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Understanding and Appreciating the Nikon Df

Tronhard

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How I Fell in Love with the Nikon Df:​

I began my photographic career about 43 years ago, and at that time I was shooting with a combination of Nikon and Canon SLRs - the Nikon FM, Nikon F3 and Canon A-1: all brilliant cameras.
I was initially living in New Zealand, but my work took me around the world: shooting a wide range of subjects, but predominantly scenic, wildlife and travel - selling transparencies to stock agencies; assignments for publications, corporates, and in exchange for travel and equipment benefits.
I switched to digital around the turn of the turn of the century, but I still retain one of each body for old time's sake. I eventually returned back to NZ, where I am now retired - the main difference is I shoot for me, for free...
When the Nikon Df came out, it was about the time I retired, and the attraction was immediate and profound. This camera took me back to the interface I had used when I started, yet offered many of the benefits of a top-end DSLR. I totally understood the reason Tetsuro Goto created this as his legacy design before he retired from Nikon: given that his early creations were the very cameras I started with.

The naming itself was significant. No model number like all other Nikon DSLR bodies. This was saying loud and clear from the start: "this is different and unique!" The f stands for Fusion, the amalgam of digital technology with the controls supporting a philosophical approach to photography from a different era.

The thing was, most people who reviewed it didn't understand it - they saw it in the context of contemporary DSLRs rather than the shooting experience with those legacy SLRs.
The whole thing about the Df was how one uses it in the context of those old classic SLR cameras. It not only harkens back to the legacy days, but that the interface encourages one to take time, to enjoy the taking of an image as a process and an occasion. It's a bit like why people still enjoy playing vinyl records...
It recognizes that digital photography has other elements that film did not have and it has tried to deal with those without losing the analogue interface. The experience of using film required a discipline of approach that one does not have to have today and what some regard as shortcomings, I see as a recreation of those conditions, and I'm fine with it. The clues to the fusion philosophy are in the whole design ethic:
1. The ability to use Non-AI lenses
2. The use of analogue dials controlling the essentials
3. The fabulous sensor, upgraded with a new processor to improve low-light/high ISO performance. It encourages you to use available light and fast prime lenses.
4. The removal of video to concentrate on stills, making the camera more compact.

Let me address some of the criticisms I have seen hurled at this:
FIRST: It's a STILL photographers' camera - that deserves no apology, there are many DSLRs out there that do video just fine. This camera is a tribute to an era when SLRs just took photos on film.
SECOND: It doesn't have a built-in flash. Neither did the film cameras, but it has a perfectly serviceable flash hot shoe with all the capabilities of any Nikon camera built-in.
THIRD: The unit has fewer focusing points than top end contemporaries. It has a lot more than those film cameras of the late 1970's and early 1980's did, and it works fine if you work with it.
FOURTH: There is only one card slot. Film cameras could only hold one roll of film at a time. That generated a discipline of being sparing and very careful with one's settings and composition. I still do that today with digital and shoot a lot less than my digital native contemporaries who only knew the DSLR or MILC environments.
FIFTH: The controls have lock on them - yep, and so did most of the film cameras, it's about learning to get used to them, once you do it's automatic.

There is a saying that there is a market for every product and a product for every market. So if one wants video, to shoot sports or wildlife at very high frame rates, then move on and buy a camera designed for those purposes - one should not attack a camera that was never meant to fulfil them.

I love the brilliant low-light performance of the FF sensor from the D4, tweaked for further sensitivity. I have three: one in silver one in black with silver, and a rare, limited edition (Japan release only) black and gold unit as well. I shall never sell my Df cameras.

The attached image was taken hand-held in available light. Df, Nikkor 24-120 @ 120mm, f/4, 1/5sec, ISO-800
 

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In Praise of Shadows and the Ethic of Wasi-Sabi.​

My feelings as to the design ethic of the Nikon Df were deepened and given more context when I recently saw a video on You Tube on, and then read an essay called, "In Praise of Shadows", about the works and philosophy of Tanizaki Junichiro, and his observations of art and culture in the new Westernized era.

Junichiro (1886-1965) was a Japanese author who is considered to be one of the most prominent figures in modern Japanese literature. Until his death, he was widely regarded as Japan's greatest contemporary author and was nominated for a Nobel Prize in Literature just before his death. His stories are narrated in the context of a search for cultural identity in which constructions of the West and Japanese tradition are juxtaposed.
He wrote:
Beauty does not reside in physical objects
It resides in the pattern of shadows -
The plays of light and dark

That are created between physical objects

This is not a uniquely Japanese perspective, as Charles Moore, of the School of Architecture, UCLA wrote in his forward to a publication of Junichiro's essay:
"There comes to us the excitement of realizing that musicians everywhere make their sounds to capture silence, or that architects develop complex shapes just to envelop empty space. Thus, darkness illuminates for us a culture very different from our own; but at the same time it helps us to look deep into ourselves, to our own inhabitation of our world."
While Tolstoy wrote: "All the variety, all the charm, all the beauty of life is made up of light and shadow".


Where our modern Western-centric ethic seeks convenience and economy of effort to achieve a result as efficiently as possible, the traditional Japanese culture embraces the more measured processes of nature, and the inconveniences that one must embrace to preserve and nurture it. Where we seek the utilitarian use of technology to banish shadow and lighten our lives, both figuratively and literally; Japanese culture accepts and even revels in that darkness expressed in the philosophy of Wasi-Sabi (the art of imperfection) , and accepts the compromises we must make to work rather than against it. For more on this aesthetic, see the enclosed link.

In the photographic context, I realized upon reading these works, and the culture that is expressed in them, that there is a dichotomy between modern western approaches to both light and dark, and the technologies involved in capturing them.

Its design philosophy is one of measured and considered movement of tactile controls that offer up the chance to linger: where the process itself becomes an inherent part of the occasion: intrinsic to the art form we are engaged with, to be valued and cherished, and certainly not bypassed. Like many things in Japanese culture, it encourages us to slow down, be in the moment, and take time to enjoy the act of creation. That is expressed in the design of the Df - those elements seen as weak points, are themselves expressions of imperfection and themselves reflect the characteristics of those older cameras and that shooting experience on had with them.

When Tetsuro Goto created the Df, he was at the end of a stellar career with Nikon as the head and design leader of their excellent camera division. That Goto-San was also a highly-respected, award-winning photographer, who loved dedicated, manual focus, simple cameras speaks volumes about his work and design philosophy.

The creation of the Df was his swansong: harkening back to his earliest creations over 40 years before. It represented his chance to make a statement about his ethic, not only as a designer of an artistic tool, but as a member of Japanese culture. It is almost certain that he would have been exposed to, and influenced by, the writings of Junichiro, and that the poem of light and dark would have had resonance for him in designing his legacy camera.

Thus, in the context of the philosophy expressed by Junichiro, in Goto-San's design statement I see an expression of a rich and healthy cultural legacy that is far greater than a piece of functional technology.
In other words, It's not about the tech, it's about the experience. It was perhaps inevitable that, when seen in a western cultural context of utilitarianism that, for many, its philosophical aesthetic would fall on barren ground.
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Wasi-Sabi: the art of imperfection

Enclosed Image: Nikon Df, Nikkor 24-120@31mm, f/13, 1/800sec, ISO-1600
 

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Great write up. Looks like a lot of work.

Having a camera you enjoy working with is important and it takes me a fair bit of time to really get used to them. I appreciate simplicity. I also appreciate the amazing things cameras can do automatically like focus stacking and saving the files from before I press the shutter.

Others criticism of any particular camera does not matter since there probably is no perfect camera. Certainly no one camera that would suit everyone.

Currently my favorite camera to use is a Canon RP. What makes it for me was finding an adapter for Leica M lenses that did not focus past infinity (Novoflex), without that it would not be a camera for me. I love the size and handling. Prints look great if I do my part properly. All the reviews say battery life is very poor but I can go a week on one battery. For others I am sure battery life is terrible but that is not a universal truth so the criticism does not mean anything to me as it does not apply to my use. Would I like auto aperture stop down or a nicer (or no) shutter sound? Sure but I can function just fine without it.

We are fortunate that we found something that works for us and we love to work with.
 
Great write up. Looks like a lot of work.

Having a camera you enjoy working with is important and it takes me a fair bit of time to really get used to them. I appreciate simplicity. I also appreciate the amazing things cameras can do automatically like focus stacking and saving the files from before I press the shutter.

Others criticism of any particular camera does not matter since there probably is no perfect camera. Certainly no one camera that would suit everyone.

Currently my favorite camera to use is a Canon RP. What makes it for me was finding an adapter for Leica M lenses that did not focus past infinity (Novoflex), without that it would not be a camera for me. I love the size and handling. Prints look great if I do my part properly. All the reviews say battery life is very poor but I can go a week on one battery. For others I am sure battery life is terrible but that is not a universal truth so the criticism does not mean anything to me as it does not apply to my use. Would I like auto aperture stop down or a nicer (or no) shutter sound? Sure but I can function just fine without it.

We are fortunate that we found something that works for us and we love to work with.
I think, for me the issue was as much about how they rubbished Tetsuro Goto's design without taking the time to understand him or his purpose. There is definitely a constituency of photographers who do appreciate that, but the distressing thing for me was that the criticism was that it didn't have enough tech in it - as I described. They didn't appreciate that sometimes that's not the point.

Glad you enjoy your RP. I shoot mostly Canon myself, and have the R5, R6, and R6II bodies - love all of them, but I still hang on to an 80D and 5DsR. I even have a Canon D30 (not 30D) that came out in 2000 - a whole 3MP of CMOS capturing ability - and it actually takes great images.
 
Great write up. I’ve never owned a Nikon, having moved from Minolta Maxxum film camera in my SLR days to the Canon DSLR ecosystem. However, the Df was the camera that made me sit up and actually contemplate acquiring. Ultimately, I didn’t, as the overhead of acquiring lenses, etc. felt too much to overcome but I completely understand and appreciate the design philosophy and courage of conviction on the part of Goto-san to bring this camera to being.
 
I've wanted a DF for a long while, though never have pulled the trigger on one. What seems interesting to me is most "experts" seem to hold the D700 on a pedestal for it's simplicity and performance. No video, single card slot, etc., but a great sensor that simply performs. It's still regarded by many to be one of the best ever. Aside from handling (obviously a different design) the DF is condemned for being the same animal - no video, single card slot, etc. The DF is shaned because it has the same AF system as the D610, but i think that is still on-par if not better that the D700 AF. And, the DF's D4 sensor is better than the D3 sensor of the D700. Still, the D700 is legendary and the DF is a dog...don't quite get it.
 
I've wanted a DF for a long while, though never have pulled the trigger on one. What seems interesting to me is most "experts" seem to hold the D700 on a pedestal for it's simplicity and performance. No video, single card slot, etc., but a great sensor that simply performs. It's still regarded by many to be one of the best ever. Aside from handling (obviously a different design) the DF is condemned for being the same animal - no video, single card slot, etc. The DF is shaned because it has the same AF system as the D610, but i think that is still on-par if not better that the D700 AF. And, the DF's D4 sensor is better than the D3 sensor of the D700. Still, the D700 is legendary and the DF is a dog...don't quite get it.
The Df got bad press when it first came out because reviewers did not understand the design ethic and context. They made the mistake of judging the Df against other contemporary models in their terms.

As I wrote at some length at the start of this thread, that was never the intention of Tetsuro Goto in his design of the Df - in part, that was even broadcast by the naming - it's ID is completely separate from the mainstream numerical sequencing of conventional DSLRs because it was never meant to be considered in that context.

When I want a camera with leading edge capabilities I reach for one of my other units. When I want to slow down, enjoy the moment, and the process of shooting using dials that make the experience an occasion in its own right, I reach for my Df cameras. It's all about what you value, and if you feel that Df is a dog, I think that's absolutely fine - you can move on and enjoy something more to your taste and needs. :)
 
I often go to the Auckland Art Gallery and had gone there to do some shooting at another exhibition, but came across a major exhibit of haute couture fashions that were never meant to be worn in conventional terms, but are an artistic expression of fantasies of the designer Gao Pai as a young girl in the PRC during the cultural revolution. These works are not so much fashions as installations meant to use the human figure as their structural basis - as such they are not practical garments.
Gao Pai Exhibit at Auckland Art Gallery and a video by an Australian videographer:
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I went in for a quick peek (not being a fashion aficionado) but was totally blown away by the complexity, intricacy and quality of workmanship in each dress, so I took on the challenge of trying to capture something of the range under very dim lighting conditions (unlike those under which the video and official images were taken). Some of these works require hundreds of skilled workers over years to create the final results.
Images taken available light, hand-held

DF3_0311 copy.jpg


DF3_0211 copy.jpg

As an example, this lower image:
The Dress is silk with silver threads, embellished with Swarovski crystals, resin cabochons, cats eye stones and rhinestones.
The theme is from Amazing Journey in a Childhood Dream collection, and from the Nutcracker ballet.
The garment is made from hundreds of layers of tissue-thin silk, a jeweled belt/boddice and jacket, and a high collar that frames the model's face.
The train is covered in beaded and embroidered scrolls, flowers and butterflies.
In Chinese culture, the butterfly is a symbol of freedom, joy and love.
 
As a wait on a Df arriving next week, I just wanted to add to this great read and watch I believe it's also Giorgetto Giugiaro's last design for Nikon.
 
As a wait on a Df arriving next week, I just wanted to add to this great read and watch I believe it's also Giorgetto Giugiaro's last design for Nikon.
If you are referring to Tetsuro Goto, head of Nikon Optics until he retired in 2019, then yes, I believe it was his swansong, so to speak - a final statement about what he valued in a camera and perhaps a call back to the days when he began to design for Nikon - certainly, his first designs were amongst my first cameras: FM2 and F3.
 
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Those creations are absolutely Stunning!! Just fantastic.. The Delft Blue is amazing and with the Asian/China motif .. that took me a moment!
Great images Thanks!
 
Those creations are absolutely Stunning!! Just fantastic.. The Delft Blue is amazing and with the Asian/China motif .. that took me a moment!
Great images Thanks!
Absolutely. I bought the exhibition catalogue - which is huge and not cheap, but it shows a whole different kind of couture art.
 
Christmas is coming early this year!
Immaculate, Mint and 5k shutter count.

Gold Df -01.jpg
Gold Df- 02.jpg
The special edition Df body with gold on black is rare enough, being released in limited numbers only in Japan, and the special edition 50mm lens, designed just for the Df, is usually silver (I have one on another Df body) and the gold finish is extremely rare.
 
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Congrats! Great acquisition!
Thank you! This is a real collectors' item. Immaculate and the shutter count was 3072!

I discovered that only 24,000 Nikon Df bodies of all types were made - which is a very limited run. That low count meant the bodies were relatively expensive to produce, helping to explain their initial high pricing. Without doubt, it was always going to be a niche market: as someone described it, for old photographers and hipsters. I am firmly in the old photographers category, and suspect the hipsters have moved on to the Zfc and Zf variants. That said, for many units in good condition with low shutter counts the price has held. and the gold on black edition has actually accrued value.

The black and gold limited edition Nikon Df was released in November 2014 to celebrate the camera's first anniversary. It was sold only in Japan and was produced in limited quantities.
Specifically, there were 600 units of the body-only version, and 1000 units of the kit with the gold-ringed AF-S Nikkor 50mm f/1.8G lens.
 
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