Exposure Control Fundamental
Before continue with other sections, Again, please bear in mind there is no such thing called perfect exposure. Because this can be very subjective and such values are mainly a personal preference. Theoretically, a good exposure is defined as one (corresponding to the film in use) that visually yields the most brilliance of colors to satisfy a viewer's desire rather than appreciating the creator's vision of how to use over or under exposure to emphasize a subject matter. Worst still, unless you are using unforgiving tight exposure latitude slide films, an inexperienced printer in a colour lab can have a higher chance of damaging your images with inexperienced handling in print control.
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The FM-10 uses a light sensitive photocell to measure the scene with a 18% gray as standard value (correspond with most scenery such big portion of green scenery which in turns will interpret as around 18% gray color in black and white) within the picture frame to provide an ideal exposure comprised of a specific combination of aperture and shutter speed setting in accordance to the film speed of the film in used. Such exposure measurement reference, is what generally referred as 'metering'. |
The metering system
employs in the FM-10 uses a 'fail-safe way of center weighted average metering method
with center portion given higher priority for exposure calculation (Since that is
where focusing is done) than the rest of other area combine.
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In Center-weighted average metering, light coming through the lens is refocused by an aspherical metering element and prism onto a highly sensitive SPC located near the eyepiece. The distribution ratio Nikon fond of providing is 60:40, later it was using 75:25 and in some cases, it even offers 80:20. |
The two basic elements
in exposure control are lens opening (aperture) and shutter speed. The size of the
aperture determines the amount or volume of light reaching the film from a given
subject and lighting. The shutter speed determines the length of time this
light acts upon the film. Apertures are expressed in f-numbers, which are larger
for small openings and vice versa (e.g., f/16 represents a small opening, f/2 is
referred as "large" one). Shutter speeds are expressed in seconds or fractions
thereof, which are generally the reciprocals of the numbers shown on shutter-speed
scales (e.g. 60 = 1/60 sec., and 2 = 1/2 sec.). At usual apertures, each f-number
setting (e.g., f/8) lets in twice as much light as the next numerically larger one
(f/11) and half as much as the next smaller (f/5.6). Similarly, each shutter speed
(e.g., 1/60 sec.) allows light to strike the film twice as long as the next higher
speed (1/125) and half as long as the next lower one (1/30). The interval between
two standard f-numbers (say, f/4 and f/5.6) or shutter speeds (say, 1/15 and 1/30)
is one "stop."
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| Viewing, metering through the Lens (TTL) |
Mirror flip-up, Lens diaphragm stopped down, light reaching the film exposure is formed |
Shutter curtain closes, reflex mirror stays down, back to TTL viewing | |
Total exposure on the film is determined by the combination of aperture and speed. Other things being equal, using the next smaller f-number (i.e., giving one stop more exposure) will balance using the next higher shutter speed (i.e., giving one stop less exposure), and so on. A great range of combinations (e.g., f/5.6 at 1/30, f/4 at 1/60,f/2.8at 1/125, f/2 at 1/250, etc.) will thus yield the same total exposure. The specific combination you choose under given lighting conditions will depend upon the degree to which you want the greater depth of field associated with smaller apertures or greater movement-blur preventing ability of faster speeds .
Note: The smaller the f-number (e.g. f1.4, f2.0, f2.8 etc.), the larger it is the aperture. Thus, allowing more light reaching the film to compensate for the duration of the shutter curtain traveling time. The larger the number (e.g. f11, f16, f22 etc.) is referred as smaller aperture, and less light will reach the film. > |
|
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Exposure is determined by the combination of shutter speed and aperture. As the numbers on either the aperture ring or shutter speed dial increase by one increment, the amount of light striking the film is reduced by approximately one half. |
For example, the
amount of light at 1/125 sec. is one half that at 1/60 sec., and the amount of light
at f/16 is one half that at f/11. Brighter scenes require either faster speeds or
smaller apertures or a combination of both which will give the same amount of exposure;
darker scenes require the reverse. For example 1/1000 sec. at f/5.6 is the same as
either 1/4000 sec. at f/2.8 or 1/125 sec. at f/16.
| Shutter speed (sec.) |
1/4000 |
1/2000 |
1/1000 |
1/500 |
1/250 |
1/125 |
| Aperture (f/number) |
2.8 |
4 |
5.6 |
8 |
11 |
16 |
 (25k Jpeg - click to view with a new window) |
These simple combinations (and other factors relates) have made photography so exciting. As apertures and shutter speeds will have respective influences in the final effect of the photograph. The camera's metering is just a guide for a theoretical good exposure, you can alter the combinations to suit the effect that you like it to be. |
Since the FM-10 is neither an automatic SLR camera nor a complicated one to operate, all you need to digest is how to make the full use of what the camera can provide you. Although it lacks many other useful gadgets supposedly to be there but they are not, but since you have already bought the camera or looking into buying one with financial constraints, just remember - ALL photographs are made of three elements - namely the shutter speed, aperture and lastly, a subjective vision behind the eyes.
 (22k Jpeg - click to view with a new window) |
The bare bone FM-10 camera mentioned here has taken care of the first two most important elements, the third, however has to be you to execute and convert what you are seeing and thinking into a two dimensional image with all the knowledge that you have in photography. So, fundamentally, a FM-10 is no difference with a top-of-the-line F5 camera when it comes to formation of an exposure - still dictates by a preferred shutter speed and an aperture value selection. Differences are just the automation, accuracy, enhanced performance, system integrity and durability factors it provides. Of cause, everything form of 'enhancement is closely related to price. A Nikon F5 could cost as much as 8 units of FM-10 with a zoom lens ! |
These may sound
very boring to someone new to photography. But it is an essential route for everyone
to understand the absolute basic. Since the FM-10 is being spec as such a simple
bare bone mechanical model and thus I thought it is very essential to make something
out of the nothing. After all, regardless how complicated or sophisticated a metering
system is being designed or how many types of exposure control have been installed
or programmed, all are arising from the core basic fundamental elements of shutter
speed + aperture value to form an exposure. So if you are happened to be a FM-10
owner, don't feel disheartened by the fact that this is the most basic camera body
Nikon can offer, instead, you should maximize its full potential out of the nothing
to equipped yourself with an 'poorly-spec camera model as compared with any other
better spec SLR model.
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Standard
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Nikon FM | Nikon FM2 | Nikon FM2n | Nikon FM10 | Nikon FM3a |
Known
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Nikon
FM Gold
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Shared Resources: MD-11 | MD-12 | Focusing Screens | Titanium Shutter | Flash Units -SB-16 | SB-15 | SB-10 or other Options | Databack | Nikkor lens mount (related info)
Others:- Nikon AF-TTL Speedlights | SB-20 (1986) | SB-22 (1987) | SB-23 | SB-24 (1988) | SB-25 (1991/2) | SB-26 (1994) | SB-27(1997) | SB-28 (1997) | Nikon SB-29(s) (2000) | Nikon SB-30 (2003) | Nikon SB-600 (2004) | Nikon SB-800 (2003) Nikon AF-TTL Speedlight DX-Series: Nikon SB-28DX (1999) | SB-50DX (2001) | SB-80DX (2002)
Nikon
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Pilot Lamp
Instruction
Manual: Nikon FM (HTML | PDF) | Nikon FM-10 (HTML) | Nikon FM2n's
User's Manual
available only in HTML format (6
parts) | Nikon
FM3A
(HTML)
Specifications: Nikon FM, FM-10, FM2, FM2n and FM3A / Main
Reference Map: (HTML) Nikon FM, FM2, FM-10, FM2n (Applicable
to FM2T, FM2 "Year of the Dog"; Millennium 2000") and Nikon FM3A
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Nikon Auto Focus Nikkor lenses:- Main
Index Page
Nikon Manual Focus Nikkor lenses:- Fisheye-Nikkor Lenses - Circular | Full Frame |
Ultrawides Lenses - 13mm15mm18mm20mm | Wideangle Lenses - 24mm28mm35mm | Standard Lenses - 45mm 50mm 58mm | Telephoto
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Special
Application lenses: Micro-Nikkor Lenses - 50mm~55mm -60mm 85mm -105mm 200mm Micro-Zoom 70-180mm Perspective Control (PC) - 28mm 35mm PC-Micro 85mm Dedicated Lenses for Nikon F3AF: AF 80mm f/2.8 | AF 200mm f/3.5 EDIF Depth of Field Control (DC): 105mm 135mm Medical Nikkor: 120mm 200mm Reflex-Nikkor Lenses - 500mm 1000mm 2000mm Others: Noct Nikkor | OP-Nikkor | UV Nikkor 55mm 105mm | Focusing Units | Bellows-Nikkor 105mm 135mm Nikon Series E Lenses: 28mm35mm50mm100mm135mm | E-Series Zoom lenses: 36~72mm75~150mm70~210mm |
MF Zoom-Nikkor Lenses: 25~50mm | 28~45mm | 28~50mm | 28~85mm | 35~70mm | 36~72mm E | 35~85mm | 35~105mm | 35~135mm | 35~200mm | 43~86mm | 50~135mm | 50~300mm | 70~210mm E | 75~150mm E | 80~200mm | 85~250mm | 100~300mm | 180~600mm | 200~400mm | 200~600mm | 360~1200mm | 1200~1700mm
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Recommended links to understand more technical details
related to the Nikkor F-mount and production Serial Number:
http://rick_oleson.tripod.com/index-153.html by: my
friend, Rick Oleson
http://www.zi.ku.dk/personal/lhhansen/photo/fmount.htm by: Hansen,
Lars Holst
http://www.mir.com.my/rb/photography/hardwares/nikonfmount/lens2.htm
http://www.photosynthesis.co.nz/nikon/serialno.html
W A R N I N G: The New G-SERIES Nikkor lenses have no aperture ring on the lens, they CANNOT ADJUST APERTURES with any of these manual focus Nikon FE series SLR camera models; please ignore some portion of the content contained herein this site where it relates.
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Credit: To all the good people who has contributed their own experience, resources or those who are kind enough granting us permission to use their images appeared in this site. Mr. MCLau®, who has helped to rewrite some of the content appeared this site. Chuck Hester® who has been helping me all along with the development of all these Nikon websites;LarsHolst Hansen, 'Hawkeye' who shares the same passion I have; Ms Rissa, Sales manager from Nikon Corporation Malaysia for granting permission to use some of the official content; TedWengelaar,Holland who has helped to provide many useful input relating to older Nikkor lenses; Some of the references on production serial numbers used in this site were extracted from Roland Vink's website; HiuraShinsaku from Nikomat Club Japan. t is also a site to remember a long lost friend on the Net. Note:certain content and images appeared in this site were either scanned from official marketing leaflets, brochures, sales manuals or publications published by Nikon over the years and/or contribution from surfers who claimed originality of their work for educational purposes. The creator of the site will not be responsible for may discrepancies arise from such dispute except rectifying them after verification."Nikon", "Nikkormat", "Nippon Kokagu KK" & "Nikkor" are registered tradename of Nikon Corporation Inc., Japan. Site made with an Apple IMac.