Nikon F2 or F3? - More Decisions!

Nikon F2A (1977) and F3 (1980)

  Updated Nov. 3, 2021

    In an earlier article, we looked at the differences between the Nikon F3 & F4 and how they might affect your purchase and/or usage of either body. Not being able to leave well enough alone, I thought, "seeing as you can purchase an excellent F2 Photomic or Photomic A or a plain F3 for $250 - $300 USD, what if we tried the same sort of comparison between the F2 and F3?" I mean, what could possibly go wrong in attempting a dispassionate, objective analysis of two excellent SLRs made by Nikon? Oh...right...we are dealing with two groups of people: 1) those that believe that the SLR reached perfection in 1971 and everything since is an abomination against the laws of nature, aka "Knights of the Order of F2" (referred to henceforth as KOTOOF2), and 2) everyone else.

    ...waits 5 seconds...

    Okay...now that the pitchforks, torches, burning effigies, and other accoutrements to a rational discussion are at hand, let's wind the clock back to 1980 and the seismic shift that occurred in the Kingdom of F. 

    Actually, a comparison between the F2 & F3 as far as outright capability is concerned is going to be much more of a hair-splitting affair than with the F3 & F4, as there was less in the way of a technological jump from F2 to F3 than from F3 to F4. Your own photographic philosophy and ergonomic preferences will play a considerably larger role in choosing one over the other (unless, of course, you would lower yourself to allowing both to commiserate together in your camera bag ;-)). To reiterate: there is no wrong choice (in case any stray KOTOOF2 were masochistic enough to still be reading this far, that should get rid of 'em ;-)), but there just possibly could be a better choice for you personally :-). As with our previous comparison between the F3 and F4, we'll work from the largest points of disparity (real or perceived) to the smallest. 
​

  Shutters & Shooting Modes - Are you a mechanical or quartz movement type of person?

    We may as well get this one out of the way first...seeing as it sits at the root of the great decades-old debate...mechanical (F2) versus electronically-controlled (F3) shutters. And this is the big hang-up for the KOTOOF2: the F3 requires two whole 1.55V batteries (combined weight 4.6 grams/0.16 oz) to power the meter and the shutter, whereas the F2 only uses them for the meter. So if your batteries die, (and somehow the extra 6 grams - with packaging - of a spare set of batteries is beyond your capability to bear ;-)) you still have the full range of shutter speeds available, whereas the F3 is stuck with a single mechanical back-up speed of 1/60 sec. and you have to fiddle with a lever (termed the "backup mechanical release" by Nikon) to activate it. How much that will impact your photography is for you to decide (See, I wasn't kidding about more decisions :-)).  

    Okay, with that out of the way, let's get a bit more nuanced. There are interesting features to be found in both shutters and some subtle, yet pertinent, differences:

• Speed Range - Nearly identical. F2: 1/2000 - 1 sec., plus B (Bulb) and T (Time). With the dial set to B, you can set speeds from 2 - 10 sec. using the self-timer lever (there are 2, 4, 6, 8, and 10 sec. positions marked, but the lever can be set anywhere in between). Both the B and T settings are used for long exposures. When set to B, the shutter button must be held down (preferably with a cable release to minimize shake) until the exposure is completed. By the way, the F2 requires an AR-2-style cable release, whereas the F3 accepts the standard universal threaded type (AR-3 in Nikonese). The T setting allows the photographer to open the shutter with an initial press of the shutter button, but then the camera holds the shutter open independently (handy if you don't have a cable release with you). To close the shutter, carefully lift and rotate the "fingerguard" (more Nikonese :-)) surrounding the shutter button away from the T position. F3: 1/2000 - 8 sec, plus B & T. The 2s, 4s, 8s, and T settings are all accessed via the main shutter dial on the F3. TIP: When using the T setting on the F3 for long exposures, activate it with the backup mechanical release instead of the standard shutter release, otherwise the metering circuit will remain energized as long as the shutter is open, thus draining the batteries. To finish the exposure, simply rotate the shutter speed dial off of the T setting. The F2 also had a fairly unique feature among mechanical-shuttered SLRs: between 1/80 - 1/2000 sec. the user could set intermediate (between the 1-step click stops on the shutter dial) speeds. This was a tidy bit of engineering on Nikon's part and made it possible to fine tune exposures with more precision than almost all other manual SLRs of the day (to the best of my knowledge, the Alpa 9d and the Leicaflex SL & SL2 were the only other mechanical SLRs to offer intermediate settings between the standard 1-step incremented speeds). With the F3, Nikon reverted to the more common 1-step increments in manual mode, but made stepless speeds (the camera has the ability to set speeds in increments of 1/1000 sec. across the entire speed range; that's where the electronic control with quartz timing comes in) available when the camera is set to "A" ("A"postasy for KOTOOF2, "A"perture-priority for the rest of us ;-)) mode. Verdict: you can achieve levels of exposure accuracy that will be plenty precise with either camera, just using different methods (on paper, the F3 definitely has the edge, but in the real world 1/3 of a stop is about as much precision as any of us will ever really need, something the F2 can also handle easily).
• Design - Just as the F2's shutter had been a fresh design (retaining only the titanium shutter curtains of the original F), the F3's shutter was given the clean-sheet treatment. Although the appearance is nearly identical from the outside (the quilted titanium curtains were again carried over), the F3's shutter was assembled as a separate unit that was tested before installation in the chassis. Dimensions of the shutter ribbons and curtains were reduced to create an overall-smaller shutter assembly which allowed for a reduction in the size of the entire body. A new braking system was devised. Ball-bearing count increased to four over the single ball-bearing used in previous conventional Nikon shutters (F2 included). Size-, weight-, noise-, vibration-, and friction-reduction were all design objectives and Nikon tested the F3's shutter to 150,000 cycles rather than the previous mark of 100,000 that the F and F2 were tested to. (This is not to say that every single F3 shutter will outlast any single F2 shutter, it merely shows Nikon's commitment to improving reliability and longevity with each successive F-series model). Both shutters are super-reliable, but there is no denying that the F3's shutter is more refined (only logical) and took the horizontal-travel focal plane shutter to its furthest point of development. In use, the F3's shutter is a bit smoother than the F2's, plain and simple. So it's better, right? But better does not mean that the F2 shutter is a dog by any stretch; it is one of the finest mechanical shutters ever created, and is more than capable of delivering superb results when properly adjusted (we will get into this more in the maintenance section). Verdict: As alluded to above, it's like mechanical versus quartz watch movements...the higher precision and stability of a quartz movement versus a mechanical movement is undeniable, but if you delight in the craftsmanship and design of a mechanical watch, you really don't mind having to adjust it more frequently in order for it to keep good time :-). The same goes for the F2 and F3 shutters...both work great when tuned properly...the F2 just requires more frequent adjustments (they can still go for 10+ years and retain accuracy within a 1/2-stop at all speeds except 1/2000 when initially adjusted to within 1/4-stop).
• Noise & Vibration - While peak noise levels are virtually the same for the mirrors & shutters of both cameras, it is the nature of the noise that sets them apart. In a semi-scientific test, [with a Nikon FE (71 dB w/o MLU/69 dB w/ MLU using the self-timer) and a Minolta XD-11 (69 dB w/ no MLU capability) thrown in for a bit of context], both the F2 and F3 shutters gave a peak reading of 78 - 79 dB (there was virtually no difference whether the mirrors were locked up or not with either camera) at a distance of 54 mm (2.125") from the closed backs of the bodies directly behind the shutter. The sound level meter used was a Realistic No. 33-2050 and all shutters were set to 1/60 sec. in Manual mode, fired ten times each, and averaged. My F2 finished with a noticeable ringing tone as the mirror/shutter vibration dissipated through the body, which, as pointed out in the comments below by dtcls100, is the result of a worn rubber damper on the side of the mirror box. This does not appear to harm the function of the camera. The FE also finished with a similar ringing, which I have noticed on three separate copies, all of which were very lightly-used, leading me to believe that it is inherent to the design of the FM/FE/FA family. The F3 finished with more of a muffled thud - no ringing -  due to its improved mirror and shutter brake assemblies, and an air-dampened shock absorber for the mirror. The XD-11, coincidentally, had the least-obtrusive shutter and mirror noise of the tested quartet. Verdict: The F3's shutter is less obtrusive than the F2's, but not by much, and that was with a worn damper on the F2. Not a deal-breaker for me :-).
• Shooting Modes - Is Aperture-Priority a priority for you? That could narrow things down very quickly :-). Needless to say, aside from the clunky EE Aperture Control Attachment (DS-1 for pre-AI lenses; DS-12 for AI lenses), the F2 is clearly a Manual-only machine and that is where it excels, especially with that trick high-speed 1/80 - 1/2000 sec. cam that allows you to select intermediate speeds. On the other hand, the F3 was designed to reach its peak capability in A mode, while still being effective in Manual (if not as precise from 1/80 - 1/2000 sec. as the F2). Verdict: The F3 is more versatile, but do you really need or want it?

  Film Advance & Rewind - The F3 wins the power rankings, but manual is another story.

    Both bodies give the option of manual or powered winding and rewinding, but the F2 exacts a heavier (literally :-)) toll in terms of bulk, weight, convenience, and power consumption when it comes to motor drives. Let's get the specs out of the way first and then get to the real-world differences. Age before beauty (or is it pearls before swine?) so the F2 is first up:

• Modularity was the watchword of the Nikon F system and the Motor Drives for the F2 were no exception. There were three different drives (MD-1; MD-2; MD-3) for the F2, which were then paired with battery packs (MB-1 or MB-2) with their respective battery holders (MS-1 or MS-2) which held 5 & 4 - AA cells each (two battery holders were required to fill a battery pack). Nikon also had Ni-Cad battery units (MN-1) for use in the MB-1 only (again, two were needed to fill the MB-1) along with a dual-slot charger (​MH-1). There were more accessories, but we are already deep enough into Nikon's alphanumeric soup as it is ;-). Basically, the MD-2 was an improved MD-1 and they were the pro-level drives. The MD-3 was a later addition (October 1977) for "amateurs" (in Nikon's own words) that reduced performance and durability in exchange for less weight and a lower cost of entry. MB-1s and MB-2s were fully interchangeable between all motor drives, but with obvious differences in maximum performance potential. Things were much simpler with the F3: one Motor Drive (MD-4), its integrated battery holder (MS-3), and the MN-2 Ni-Cad battery pack. Today, the Ni-Cad options for either body are a non-starter; just use Ni-MH or Lithium AAs in the standard battery holders for much better performance and longevity all-around. To enable a direct comparison with the F3 and its MD-4 (8 - AA capacity), we will use the MB-2 battery pack (8 - AA capacity) for all specs with the MD-2 and MD-3 drives on the F2. 

​   F2 (Photomic, Photomic S, SB, A, or AS finder) w/ MD-2 & MB-2

• Weight: w/ 8 - AA alkalines = 1645 g/58 oz
• Max. Performance: 2.7 fps
• Power Consumption: 10 rolls of 36 exp. guaranteed at top speed; 30 rolls max. w/ slowdown

   F2 (Photomic, Photomic S, SB, A, or AS finder) w/ MD-3 & MB-2

• Weight: w/ 8 - AA alkalines = 1585 g/56 oz
• Max. Performance: 2.5 fps
• Power Consumption: 30 rolls of 36 exp. guaranteed at top speed; 160 rolls max. w/ slowdown

   F3 (Standard DE-2 Eye Level finder) w/ MD-4 & MS-3 Holder

• Weight: w/ 8 - AA alkalines = 1365 g/48 oz (add 60 more grams/2 oz for F3HP w/ DE-3)
• Max. Performance: 3.8 fps
• Power Consumption: 60 rolls of 36 exp. guaranteed at top speed; 140 rolls max. w/ slowdown

    One of Nikon's major design objectives with the F3 was to reduce power consumption considerably, which is plainly borne out in the figures above. The F3 can maintain a 40% speed advantage over the F2/MD-2/MB-2 combo with 1/5 of the battery usage. One other trick the MD-4 has up its sleeve is that it powers the rest of the F3's electrical system, thereby conserving the F3's onboard 1.55V cells. The weight and power savings of the MD-4, along with its superior ergonomics to the MD-2 and MD-3, make it the clear winner when it comes to the Motor Drives. About the only advantage sported by the MD-2 is the ability to select between five speed settings in continuous drive, whereas the MD-4 has no such provision. The F3/MD-4 combination can even balance upright with a 200/4 Nikkor lens mounted. Verdict: Hands-down, the F3/MD-4 combo. 

    But, what if you are like the majority of vintage SLR users today, and a motor drive is the last thing you need? Aha, here is where the plot thickens ;-). The design strategies that Nikon implemented to reduce friction, the torque required for film advance, and thus power draw, also impacted manual winding effort, efficiency, durability, and feel on the F3. Earlier, we saw that Nikon upgraded the F3's shutter assembly with four ball bearings over the single one used in the F2. Well, when it came to the completely redesigned film advance of the F3, Nikon saw fit to use seven ball bearings in the winding assembly versus the single bearing in the F2's. So that makes the F3 better, right? Well, it definitely makes for very smooth and easy winding (too easy for some...who say that they can't tell by feel if the film is winding properly in an F3 because it feels the same whether empty or loaded :-)). But just as with fishing reels, it's not solely the amount of ball bearings used, but how they are deployed that matters most. I have had reels with three bearings that felt smoother than ones with double that amount, because the other components were better balanced and integrated. The F2 may only have one ball bearing in its winding assembly, but it also uses Teflon bushings and so its simpler film advance is nothing to be sneered at (effort is only slightly, and I mean slightly higher). It also has a very snappy short throw (120 degrees with a 20-degree standout for the lever) versus the noticeably-longer (140 degrees with 30 degrees of standout) throw of the F3. Together with that short throw, the F2 advance lever snaps back with more authority than the F3's (at least with my two samples, anyways :-)) making it feel more responsive. The analogy that keeps popping into my head is a luxury sedan versus a sports sedan. The more-polished performance of the F3 just takes a bit of the edge off, whereas the F2 gives the impression of a more direct connection (which there actually is, as the F3 made use of off-center shafts using multiple gear-trains to reduce winding effort, while the F2 was direct-drive, so to speak). That was the biggest discernible difference in practical use I could find between the two when it comes to film advance. Verdict: You are looking at two of the most reliable manual film advances ever built, and you will not go wrong with either one, you might just prefer the feel of one more than the other (the shorter-stroke F2 is calling to me, but YMMV ;-)).   

  Metering, Finders, and Focusing - No fancy-shmancy Matrix metering here...

   The F3 marked a major change in Nikon's approach to metering with the F-series in more ways than one. First, the complete metering system (including the silicon photo diode metering cell) was now located in the body of the SLR (a la the Topcon RE Super) instead of in selected finders, as had been the practice with the F and F2. This accomplished a couple of things: 1) the interchangeable finders could be reduced further in size, weight and complexity, and 2) every F3 finder was now TTL (Through-The-Lens) -metered, whereas previously, only the Photomic heads offered this. The second big development was that, for the first time in nearly a decade-and-a-half, Nikon changed their centerweighted metering pattern ratio. Their long-standing 60/40 [used from the F Photomic Tn finder (1965) and Nikkormat FTn (1967) onward] ratio with 60% of the meter's sensitivity confined to a 12mm diameter circle in the middle of the focusing screen and the remaining 40% covering the rest of the screen, was intensified in the F3 to 80/20 with 80% sensitivity within the 12mm circle, and the remaining 20% rapidly falling off with virtually no sensitivity at the edges of the frame. This heavier centerweighting was adopted at the request of professionals that wanted more precision while not going all the way to full spotmetering (that would have to wait until the F4 came along :-)). Nikon retained 60/40 in all of its non-professional bodies until the F-801 (N8008) came along in 1988 and adopted a 75/25 ratio, much closer to the F3's. Strangely enough, with the F4, Nikon reverted back to 60/40 centerweighted to go along with the 5% spotmeter and Matrix metering options.  

    So which is better? Well...it depends ;-). If you are used to the 60/40 ratio used in the original F Photomic Tn & FTn, all of the Nikkor/Nikomats, the FM/FE/FA family, the EM/FG/FG-20, the F-301 & -501 (N2000 & N2020), the F2 (with any of the DP-1, DP-2, DP-3, DP-11, or DP-12 Photomic finders) will feel completely natural to you. It is simply a matter of knowing when it will be fooled (strongly backlit/frontlit or very light/dark overall scenes) and compensating accordingly. Once you are familiar with its limitations (which are relatively few), it is very easy and consistent to use. If you view the F3's meter like a fat spotmeter (using the 12mm circle to take readings of the highlights and shadows in the scene or simply placing the circle over the part of the scene you want at middle grey) you will be set. Verdict: I have been more than happy with the results from both metering patterns over the years, but I do like the 80/20 ratio of the F3...I like it a lot :-). 

   As far as the finders themselves go, the meterless DE-1 Eye Level and all of the Photomic F2 finders (DP-1, DP-2, DP-3, DP-11, and DP-12) as well as the standard F3 (DE-2 Eye Level) offer virtually 100% coverage @ 0.8x magnification with 15 - 18mm of eye relief on the F2 finders and about 20mm on the F3's DE-2. The F3HP (DE-3 High EyePoint) bumped eye relief to 25mm with a reduction in magnification to 0.75x and added 60 grams of weight to the standard F3. Unless you really need (or prefer :-)) the extra eye relief of the DE-3, the greater magnification of the DE-2 or any of the F2 finders makes for easier focusing and saves weight, to boot. 

    Where things begin to get more subjective with viewfinders is when it comes to the information displays, which come in three basic varieties: 1) analog needle in the DP-1 and DP-11 finders for the F2, 2) LEDs in the DP-2, DP-3, and DP-12 finders for the F2, and 3) LCDs in the F3. All have their advantages and disadvantages, so it comes down to which offers the least amount of compromise for you personally. Let's take them one at a time:

• Analog Needle - Fine adjustments (within 1/3 stop) are easy to make as the needle sweeps across the +/- scale in the DP-1/DP-11 (F2 Photomic/F2A) finders. In daylight conditions, there are no real drawbacks to this style of display, but low light certainly makes for a tougher time of it as the black needle gradually becomes more difficult to see as outside light fades or dark interiors are encountered. The slower-acting CdS (Cadmium Sulfide) cells of these two finders also mean they are a bit less sensitive and responsive than the SPDs (Silicon Photo Diodes) of the DP-3/DP-12 and the F3, which bothers some people. You will have to determine if you are "some people" ;-). 
• LEDs - To combat loss of view in darker conditions, Nikon adopted red LEDs (Light-Emitting Diodes) in the DP-2 (F2S) CdS finder and kept them in the DP-3/DP-12 (F2SB/F2AS) SPD finders although the displays differed in appearance and operation. They certainly show up well in darker conditions, but Nikon's choice of a  "+ -" (DP-2) or "+ o -" (DP-3/DP-12) readout meant that precision took a bit of a hit.  With either the "+" or "-" individually lit (DP-2), the meter determined that exposure was at least 1 stop over or under. With "+ o" or "o -" lit (DP-3/DP-12), exposure was anywhere from 1/5 to 1 stop over or under, with no way to determine exactly where in that 4/5 stop range. Fiddling with the aperture ring on the lens in between the full-stop settings is the only way to roughly discern how close or far from a full stop over or under you actually are. The DP-2 was also a notorious battery-hog and went through at least seven updates to its circuitry (in attempts to improve reliability) during its tenure, making it our least-preferred finder for an F2 (BTW, if you have a a DP-2 and it works and you like it, that's great :-)). The DP-3 (non-AI) & DP-12 (AI) are much better choices and are more frugal with current consumption.
• LCD - The F3 adopted an LCD (Liquid Crystal Display) for its much lower power consumption versus LEDs. In Manual mode on the F3, Nikon utilized the same "+ - " system as the DP-2-equipped F2S, meaning that you could only be sure of exposure to the nearest full stop (ditto the aperture-ring shuffle described above to get a rough idea of where you are exposure-wise). The other issue with the F3's LCD was that it was not backlit in the manner that the later F-801 and F4 LCDs (think Timex Indiglo, but more yellow/greenish) would be, relying instead on a pitiful, power-sucking miniature incandescent bulb (think of your typical digital watch from the 80's with that dinky little side light that barely worked :-)). Practically, this means that the F3's LCD is not much better in dark conditions than the needle displays of the DP-1/DP-11. (And the fiddly little red button on the side of the F3's prism housing to activate the side-light often fritzes, another reason to just not waste your time trying to illuminate the F3's LCD internally.) 

    Next, what about viewfinder brightness? For the brightest image possible with factory Nikon screens, go for a red dot on the far right side of the letter + Nikon Japan engraving on the screen frame of an F3 (I will say that the standard red-script F2 and F3 finders & screens are plenty bright for me, but it all depends on your eyesight needs). Because of differences in the screen frames between F/F2-type and F3-type, you cannot just drop one of the F3 red dot screens into an F2 without encountering focus errors. However, a solution I have heard of being used by others (though I haven't needed to try it myself, yet) is to remove a red dot screen from the F3 frame and install it into an F/F2 frame.

   **NOTE** Focusing screens are very susceptible to scratches and must be handled extremely carefully when making such a switchover. You must also be very careful to keep the screen orientation the same...if you somehow flip the screen over in the frame, it will be a no-go on focus.

    Speaking of focusing screens, it's a draw as far as selection is concerned. All screen types from "A - T" are identical in layout between them. F2 screens are a bit less expensive on average than their F3 equivalents, so a small advantage accrues to the F2 there. One difference is that because light from the lens passes through the focusing screen before reaching the metering cells on an F2, you will have to apply exposure compensation for certain specialty screens. Nikon published compensation charts in various manuals for this purpose. On the other hand, because the F3's metering cell is in the base of the camera and light from the lens is diverted to it by means of a secondary mirror, there is no need for any exposure compensation to be applied for different focusing screens. A small victory for the F3 :-).  

    Okay, so after all of that, is there a clear winner when it comes to viewfinders and metering? Nope. It depends on you, and most importantly, your eyesight (how's that for a cop-out? ;-)). Both offer screw-in eyepiece correction from -5D to +3D (Diopters) in full diopter steps (-1D is the standard supplied with all finders from the factory). If you plan to use auxiliary finders frequently (waist-level, action, and 6x-magnified are available for both) and you want TTL metering with them, you will have to be satisfied with the F3. If you want the full vintage needle metering experience, it's going to be an F2 Photomic or F2A. Here again comes a decision, if your metering goes south on an F2, you are looking at repairing or replacing the finder itself; on an F3 it will be the body needing repair or replacement. Costs for the two are actually going to be similar for repair, but can vary more when it comes to replacement. Verdict: Let your eyes do the talking when choosing between the two, and remember that you can customize the focusing experience for either to the same degree. 

  Ergonomics - By definition, a personal decision :-).

    This may be the actual greatest difference between these two noble Nikons. You have the smaller, lighter F3 (700 grams/24.7 oz) & F3HP (760 grams/26.8 oz) with their small fingergrip (the first for any Nikon SLR), and the more-orthodox-looking F2 (Eye-Level 730 grams/25.7 oz) & F2 Photomic/F2A/F2SB/F2AS (830 - 840 grams/29.3 - 29.6 oz) with no fingergrip, but a very comfortable feel for many people, nonetheless. The relationship between the film wind lever, shutter speed dial, and shutter release is also very different between the F2 and F3. The drop down from any of the F2 Photomic heads' shutter speed dial to the shutter release requires a different grip and manipulation of the controls than on the more compact F3 (this can be modified somewhat with the AR-1 shutter release extender on the F2, which reduces the amount of movement of your index finger needs to make between the dial and the release). Verdict: Try both before you buy, if you can. But it is possible to adapt back and forth without too much mental re-programming for some of us. (WARNING: KOTOOF2 apoplexy imminent ;-)).

  Flash Capabilities - Can both lose at the same time? 

    Hoo-boy, here we go. Right off the bat, I'll say that I am not a fan of the F to F3 flash system as a whole and that's where both of these bodies lose for me. If I am going to be using flash (which is very rare, BTW) with F-series Nikons, I don't pick up any pre-F4 body. There...I said it...got it out of my system...now let's get to the comparisons:

• Both have a flash sync. of 1/80 sec. (decent for a horizontal shutter, but not outstanding).
• Both mount the flash over the film rewind knob (and the ISO/Exposure compensation dial on the F3). Meaning that you cannot rewind and extract film with a flash unit in place on either camera, and on the F3 you cannot adjust ISO or use Exposure Comp. with a flash mounted. Inconvenient at best and you can brick an F3 at worst with a misplaced blow to a mounted flash, which can then lead to a cracked FRE, which then means your F3 is now a paperweight. For a more-in-depth look at the F3's flash system (and what the heck a FRE is), you can look here, but do so at your own risk. You have been warned ;-). 
• Both require adapters for mounting ISO-style flash units or Nikon's proprietary compact units (BC-7, SB-2 & SB-7E for the F2 and SB-12 & SB-16A for the F3.
• The F3 was Nikon's first TTL flash metering body, which means it is capable of more precise automatic flash exposure than the F2, but it was still quite rudimentary for TTL. The FG was Nikon's first proper TTL SLR. 

    One thing to bear in mind when it comes to the F2 and F3 and flash was that neither were really intended to be used with a flash mounted directly to the body. It was more of a last resort. Back in the day, photojournalists, and wedding photographers commonly used rigs with separate mounts for flash and camera, which accomplished a few things:

• a much more robust system.
• it allowed for more powerful (READ: Bigger) flash units to be used.
• it minimized red-eye because the flash head was a greater distance away and therefore at a greater angle to the lens' longitudinal axis.
• it ensured no physical interference between flash and camera operation.

    Verdict: Knock yourself out if you want to go with camera-mounted flash for either one...but I wouldn't recommend it, especially for the F3. So I guess it does have more to lose than the F2, in this case ;-).

  Lens Compatibility - This is a dead heat.

   It's pretty simple with the F2 and F3 and F-mount lenses: if it has an aperture-ring, it will mount. If it has rabbit-ears it will meter on a pre-AI F2 Photomic head (DP-1, DP-2, DP-3). Both have MLU (Mirror Lock-Up) for use with the few rare Nikkors that protrude into the mirror box. Both can use non-AI or AI lenses, although metering techniques will differ based on whether you use a pre-AI finder on an F2 or not...or a pre-AI lens on an F3 or not. If you are a heavy pre-AI Nikkor user, you will find a DP-1, DP-2, or DP-3-equipped F2 a bit easier for metering (automatic full-aperture) than an F2A, F2AS, or F3 (manual stop-down using the DOF preview button), although you give some of that convenience back when it comes to aperture-indexing when changing lenses. If you are an AI-lens user, the later F2A/F2AS models or F3 are going to definitely be more convenient. Verdict: For use with manual focus lenses, you would be hard-pressed to find two more suitable Nikon bodies. AI or Pre-AI? That is the question you have to answer :-).

  Living With the F2 and/or F3 - Tips for buying & maintenance and repairs

    Life with any vintage SLR is going to entail some form of maintenance or repair at some point. It is no different with an F2 or F3, despite the fact that they were two of the most reliable SLRs ever produced. Aside from a few NOS parts that pop up from time to time online, your sources for repair parts are going to be other bodies (cannibalization). Repair manuals are available for both models for the bold and adventurous DIY-er. The F3 will obviously require more expertise in the electronics realm than the F2 if repairs are required. Let's review a few of the more common maladies affecting both models:

• Sitting unused for long periods of time -  Like any other machine, any SLR, whether mechanically or electronically-controlled, will start to seize up with lack of use. Lubricants dry out, springs can weaken (especially if the camera shutter was left cocked before storage), batteries leak and can cause corrosion of the electrical system, etc. This leads to our first tip: a well-used but well-loved and -maintained F2 or F3 is preferable to one that has sat for years, perhaps decades, in suspended animation. This does not rule out purchasing a "sleeping beauty", but you should definitely be prepared to have an F2 or F3 CLA'd (Cleaned, Lubed, Adjusted) if found in such a state (not to mention parts that may need replacement). This is going to possibly double or triple your initial investment in a body (DON'T waste your money and time on a sub-$150 USD CLA. You will get exactly what you didn't pay for). Research repair techs carefully; paying a bunch of money is not a guarantee in itself of quality, either.
• Exposure to high-temperature & -humidity storage - Particularly when purchasing online from the Far East, you need to carefully inspect photographs for signs of corrosion, fungus, and mold simply due to the climate (the same goes for the southeastern U.S.). If you see signs on the exterior of the body of any of these three, you can be assured that things are worse inside the camera and could have already impacted its functionality. If any SLR has been stored in such an environment for a length of time, the probability is very high that it will have issues with these camera killers. And an infected SLR will spread its little inhabitants to your lenses and other equipment. It's not worth the risk, IMHO. If a seller says there is "minor" or "minimal" fungus, don't walk...RUN away. There are plenty of good ones still to be found and you will save yourself a boatload of trouble.
• Shutter curtains - On very worn bodies, the titanium shutter curtains may have developed fatigue cracks which leads to light leaks. Inspect shutters carefully and avoid bodies that have been ridden hard and put away wet; there are plenty of good ones available.
• Film rails and pressure plate - Inspect these parts carefully. They are good indicators of how much any camera has been used. There are enough copies of both models available, that you can afford to be choosy. There should be no corrosion on the film rails. If there is a lot of finish wear (brightening or scratches) on the pressure plate, the camera has probably seen a lot of use, and you can find a lower-mileage one, with a little patience, for not much more or even the same cost.

​    Now for some specifics with the F2. By far, the most common issues with F2s arise with the metered finders. Let's review them:

• DP-1 (1971 - 77) & DP-11 (1977 - 80) - Almost half of all F2s came with a DP-1, making F2 Photomics the most common and least expensive of all F2s available today. Nearly 1/5 of F2 production was F2A Photomics (DP-11), making them the second-most common F2 model. Until 1975, DP-1s came with a carbon ring resistor that wore rather quickly and led to a "jumpy" meter needle in the view finder often followed by a "dead" meter needle ;-). The ring resistor also was susceptible to getting dirty, which resulted in similar symptoms. In 1975, a modified wire-cladded ring resistor was introduced with far greater durability. This improved ring resistor was factory-installed in the last of the DP-1s, but can also be retrofitted to earlier copies. NOS ring resistors do pop up online from time to time, running from $40 - $50 USD on average. The wire-cladded resistors have a speckled gold tone to them, whereas the carbon resistors are a charcoal-grey color on the inside of the ring. Look for DP-1s with a serial # of 6xxxxx (on the underside of the finder) and higher for the best chance of finding a factory-installed improved resistor. All DP-11s came with the improved part. When looking at a DP-1 or DP-11-equipped F2, pay close attention to the description of the behavior of the meter needle, and if none is mentioned, ask specifically about it. There should be no jumpiness or jerkiness. If there is, the finder will need a CLA at the least and possibly replacement of the ring resistor, a definite added cost to your original purchase.
• DP-2 (1973 - 77) - F2S Photomic is the designation of an F2 with the DP-2 finder. As mentioned earlier, the DP-2 was the problem child of the F2 finder family. F2S Photomics made up about 9% of total F2 production. Reliability was sketchy and so we do not recommend them. However, this does not mean that every F2S is a failure waiting to happen. But you need to be very careful when considering one. Definitely look for later-production copies (serial #s 56xxxx - 59xxxx) for the best chance at getting a good one. Again, ask specific questions of the seller about the behavior of the -/+ LEDs. If they flicker instead of lighting steadily, that is a sign of trouble. The DP-2 used the same-style ring resistor as the DP-1 and DP-11, so the same issues apply for dirty or worn contacts. DP-2 CLAs also cost more than for the DP-1/DP-11.
• DP-3 (1976 - 77) & DP-12 (1977 - 80) - F2SB Photomic signifies a DP-3-topped F2. F2AS designates the DP-12 finder. The DP-3 was a major improvement over the DP-2, with far better reliability and a more responsive SPD metering cell versus the CdS cell of the DP-2. Only about 22,000 were made before the F2AS replaced the F2SB in 1977. Although of a different design than the ring resistor of the DP-1, -2, and -11, the ring resistor of the DP-3 and DP-12 is also a wear item that needs replacement after 250,000 cycles on average (10 - 15 years of constant use). DP-3 & DP-12 CLAs are about the same cost as for the DP-2. 

    Next with the F2 comes the condition of the shutter. Being mechanically timed, periodic adjustments are required to ensure accuracy. Nikon's factory specifications required speeds to be within a 1/2 stop. Most camera services will use that as their standard for adjusting an F2 shutter, however some techs will go for 1/4-stop accuracy, which will make for longer intervals between adjustments. Again, it would be wise to be prepared for dishing out for a CLA on an F2 that has been purchased online, unless you can somehow verify before purchase that the shutter speeds are accurate. Purchasing from a reputable seller that will stand behind their assessment of an SLRs condition cannot be overemphasized. Yeah, you will always hear of the person who fluked out on a $100 or $150 USD steal on an F2 that didn't need a CLA, but those are going to be few and far between. It is much more likely that this will be the outcome:  

  ***NOTE*** This is not intended to be a recommendation for or against Sover Wong. His body of work can speak for itself, and you can make up your own mind when it comes to choosing someone to service your F2. I included this video to illustrate the very real issues that can come up when dealing with getting a 40 to 50 year old SLR back into tip-top working condition. 

    One of the more salient points made in the above video is that it can be virtually impossible for you as a buyer to detect if someone has already been inside the camera and done more harm than good. That is part of the risk when dealing with vintage SLRs. However, here are a couple of pointers:

1. In the video, Kyle mentioned that the finder was considerably older than the body, which was evidenced by the different pebbling of the leatherette. If the leatherette patterns do not match, that is a definite sign that a separation of the original finder and body has occurred. This is not necessarily a bad thing, as Nikon intended for F2 users to be able to upgrade their finder if they wished as improved models became available. But when taken together with the other things mentioned by the repair tech (the mismatched shutter curtains, the leatherettes having been previously removed, etc.), there were some warning signs about that particular F2. 
2. Before you decide on purchasing an F2, do your homework. Sover's website contains loads of information to educate yourself on the ins and outs of the F2 and having one serviced. Then, make sure you are prepared for the worst, a bad body and a bad finder. Being willing to spend a bit more money up front on the initial purchase (minimum $200 - $250 USD for an F2 Photomic or F2A; minimum $300 - $350 USD for an F2SB or F2AS), along with a thorough (hands-on if possible, but at least lots of pictures and and specific answers from the seller) inspection, will help to minimize (notice I didn't say eliminate :-)) your risk of getting a lemon.

    Moving on to the F3, what should you be on the lookout for?

• Faded or bleeding LCDs (this is inconvenient, but does not kill the camera).
• Wonky meter readings (may only require an adjustment of variable resistors under the front skin of the body, or, more seriously, it could indicate a bad metering cell requiring replacement). Remember, new parts are long gone for both the F2 and F3, aside from a few NOS bits floating around, so you will need a parts donor for any repairs.
• Make sure that the black motor drive cover is in place on the bottom plate or is in the slot in the MD-4 motor drive battery case cover if the camera comes with an MD-4. Without that cap, light will leak into the film chamber and fog your film. And they are $20 USD if you have to buy one separately. 
• If your F3 goes south electronically, and you determine that it will be uneconomical to repair, don't up and sell the whole rig. Look for a bare body (minus the finder) that is working properly (much cheaper than a complete body & finder) and keep your original body as a parts mule. Plunk down your finder on the new body and you are good to go again (for perhaps a third of the cost of a new body/finder combination). The same strategy holds true for a dead F2 finder, just in reverse (keep your body, look for a working finder, and keep your old finder for parts).  

  Keeping Your F2 or F3 Running Smoothly

     The best thing you can do for either of these cameras is...use them. Even if you can't get out shooting with them, just exercising them every couple of months or so goes a long way. Run through the shutter speeds from high to low and back again. On the F3, make sure to use the backup mechanical release from time to time to keep it moving freely. If you are going to store the camera for a longer period of time, remove the batteries. Above all, make sure the shutter is NOT COCKED when you are done with the camera for the day (if using a motor drive, remember that it will leave the camera cocked unless you first turn it off and then release the shutter) and especially when you are storing it for a longer period. Store it in a cool, dry place, not a dark, warm, humid one.

  To Sum Up

    As far as sheer photographic capability goes, there is very little separation between the F2 and F3 in the real world. It might come down to a slight convenience here or there (Aperture-priority on the F3, for example) which may or may not have appeal for you. I favor the F2A for its needle metering, unequalled manual mode, and snappy film advance, while the F3's smooth advance and shutter, MD-4 (on those rare occasions when I need a motor drive) and 80/20 metering always put a smile on my face. Now, you may very well find that one of these mean machines checks more boxes for you than the other, and that's fine. You really cannot go wrong with one or the other...or both ;-).

  References:

​    Photography In Malaysia - Nikon F2 & Nikon F3
    Nikon Manuals @ www.butkus.org
    Nikon F2 Sales Manual @ www.pacificrimcamera.com
    Nikon F3 Technical Manual @ www.pacificrimcamera.com
    Leicaflex SL & SL2 User Manuals @  https://www.butkus.org/chinon/
    Sover Wong's website @ https://soverf2repair.webs.com/