Even though we ARE Nikon lovers,we are NOT affiliated with Nikon Corp. in any way.

English German French

Sign up Login
Home Forums Articles Galleries Recent Photos Contest Help Search News Workshops Shop Upgrade Membership Recommended
All members Wiki Contests Vouchers Apps Newsletter THE NIKONIAN™ Magazines Podcasts Fundraising

Singapore, SG
93 posts

Click to send email to this author Click to send private message to this author
yangchen Registered since 23rd Oct 2006
Mon 23-Oct-06 03:15 PM

Hello folks,

Back in 2002, I took my dad's FM2 on an expedition to the mountains. It was my first encounter with an SLR. After having bashed it many times on the rocks and dropping it into the river twice, it continued to give me spectacular shots (where I chanced on the right aperture and shutter speed).

After that expedition, film shooting became too expensive for me. Then began the anti-photography period when my doctrine changed to one of experiencing the moment rather than recording it through the claustrophobic viewfinder of a camera.

However, it dawned on me after some time that it was a joy to see beautiful things but a greater joy to preserve them and to share them with others. This was when, dictated by my outdoor exploits as a jobless biologist, I procured a weatherproof 3mp pocket camera at a sale. I figured that 3 megapixels point-and-shoot was enough (which I realise now to be partly right, partly wrong). I even managed to shoot a 10-day volcano expedition well enough to give an interesting slideshow at my adventure club. However, I became increasingly dissatisfied as the shortcomings of a compact camera made themselves felt one by one. You not only look strange holding a small rectangular gadget out in front of you but also can't get something decent out of it when you desperately need it to.

Then I heard of the D50. The enthusiasts were raving about it, public buses all over Singapore were painted with full frame pictures of it, and the reviews were full of praise for the value for money. It was the obvious choice after I convinced myself that I could ignore the child mode (and the other scene modes) or imagine that it was meant to shoot unpredictable wild animals. The resurrection of the SLR had come.

All this while I had brief acquaintances with the D200 in related reviews and brochures. There was something profound in that camera which drew attention, but each time I passed it off as unattainable and undeserved for such a novice as I was. The D50 was more than enough for me to handle, wasn't it.

One night, I had a dream. This is true. I dreamt that I was using a D50, and I also had a D200 new in its box in the cupboard. I decided to take out the D200 and use it. The feeling, even in my groggy dream, was one of power. The power to have the camera listen to your every command and execute it instantaneously, no matter how demanding. You are in charge and responsible for everything, not the camera. It was a quantum leap.

It took a week or two for that dream to develop its full impact and for me to double check all the reviews. Then I walked into the shop and said, 'I want the D200'. It was the very last piece.

The legendary FM2 left an indelible impression in my mind. One of the capability to deliver the most intense artistic and spiritual revelations where others fail. I read both Nikon and Canon reviews. I am not saying which is good or bad, I am just saying that Nikon feels like a camera I would take out to Everest to shoot National Geographic, not a collection of high megapixel counts and full-frame CMOS sensors and other high-end specs with Ni-MH batteries. Alas this is subjective; everyone has explained it thousands of times that camera doesn't matter. Except when something fails at 8000m.

I am indebted to certain online sources, including Nikonians, for bringing me up to speed faster than I can manage. Regrettably, it will be a while before I can contribute something substantial. In the days ahead I intend to take the D200 to its limits.