Most of us that have been around film photography for a long time know the Nikon Nikonos underwater camera. It was always a bit of a mysterious camera, reserved for fantastic journeys into the great depths of the oceans. These days, Nikonos cameras seem to be more of a curiosity of the past.
Sadly, these were precision-engineered machines, using multiple O-rings to seal off things like the shutter speed dial, flash port, and Rewind crank. Unfortunately, 40+ year-old rubber has degraded to the point it’s no longer a seal, so most Nikonos cameras will flood and fail without service. The only Nikonos that’s still easily serviceable is the Nikonos V, so older versions are a bit of a gamble.
Knowing full well that the water seals may not work, why would I bother with a Nikonos? Well honestly, this was one of the most exotic cameras around when I was growing up, the Nikonos I – III are quite nice looking and durable cameras, and they are an important piece of history that is vanishing. In addition, the standard Nikon W-Nikkor 35mm f/2.5 lens is basically the same design as the classic Nikon rangefinder lens (even using the same name). The Nikonos III also sports a large bright viewfinder with framing lines for the 35mm f/2.5 and 80mm f/4 lenses. With the exception of a rangefinder focusing aid, It’s functionally a ruggedized Nikon SP on a much smaller budget.
I have shot the Nikonos II a few times with faster film and zone focusing with decent results on the 35mm lens and as expected, pretty bad results on the 80mm lens. I sat the camera aside, disappointed that I couldn’t see its true potential. Recently, I decided I needed to either sell it or finally take a chance on an auxiliary rangefinder to actually get in-focus images (especially with the 80mm lens). I was able to snag an old TELEX Special that just needed a good cleaning and a quick alignment.
The Nikonos II and TELEX make a surprisingly good combo. It’s not too bad using an uncoupled rangefinder and my fear that I wouldn’t be able to pick the exact focus between marked distances was pretty unfounded. It’s not perfect at larger apertures, but no worse than the missed focus I get on other cameras.
The only real downside is the internal distance scale on the TELEX Special (ironically billed as an upgrade over the standard as it’s more accurate with finer-scale markings). It just isn’t very visible in lower light. The lenses have a magnificent old school feel and the 80mm f/4 is especially unique, as it is a 4-element Tessar-type lens that would commonly be seen on a 1950s 6×6 TLR rather than any 35mm camera.
I am happy with this setup and perhaps it may warrant a full length review in the future.
Submit your 5 Frames... today
Get your own 5 Frames featured by submitting your article using this form or by sending an email via the contact link at the top of the page.
Share your knowledge, story or project
The transfer of knowledge across the film photography community is the heart of EMULSIVE. You can add your support by contributing your thoughts, work, experiences and ideas to inspire the hundreds of thousands of people who read these pages each month. Check out the submission guide here.
If you like what you're reading you can also help this passion project by heading over to the EMULSIVE Patreon page and contributing as little as a dollar a month. There's also print and apparel over at Society 6, currently showcasing over two dozen t-shirt designs and over a dozen unique photographs available for purchase.