Our Nikon technicians are a dedicated team of specialists and can turn their hands to almost any repairs on bodies, lenses and speedlights.
Yusuf
Yusuf’s interest in computers and electronics began at an early age and he unofficially ran his school’s IT department. He completed his degree in Computer Aided Design in 1996 and became a Field Engineer, later QA engineer, for Bromcom computers. In 1999 he joined Motorola GSM Systems as a De-bug Engineer and in 2001 joined Alcatel Submarine Networks, working on their under-water fibre-optics. He joined Fixation in 2002 and until 2016 performed our IT support as well as carrying out repairs. These days he repairs Nikon film scanners and Quantum products, as well as Nikon’s mid-range and semi-pro bodies and lenses. In keeps his hand in with computers by volunteering as IT Consultant at his local library. Yusuf has a reputation within Fixation for enjoying his food, although his diet is going well. He’s a fan of Stephen Hawking, whose theories he finds fascinating and his guilty pleasure is any film starring Arnold Schwarzenegger.
Noz
Chocoholic Noz joined Fixation as a trainee in March 2002 and the first camera he ever repaired was a Nikon FM2. Two years later he had progressed to repairing Pro digital products like the D1 and D2 series and he remains the go-to technician for Nikon’s flagship cameras like the D4 and D5. He rivals Melanie as a contender for Fixation’s loudest sneezer (please guys, it’s NOT a competition!) and as well watching his beloved Arsenal, he enjoys F1, running and cycling. In fact, he has completed the annual London to Brighton 55 mile bike ride three times with a pretty impressive PB of 2 hours 43 minutes. It’s certainly one way to burn off all that chocolate.
Chris
Chelsea fan Chris was originally employed by Melanie in 2002 when she supervised the Customer Support team at Nikon UK. But having always had an interest in how things work, when an opportunity came up to join Nikon’s workshop as a trainee in 2005, Chris swapped the telephone for screwdrivers and soldering irons and hasn’t looked back. He joined Fixation in May 2012 and continues to repair Nikon pro and semi-pro cameras and lenses. Chris has a strong interest in history, particularly the engineering feats of the industrial revolution. But if you want to chill with Chris, don’t suggest a night in watching Game of Thrones – he’s very resolutely not a fan!
Joy
When Joy left college in 1982 she knew that pen-pushing was not for her and was determined to find a manual or technical career that suited her. A visit to The Job Centre introduced her to the Government’s Youth Opportunities Program, specifically a chance to train as a technician at Luton camera Repairs where she remained for years repairing multiple major brands.
She joined Fixation in November 2011 and specialises in the repair of Nikon lenses. As well as being dextrous, she’s green-fingered, plays tennis and keeps chickens. She currently has two named Ginger and Sooty, both apparently eggcellent layers!
Here’s a useful tip for Nikon users: You see this screw? This 2mm screw that can be found tucked on the side of the bayonet on all Nikkor lenses? Well, if it falls off it can cause a lot of expensive damage!
It’s designed to stop the lens from over-turning when it’s being attached to the camera, and occasionally these screws have a tendency to work loose and fall out.
A Nikkor 50mm ƒ/1.4G with the screw missing
Its actual role is to physically stop the lens from being rotated too far when being mounted. If this happens, you’ll invariably feel a horrible grinding and the aperture coupling lever will become distorted. And of course, when you realise your mistake, the lever will get bent a second time as you attempt to remove the lens. A bent lever have an adverse effect on the camera’s ability to stop the lens down correctly at the time of exposure and can also cause any other lenses to jam as you attempt to attach them.
A D7100 with a bent lever. In normal conditions, the end of the lever would be straight
Correct lens mounting
Aside from checking your lenses regularly to see if the screw is still present, another way to avoid damaging the control lever is to actually mount the lenses in the correct manner: there is no need to depress the lens release button when mounting a lens; it only needs to be depressed when removing a lens. Even if the stop screw has fallen off your lens, it is impossible to over turn the lens as it will lock into place via the release button pin. You’ll hear a click when the lens has mounted. However, the number of damaged cameras we see arriving at our workshop suggest that there are many Nikon users out there who insist on incorrectly depressing the button when mounting a lens. Just don’t!
The correct way to mount a NIkkor lens WITHOUT depressing the release lever
You’re asking for trouble if you mount your lenses this way!
Repairing a bent lever
In some cases our technicians can gently bend the lever back into shape, but they’re made of an alloy and will weaken considerably if they’re pulled around too much. In the majority of cases, the lever mechanism will need replacing and it’s quite an involved job. It’s mounted to the side of the mirror box and the camera has to be stripped down. And even though the lever is a small part, it is attached to a much larger mechanism that needs to be replaced in its entirety.
The replacement lever mechanism from a D800
It can cost upwards of £250 to replace the parts, so take a couple of minutes every month to check your lenses and keep your finger off that button!
Travel and editorial photographer Lauren MacNeish discovers small-town USA
Flying over the Grand Tetons, as the small plane began to land, was one of the most beautiful views I had ever seen. Later, I’d realise that this was only the beginning of a week filled with sights I’d only ever seen in photographs before.
On August 5th 2016. I began my journey to Jackson, Wyoming from Edinburgh airport, a mere 4,500 miles away. Boarding the first flight of three, I was filled with sheer excitement.
I had only ever seen this part of America in photographs and in movies. It’s a difficult place to imagine for a small-town Scottish girl. I guess it’s a bit like trying to explain the Scottish Highlands to someone who has spent their days in NYC. I was travelling 4500 miles, but I was going to be a world away from home.
Let me paint you a picture: arriving in Jackson Hole airport. Now when I say ‘airport’, we think Edinburgh or Heathrow, with their never-ending corridors, gates, terminals, people…! But nope, none of this at Jackson Hole. Think log cabin, but on a slightly bigger scale, seated in the shadows of the Grand Tetons. The airport itself is an attraction for someone like me.
I approached the town of Jackson Hole and I was in complete awe by this utterly parallel universe to my own. While stopped at traffic lights, a horse and carriage passed me by, followed by a guy in full cowboy attire crossing the road in front of me. Let me say, these are not sights you see in Edinburgh. Or Scotland for that matter. Or even the UK. I was overwhelmed with excitement at finally being in American country territory.
On this first day of arrival, I took a leisurely walk around the town square and watched as a country singing busker entertained a crowd – five bucks well spent. The tiredness was setting in and I was ready to lie down for the night but curiosity got the better of me as crowds began to form on the streets. The annual town shoot-out was getting underway and I knew I had to watch. When I say shoot-out, obviously I don’t mean a real one. It was actually quite enjoyable to watch, and I learned a lot of history about the town.
I spent the following day at T.A. Moulton Barn (America’s most photographed barn, apparently), which is nestled in the ‘gardens’ of the Grand Tetons. This is a tourist hot-spot and I had to wait patiently for this ‘person-free’ photograph. Ain’t got time for the clone stamp!
Bizarrely, although there were many tourists at the barn, there was a calm silence. I sort of felt like I was in the middle of nowhere – which, I guess, I kind of was.
In this digital age where we continually upload photographs on social media, it has become very easy to view photographs of some of the most magnificent sights the world has to offer. Sometimes, these photographs are so far from our realms of imagination that they become fairy tale-esque. We see these beautiful photographs and sometimes find it difficult to believe that these places really do exist. Seeing the reflections of the Grand Tetons at Schwabacher’s Landing was one of those places. I had often seen postcard-style photographs from this viewpoint, and I can’t tell you how surreal it was to physically be standing in that spot – I even look back at my own photograph and don’t think it looks real!
If you look at my landscape photography, you’ll see that I primarily focus on how light affects the shapes and textures of each scene. I am fascinated by the natural shapes that surround us, and the different textures of each landscape. I don’t use HDR or over-edit landscapes, because in a way I feel like I would be breaking some unwritten contract between photographer and Mother Nature. As a photographer, I want to take photographs of how the scenes make me feel – I want to feel connected to what I photograph, so it is important for me to stay true to the scene. I am fascinated by the natural world, and while I don’t necessarily take photographs that will look good hanging on walls, I try to take photographs that show the way light, shape and texture forever change the landscapes around us.
On one evening, just before sunset, storm clouds began to envelope the rough textures of the Grand Tetons. It was astonishing. I think the only editing I did to this photograph was reducing some shadows.
The otherworldly sights of Yellowstone are breathtaking. Watching the Old Faithful geyser erupt its hot-water in Yellowstone is one of those things I had only ever heard about – it was just amazing to witness.
It’s difficult to provide a true representation of Yellowstone over such a short period of time. But, if something is to be learnt from here then it is that: nature is a force to be reckoned with and it is still very much bigger than all of us. Richard Feynman put it better when he said: “I think nature’s imagination is so much greater than man’s, she’s never going to let us relax.”
Besides any technicalities photography-wise, my biggest difficulty when photographing a place I’ve never been to before is to try to not always romanticize it. There were things in Jackson that I did not agree with, namely: the attitude to guns and the political ideas. However, it’s the nature I fell in love. And I think that if you find nature, then beauty is not far away. I guess we always have an objective to what we photograph. We can manipulate scenes to suit the story that we are trying to tell. I suppose that’s another unwritten contract; this time between photographer and viewer. I seek the stories I wish to tell, but I try to keep it real. Photography is one of the greatest sources of expression, so a lot of what I photograph is dependent on my feeling at the time. Sometimes the ‘romanticised’ photographs are taken because that’s exactly how the scene made me feel or that’s the mood that I was in. If the ‘cons’ to a place outweighed the ‘pros’, then it would be a completely different gallery of photographs to view.
So what are these photographs? Snapshots of a trip? A depiction of a place? Romanticised landscapes? I would say, all of the above and then some.
This trip was truly incredible and if there’s one thing I am learning, it’s that: when I visit places that are so different to where I call ‘home’; my mind changes. And that’s changing everything.
You can view more of my images from this trip on my SmugMug site: laurenmacneish.com
James Morgan tells us about a recent photographic assignment that had him braving the bitter cold on the Arctic Ocean.
You can’t always tell when an assignment will turn into an adventure but my latest brief had all the right ingredients. I was set to be joining an Arctic research ship on a trip around Svalbard.
When the first day of my shoot arrives, we set off from Longyerbyen, heading north. The ship we’re on is an old prawn trawler, but it’s been kitted out for science. The landscape is incredible, I stay on deck until I can’t take the cold any more, then I go inside until I can’t take the sea sickness.
The purpose of the trip is to conduct research trawls and sampling to monitor how climate change is affecting fisheries ecosystems. With ice retreating and the potential for new fishing grounds moving further north, the Norwegian government are keen to inform their policies with as much hard science as possible.
A few days later we arrive at Ny Alesund. With claims to be the most northerly settlement on the planet, Ny Alesund was established originally as a whaling station, then later a coal mining town. It’s now an international research centre run by the Norwegian Polar Institute. A lot of the world’s leading climate scientists do stints up here.
Across the bay a network of glaciers are slowly melting. The next morning we head out by rib to get a closer look. On the way we pass an iceberg the size of a small house and as cyan blue as a chewing gum advert. Travelling over mirror flat ocean, there’s a strange optical illusion; the glacier seems to retreat further and further away until about a kilometre out where the size of it suddenly becomes apparent.
We arrive just in time to see a large shelving take place. This is where the glacier collapses into the ocean, sending waves for miles out across the fjord. It’s become the de facto image for climate change (along with the one of the polar bear stranded on the iceberg).
That afternoon we fly over the glacier to get a full sense of its size and, comparing with old data maps, the full extent of its retreat.
Later that night, the coastguard pick us up for a demonstration of how they’re policing these waters. We get in the ribs and head out to sea. We pull up alongside a navy ship, a hook is winched down from above, attached to the rib and we shoot fifty feet out of the water up to deck level.
The bridge is dark and shady figures hang around consoles. The entire ship is run off LNG as opposed to diesel and so the ocean outside glides by in an eerie silence. It feels like the future. We get a quick briefing and then we’re taken below deck to put on orange survival suits and helmets for the operation.
Then we’re back in the ribs, winched back into the ocean and blasting across the night time sea to run an inspection of a shrimp trawler. There’s no winch this end to lift the rib out of the water, instead a rope ladder is hung down. The fisheries inspectors get off first. I pack my camera into a Peli case and walk to the front of the boat. The rib pulls up alongside the trawler and I’m told to ‘commit’. I grab the ladder as the swell lifts the rib up to the ladder. The rib backs away and I’m left clinging to the ladder, the Arctic Ocean churning beneath me and a long climb up the side of the trawler.
On board, the trawler crew are bringing up the net. The fisheries inspectors tell me that the trawl would equate to about £500 for every member of crew. They’ve done four that size today. They make good money but I don’t envy them – when the excitement wears off the sea sickness will be back. And winter is coming….
You can see more of James Morgan’s work from Svalbard on his website
Unless you’ve been avoiding the photographic press for the last few months, it probably hasn’t escaped your notice that Nikon are celebrating their 100th anniversary on July 25th.
A Miniature Nikon F Camera has been produced to commemorate the 100th anniversary
Our relationship with Nikon goes way back; back to 1988 in fact, when former Nikon UK Service Manager Mike Allen started Fixation and we became an official Nikon Service Centre, looking after many of the professional photographers Mike had known from his years in the industry.
Around the same time, Jeremy Gilbert was also starting off beginning his career at Nikon, starting off in sales before moving into product management and then marketing. Today he is the Northern Europe Marketing Director for Nikon Imaging. We caught up with Jeremy to talk about Nikon and his thoughts on the industry today.
Hi Jeremy, thanks for taking the time to talk to us. Can you tell us a bit about yourself?
Thanks Tim, always a challenging question for an introvert!
As you know I’ve spent a lifetime in the photographic industry, literally starting off as a Saturday boy at Photomarkets to supplement my grant whilst at college. Following this I had a brief spell at Fox Talbot in The Strand and my final stint within retail was at City Camera Exchange managing their Bishopsgate branch before moving to Croydon. It was there that I was inspired to seek employment with a manufacturer. Nikon was already my camera brand of choice, so I wrote to their Sales Manager. My first day at Nikon was 1st September 1986 and the rest as they say is history.
Jeremy Gilbert receiving a Which? award in 2015
So when you started at Nikon, it was before digital cameras had become mainstream and the F4 was the flagship film camera. How do you think the takeover of digital has shaped photography?
When I first started the F3 was actually still the flagship Pro Camera and Nikon was about to release its first consumer Autofocus camera the F-501, so you could say I joined pre AF as well as pre digital. Digital cameras weren’t even a dream at that time, although perhaps the first indication of what the future could be were evident in a product we launched in 1988 the QV-1000c, a monochrome electronic still video camera. By today’s standards the quality of its 380,000-pixel monochrome CCD recording onto a video floppy disc was less than perfect, but it did open people’s minds to a potential future without the cost and time limitations of film. It wasn’t until seven years later we launched the £10,000+ 1.3MP Nikon E2 into the pro market, but personally I think it was the launch of the COOLPIX 900 in 1998 that convinced me it was game over for film (although I distinctly remember we all thought the transition would take much longer than it did).
The last roll of film I used was in 1999. To be frank, once the D1 was launched there wasn’t any need; the digital takeover was assured, if not complete. How’s this shaped photography? is a hard question; it certainly made photography more accessible to a much wider audience and I think it’s fair to say improved the workflow process for the majority, but what we mustn’t forget is that ‘good photography’ isn’t just about the equipment, it’s about the photographers skills behind the camera. If you consider the really iconic images taken over the last 50 years the majority were probably taken on vastly inferior equipment than we have today – what digital has done has inspired a new breed of photographers to enter the industry, helping them to push the boundaries of the art form.
We now live in an age when a single digital image can circulate the world in just a few seconds, having an immediate impact on people’s opinions and emotions – it’s been a privilege to have played a small part in that transition.
Nikon’s D1, released in 1999 was a game-changer for professional photographers
I understand you’re a keen photographer yourself; we’ve actually got one of your prints on the wall in our showroom! You must feel like a kid in a candy shop, being surrounded every day by all this amazing equipment?
Yes I do enjoy my photography and yes being able to use whatever I want is amazing, but like everyone else I do tend to stick with my favourite products which right now is the Df with either standard 50mm or the new 300mm ƒ/4, I have to say the little 300mm is probably my favourite lens of all time; simply amazing and if you haven’t used one you must give it a go as it will change your opinion forever.
Do you still shoot film at all?
No not at all…. Although I won’t say never again as, I do miss the thrill of the darkroom from time to time – I’ve actually got an unopened roll of Kodak 120 colour film from late 1930’s that I promised myself I’ll use one day, perhaps it’s time to open it?
Nikon were the first to include video capability on a DSLR with the D90 and it’s now a commonplace feature. Looking back, did you have any inkling that it would be a game changer for videographers?
We definitely knew it would be the start of something big – technologies are continually merging to offer the consumer great functionality and performance and this was one of those occasions.
There seem to be more people with cameras these days, but less people shooting professionally. Do you think digital is the reason for this?
No I don’t think this is because of digital photography per se, it’s more to do with the way we consume images and the price people are willing to pay to use an image online – sadly the price of photographs has been driven down in the market, making it harder for some to make the living they once did. Having said that, the cream will always rise to the top and we shouldn’t forget there are still a huge number of very successful photographers.
Mirrorless cameras are becoming more and more popular, and you seem to do well with the Nikon 1 system. Do you think there’s room for professional cameras to explore this route, as Sony have done with the A7 & A9 systems?
It’s always good to see new technologies enter the market; competition is what drives us to maximise our product offering.
Is there room in the market for professional mirrorless? – Yes, but as proven in the past we need to ensure that new technologies really do improve the performance, workflow and reliability for the professional. It can be some time before this becomes apparent, in the meantime as recently reported by senior Nikon executives we will concentrate our resources on medium to high-end cameras and lenses but sorry, I can’t comment on future products.
Thinking back to all the product releases you’ve been involved in, are there any products that stand out?
This award would go to two cameras the D1 and the D3.
The D1 because it was really the first true digital DSLR (not a bolt on solution); it changed the pro market forever.
The D3 because Nikon managed to break totally new grounds with low light performance. High ISO performance was significantly better than anything else on the market, it was a dream camera to work with.
If you could only use one Nikon product, which would it be and why?
Definitely the Df – it’s a product you buy with your heart, and on occasion is a challenge to use, but because of this it makes you think and take a little bit more time taking pictures, for me this helps me take a more considered photograph (I’ve never been a fan of the machine gun approach to picture taking). The cameras processing is very sympathetic creating a very natural looking file and at launch it was at the top of the DXO ratings for low light performance.
It might not be everyone’s choice, but it is mine.
Jeremy’s choice of camera, the Df is a respectful nod to old film cameras such as the FE & FM
Obviously you can’t give too much away, but can we look forward to some exciting announcements this year?
Probably the question I get asked the most, and one everyone knows I can’t answer, but consider this… Nikon is a camera manufacturer with a hundred years of experience in optics, it’s therefore fairly safe to say we will be announcing new products at some point in the near future – be patient we won’t disappoint.
To commemorate the anniversary, Nikon have produced strictly limited editions of the flagship D5 & D500 along with special versions of the popular ƒ/2.8 zooms.
A limited edition pin badge set, featuring key products from the last 100 years has also been released
To learn more about Nikon and their anniversary products, see the official website here
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Noz
Chris
Joy
