Thom Hogan has been on the Web forever, it seems. He’s a pro photographer, has a background in marketing and product planning, and he also teaches, I believe. He’s been publishing very detailed user guides for Nikon cameras for ages, and his collection of Web sites (www.bythom.com; www.dslrbodies.com, www.sansmirror.com) is always an interesting read, not only for users of Nikon equipment, but also for anybody who wants to understand the market forces shaping the photo equipment industry.
A few months ago, Thom wrote a short piece about future Nikon classics (collectible cameras that are still usable and will hold their value in the future): https://dslrbodies.com/newsviews/nikon-2019-news/april-2019-nikon-canon/camera-classics/.
He has much more experience of Nikon cameras than I do, and my tastes have been – at least in part – formed by what I read in his books and Web pages over the years. So I won’t say “I’m right, he’s wrong”. Let’s be honest: if there’s such a thing as being right in photography, the odds that he is are much higher than mine. But sometimes I simply beg to differ.
Thom’s list includes some cameras that grace my personal collection, even if they’re not my preferred in Nikon’s range. The F90/N90 is extremely efficient, but a bit too automatic for me, and the F4 is really too heavy to be used anywhere but in a studio. I never used the F100 or a F5 (too modern for me – I tend to like my film cameras with a conventional user interface – you know, knobs instead of LCDs and control wheels).
Which leaves us with the last entry of his list, the FM3A.
The FM3A is an evolution of the FM2/FE2 cameras, with a dual shutter control mechanism (electronic and mechanic) – which offers the best of what the FM2 (mechanical) and the FE2 (electronic with On the Film TTL flash control) can offer. I don’t own a FM3A, but two of its direct ancestors are at the top of my list: I use my old FM relatively often – because it’s a rugged camera and I know it’s going to work no matter what. The FE2 is a peach (it oozes quality, and it’s so pleasant to use) – one of the very best film cameras ever.
You can collect “classic” cameras for their beauty and for their importance in the history of the industry or a brand, but to me, a camera I can’t use to take pictures doesn’t qualify as a classic – it’s at best a “curiosity”.
In my opinion, early digital cameras are not really usable anymore, primarily because of their very limited dynamic range and very low resolution. If I brought one to cover a photo opportunity, I would most probably end the day disappointed and frustrated for having missed what could have been a great shot because of the technical limitations of the camera. Or I would have put it back in the bag, and used an iPhone instead. That’s why there is no early digital camera in my collection.
I recognize the importance of cameras like the D1h or the D100 in the evolution towards modern digital photography, but I will not add them to my collection. On the other hand, I believe that cameras like the D3 and D3X are still perfectly usable, but because they’re so big and heavy, I would ignore them, and buy their little brother, the D700 instead. Admittedly it’s still a big and heavy camera, but its performance is still exceptional, and with it I can use all the Nikon (and Nikon-compatible) lenses I own.
Because I’ve been using Nikon cameras for so long, I find the D700 very intuitive and rewarding to use, and even today, the quality of the pictures that the 12 Mpixel sensor produces is incredible (in particular in low light or high contrast situations).
It may be too early to add a D850 to a collection of classics, but it will most probably be the last enthusiast / pro DSLR from Nikon – the future is clearly mirrorless. They may launch a D6 for the Olympic Games next year (who knows) but I doubt they will keep on developing the D800 series beyond the D850.