Nikon F80/N80

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1. Overview

2. Features

3. Aesthetics and Handling

4. Pros and Cons

5. Buying Advice

6. Sample Photos

7. Other Resources

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A professionally-specified camera housed in a consumer-level body

The F80 was an electronically-controlled, single-lens-reflex, 35 mm film camera introduced by Nikon in January, 2000. Sold as the N80 in the United States, it succeeded the F70 in the mid-range of Nikon’s autofocus line-up, though it appears not to have inherited its design from the camera it replaced. While it resembled the F100 (introduced in 1999 as a stripped-down F5, then Nikon’s flagship professional camera), the F80 was significantly smaller than its big brother and featured a different layout of controls. The F80 lacked the ruggedness and weatherproofing of the F100 and F5, but was comparable in shooting specifications. The camera was offered in three versions: F80, F80D (featuring date-and-time imprinting capability, branded as the N80QD in the US), and F80S (allowing imprinting of exposure information between frames). The two US versions of the camera and the F80S were available only in black. The F80 and F80D were available in black or silver. The body was constructed of polycarbonate plastic and manufactured in Thailand. The camera required two, 3 V CR123A batteries for operation. Nikon offered an optional MB-16 battery grip for the F80, which took 4 AA batteries instead (alkaline, or Li-ion). Shown above is the black version of the F80 equipped with the MB-16 and a 50 mm f/1.8D lens.

The F80 was discontinued in 2006. During its production run, it was sold alongside the F65 (at the low end), the F75 (in the mid-range), and the F100 (at the high-end) of Nikon’s portfolio of consumer-level autofocus cameras. It spanned the transition from the F5 to the F6 in Nikon’s professional line. Nikon used the F80 as the basis for the 6-megapixel D100, which was introduced in February, 2002. The chassis of the F80 was similarly adopted by Fujifilm and Kodak for their early digital SLR cameras—the FinePix S2 Pro and DCS Pro 14n, respectively.

The F80 was a fully-featured camera that included many of the capabilities that professional photographers of the era had come to expect (though not to the same rigorous specifications.) These were multi-zone autofocus (AF) with subject tracking, through-the-lens (TTL) metering (including matrix metering), exposure compensation, exposure bracketing, multiple exposures, auto ISO setting, self-timer, depth-of-field preview, dioptre adjustment, and remote release. The camera also sported a built-in flash, called a “Speedlight” by Nikon, which the F100 lacked, and a “hot” shoe. The camera did not have a mirror lock-up function. Its vertically travelling, focal plane shutter was capable of speeds ranging from 1/4000 s to 30 s, and bulb. The F80 was the first of Nikon’s cameras to offer on-demand gridlines in the viewfinder.

Exposure Modes. The F80 offered four distinct exposure modes: manual (M), aperture-preferred automatic (A), shutter-preferred automatic (S), and program (P). The F80 lacked fully automatic (AUTO) and “Vari-Program” modes—Portrait, Landscape, Close-up, Sport Continuous, and Night Scene—that were oriented towards beginner photographers and featured prominently on lower model cameras, like the F65.

Exposure modes could be selected using a large, knurled dial on the lefthand shoulder of the camera, shown above. This dial also permitted the photographer to set the film speed, either manually (from 6-6,400 ISO) or automatically using DX encoding (from 25-5000 ISO) in 1/3 stops. Also accessible via this dial was the Custom Settings Menu (CSM) which enabled the photographer to set any of 18 options (19 for the F80S) given in the table below using the “command” (rear) wheel on the righthand grip to cycle between options and the “sub-command” (front) dial to alter their values. When any combination of settings was chosen other than the defaults, the word “CUSTOM” was displayed in the LCD panel on the righthand shoulder of the camera as a reminder to the photographer to expect non-standard behaviour from the camera.

At the base of the exposure mode dial, occupying the 7-10 positions, was the shooting mode selector, which could be moved only while the shooting mode selector lock was depressed. This allowed the photographer to choose between 4 different modes of advancing the film. These were: (1) single and (2) continuous advance, i.e., one frame per depression of the shutter release button and 2.5 frames per second as long as the release remained depressed, respectively; (3) timed release of the shutter; and (4) multi-exposure, i.e., cocking of the shutter without advancing the film.

Lens Compatibility. As a testament to Nikon’s technical ingenuity and loyalty to its customers, the F80 was compatible to a greater or lesser degree with most Nikkor F-mount lenses,  stretching back to the introduction of “automatic maximum-aperture indexing” (AI) lenses in 1977. While it was designed primarily for use with G-type (“gelded”) lenses, which lacked an aperture ring, it also worked perfectly with D-type and AF-S lenses, which, like the G-type lenses, communicated with the camera body electronically. When mounted on the F80, D-type lenses had to be set to minimum aperture; in this state, aperture could be changed via the sub-command dial on the camera body, rather than by the aperture ring on the lens. The F80 focussed G- and D-type lenses by way of a screw drive within the camera body, while AF-S lenses were focussed by their own internal motors using distance information provided by the camera through electrical contacts at the 12 o’clock position inside the mount. Older, manual-focus lenses, like the AI-s and AI lenses, could also be used on the F80 in fully manual mode without metering. The electronic rangefinder worked properly with these lenses, with confirmation of focus indicated by illumination of the in-focus indicator in the viewfinder.   

Focusing. The F80 featured a sophisticated focusing system that presented photographers with a steep learning curve. This system–essentially a complex web of priority-driven behaviours–was built upon three primary focussing modes: manual, Single Servo AF, and Continuous Servo AF, selectable by a physical switch at the 4 pm position of the lens mount on the front of the camera (see figure below).

For focusing, the F80 relied upon a passive, phase-detection rangefinder called the Nikon Multi-CAM900. This module was also built into the F65 and, later, into the D70; it was less capable than the AF systems in the F100 and F5. The Multi-CAM900 featured 5 small sensors that were visible as focal areas, or brackets, arranged in the shape of a cross in the centre of the viewfinder. Only the central of these brackets was “cross-hatched,” which meant that it worked equally well with detail aligned vertically and horizontally in the frame. The other 4 sensors were sensitive unidirectionally, which meant that they sometimes failed to focus if  detail in the scene was aligned perpendicularly. Situations that were likely to confuse the CAM900 included low-contrast scenes, scenes with objects within the 5 focus zones at different distances from the camera, patterned subjects, and scenes with pronounced differences in brightness within the focus zones. To assist the rangefinder in low-light environments, the F80 was equipped with an AF assist lamp.

In either of the AF modes, focus was achieved by depressing the shutter release button partway down. When in Single Servo AF mode, also called “focus priority” mode, the F80 focussed once and held focus on that point as long as the release was held partway. The camera would not fire until focus had been achieved, even if the release were fully depressed. In Continuous Servo AF, by contrast, the F80 would focus continuously as the shutter release was held partway down and fire as soon as the button was fully depressed, whether or not focus had been achieved. This behaviour was called “release priority” because the photographer’s decision to shoot was given precedence over the camera’s ability to focus.

Nikon made much of the F80’s “autofocus tracking” capabilities. This came down to the camera being able to do two things: (1) adjust focus dynamically in response to a moving subject while in Continuous Servo AF mode, an ability called Focus Tracking; and (2) ignore brief intrusions into the view of another object that temporarily blocked sight of a moving subject, an ability called Lock On. In my experience, the autofocusing systems of the F80 and the F65 (which shares the CAM900) performed best with stationary and slowly-moving subjects in good lighting. Some of Nikon’s claims about the camera’s ability to capture fast motion may have been more driven by marketing than real-world capabilities.

In addition to Single and Continuous Servo AF modes in time, the F80 also featured Single Area and Dynamic Area AF modes in space. The photographer was able to choose between these spatial modes using a lever just to the left of the D-pad on the rear of the camera. When in Single Area AF mode, the F80 used only the focal area currently selected by the photographer to achieve focus. (Selection was via a D-pad located on the rear of the body; see figure below.) When in Dynamic Area AF mode, by contrast, the F80 began to focus on the subject beneath the currently-selected focal area, but could shift focus, as long as the shutter release were halfway depressed, if the subject were in motion. Under CSM #9 and #10, the photographer was able to control how the F80 responded to “closest-subject priority” while in Dynamic Area AF mode. Closest-subject priority meant that the F80 always selected the focal area with the shortest camera-to-subject distance as the starting point for achieving focus, without any indication in the viewfinder to alert the photographer which area had been used.

I am indebted to Nikon guru Thom Hogan for everything I know about the F80’s focusing system. I have presented here in short what he covers in detail in his excellent e-book Thom Hogan’s Complete Guide to the Nikon N80, which I recommend heartily. If there are errors in this section, I claim them exclusively as my own. The following table is excerpted from Thom’s guide, which I can no longer find online. It summarizes the matrix of behaviours created by the the temporal and spatial autofocusing modes of the F80.

The F80 worked best in AF mode with a compatible lens, but it could also be used in manual focusing mode with older lenses and in situations where the AF system did not work reliably. Under manual focusing, the rangefinder was still active and the camera would indicate accurate focus under the selected focal area by illumination of the in-focus indicator, visible as a green dot at the bottom left of the viewfinder.

If you’re deciding between buying the F80 or the F65, it’s worth pointing out that while the cameras share the same rangefinder they differ significantly in the functionality exposed to the photographer. In contrast to the F80, the F65 had only a single, user-selectable autofocusing mode. When in AF mode, the F65 switched automatically between Single Servo AF and Continuous Servo AF, depending on whether the subject was still or moving, respectively; if a subject initially at rest began to move after focus was achieved, the camera would deactivate the focus lock and transition to Continuous Servo AF automatically. Regardless of whether the subject was moving, or still, the shutter could only be released when the the camera had achieved focus, i.e., unlike the F80, the F65 was exclusively a “focus priority” camera. This meant that, when in AF mode, the F65 was incapable of taking photos that were out of focus. It also meant that a shot could be missed altogether–and many were–because the camera was incapable of achieving focus in that particular instance. In terms of the level of AF control afforded the photographer, the F80 is certainly the more professional of the two cameras.

Metering. The F80 exposed three possible metering modes to the photographer—matrix, centre-weighted, and spot—that could be selected via a knurled wheel with heavy detentes at the rear of the camera to the right of the eyepiece. In the centre of this wheel was the auto-exposure/autofocus lock button that allowed the photographer to fix exposure and focus before recomposing. (Left eye shooters may find the location of this control a little inconvenient.)

The F80 featured ten-segment matrix metering (while the F65 had only six). When a CPU-equipped lens (G-type, D-type, or AF-S) was mounted, 3D matrix metering was activated, which meant that the camera took into account distance information in addition to brightness and contrast when determining exposure. In centre-weighted mode, the camera favoured properly exposing the centre of the scene (a little smaller than the circle visible in the viewfinder, approximately 13% of the area of the scene) in a 75:25 ratio. This was more heavily weighted in favour of the centre than is typical for Nikon cameras of the past, which usually featured 60:40 metering. In spot mode, the F80 measured the light falling only on the central 4% of the frame.

Weighing 515 g without batteries and measuring approximately 142 × 99 × 71 mm, the F80 is a reasonably compact and lightweight camera with fantastic ergonomics. It is larger and heavier than the F65; smaller and lighter than the F100 (see comparison below). Its placement of buttons and dials is very well considered, and though it is made of inexpensive polycarbonate, the camera has excellent fit and finish and feels good in the hand. In no way does it feel “cheap,” but its construction is noticeably less robust than that of the F100. The battery compartment doubles as a pronounced right-hand grip (branded with Ferrari red stripe), which makes the camera easy to hold, and the on-off switch is incorporated into the shutter release; this allows the photographer to activate the camera without taking his eye from the viewfinder. Control of exposure compensation, focus zone, depth-of-field preview, and aperture/shutter speed are also easily achieved (takes practice!) without looking away from the viewfinder. The command. sub-command, and exposure mode selection dials are large, knurled for easy rotation, and have positive, clicky detents, which keep them reliably in the selected position.

The viewfinder contains all the essential shooting information illuminated in green text that is easy to read under most lighting conditions. The LCD panel on the camera’s right shoulder is large, information rich, and legible. It is always very easy to tell immediately what “state” the camera is in.

The F80 speaks the same design language as the F65. It breaks away from the chunky, aggressive styling of Nikon’s consumer offerings in the late 80s and 90s.

Pros

• Excellent value for money on the used market. Hard to beat, really.

• Compact and lightweight with excellent ergonomics; very well considered placement of buttons and dials.

• Though constructed of inexpensive materials, the F80 has excellent fit and finish. It feels well made in the hand.

• Pleasing aesthetics.

• Dead simple and reliable film loading, with automatic advancing and rewinding.

• Large, informative LCD panel on the camera’s right shoulder and an information-rich viewfinder, with bright, clearly-legible text. This LCD panel can be illuminated for viewing in the dark, which is a very nice touch.

• Wide lens compatibility (with caveats).

• Accurate metering, giving perfect exposures every time.

• Bright viewfinder with reasonable coverage (92%) and magnification (0.75x with 50 mm lens set to infinity at -1.0 m-1 dioptre)

• Threaded shutter release button for old-school cables

Cons

• Lack of a split-ring and micro-prism collar on the focussing screen. This makes it more difficult to focus the F80 manually. It is designed to be used primarily in AF mode with fully compatible lenses.

• Reliance on CR123A batteries, which are more expensive and not as widely available as AA. The optional battery grip solves this problem, but does not come with a shutter release button for shooting in portrait mode. The optional grip, which I have found to be an excellent addition to my F80, is also an extra expense and a little tricky to find on the used market.

• Lack of metering with older, manual focus lenses.

• Autofocusing system may “hunt,” even in moderately lit conditions. Horizontal focusing in the left and right focusing areas is a little weak.

• Lack of weather sealing.

• Lack of dedicated mirror lock-up and eyepiece blind.

The F80 was introduced when the camera industry was on the cusp of the transition to digital imaging. It incorporated features that reflected half a century of research and development into 35 mm film photography by the world’s pre-eminent SLR manufacturer. In this context, it provides excellent value for money on the used market, where it can be had routinely for approximately $100 in great condition. That being said, the earliest production models are now over 20 years old and, as is the case for most aging electronic devices, can no longer be repaired when something inevitably goes wrong. So, there is a degree of risk in buying an F80, but given the camera’s modest cost, it may be a risk worth taking if you prefer an autofocusing, professionally-specified camera with all the features you have come to expect from your modern DSLR (and with which you can share lenses! See below.)

These photographs were exposed on Kodak Pro-image 100 using the Nikon F80 mounted with the AF Nikon 35-70 mm f/3.3-4.5 kit lens, which I found to be very capable in well-lit conditions.

• Thom Hogan’s brief review of the Nikon F80

• Nikon F80 Wikipedia page

• Nikon F80 instruction manual

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