the camera it replaced. While it resembled the F100 (introduced in 1999 as a stripped-down F5, then Nikon’s flagship professional camera), the F80 was significantly smaller than its big brother and featured a different layout of controls. The F80 lacked the ruggedness and weatherproofing of the F100 and F5, but was comparable in shooting specifications. The camera was offered in three versions: F80, F80D (featuring date-and-time imprinting capability, branded as the N80QD in the US), and F80S (allowing imprinting of exposure information between frames). The two US versions of the camera and the F80S were available only in black. The F80 and F80D were available in black or silver. The body was constructed of polycarbonate plastic and manufactured in Thailand. The camera required two, 3 V CR123A batteries for operation. Nikon offered an optional MB-16 battery grip for the F80, which took 4 AA batteries instead (alkaline, or Li-ion).
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The F100 was introduced in 1999 as a stripped-down version of Nikon’s professional camera of the time, the F5. By the time of its discontinuation, the F100 was sold alongside the F6, the F80 and F75 (at the mid-level) and the F65 and F55 (at the entry level) of Nikon’s lineup of autofocus film cameras. According to Nikon marketing materials of the day, the F100 was targeted to “advanced amateurs and professionals who seek an approachable SLR camera that offers superb image quality and performance.” The F100 featured five-zone autofocus (AF) with Subject Tracking and Lock-on capabilities, through-the-lens (TTL) 3D Matrix, centre-weighted, and spot metering, TTL flash metering, exposure compensation, exposure bracketing, multiple exposures, auto ISO setting with manual override, self-timer, depth-of-field preview, dioptre adjustment, self-timer, and a “hot” shoe for use with external Speedlights. The camera did not have a mirror lock-up function. Its vertically travelling, focal plane shutter was capable of speeds ranging from 1/8000 s to 30 s, and bulb. The F100 was capable of shooting at 4.5-5 fps, depending on power supply.
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