The newest entry in Nikon’s fantastic ongoing “The Thousand and One Nights” series focuses on the Nikon Mini AF600QD compact camera, which was known as the Nikon Lite-Touch AF elsewhere. When it launched in 1993, it was the smallest and lightest autofocus-equipped camera.
It is a fascinating camera that even had a fancy commercial in Japan, featuring the character Medama-Oyaji from the manga series GeGeGe no Kitarō, which helped increase the buzz for the camera in Japan. Ultimately, the camera was a commercial success not only in Japan but worldwide. As Nikon’s Kouichi Ohshita explains in his article, spotted by Nikon Rumors, the camera’s inspiration and history go much farther back than 1993.
When Ohshita joined Nikon, then known as Nippon Kogaku K.K., in 1985, he worked on the optical designs for Nikon’s compact cameras under the instruction of Koichi Wakamiya. Wakamiya led optical designs for early Nikon compact cameras like the Pikaichi L35AF lens and the lenses for follow-up models, the L35AD2 and L35AD3. He also worked on the lens and viewfinder for the Pikaichi Tele Excel TW2D, “a dual focal-length compact AF camera released in 1987.” Wakamiya also designed interchangeable lenses, including the AI UV-Nikkor 105mm f/4.5S and UW Nikkor 20mm f/2.8 for Nikonos underwater cameras, both of which were released in the mid-1980s. As Ohshita explains, his teacher had a rich background in optical design.
“One of the things I enjoyed most about working under Wakamiya was learning about photographic lens and viewfinder design while listening to him talk about old cameras, lenses, and telescope design,” Ohshita writes.
Their work on compact camera lenses informed the development of the Lite-Touch AF in the 1990s. After Nikon engineers hit a sort of wall with zoom lenses designed for all-in-one cameras, the team shifted gears and began work on a project to create a “true ultra-compact camera.”
Ohshita had previously been working on an ultra-thin lens design for a compact camera, but that project was ultimately scrapped, at least in part due to high development costs. So a big challenge to overcome with the Nikon Mini AF600QD (Lite-Touch AF) was finding a way to keep costs down while delivering a super-thin camera and good photographic performance.
Heading the Nikon Mini project was Hidenori Miyamoto, who worked in Nikon’s Design 5 camera design department. This group was responsible for compact cameras. Like prior compact camera projects, the Nikon Mini required the time to investigate every possible way to make the camera as small and light as possible.
“Miyamoto’s vision for the camera was simply to develop the world’s smallest compact AF camera. Being in charge of designing the optics, his vision resonated with me,” Ohshita writes. “I am also a fan of compact cameras and used the Rollei 35 and Minox as back-up cameras. A camera is useless if you don’t have it with you when you want to take a picture. Therefore, I wanted to create the ultimate compact camera that users could carry with them at all times, was not burdensome, could quickly be pulled from a bag or pocket, and captured beautiful photos with a click of the shutter. I’m sure Miyamoto felt the same.”
Ohshita recalls that Miyamoto didn’t want to make the world’s smallest camera of its type by shaving off a fraction of a millimeter and hitting a record-setting spec. He wanted users to pick up the camera and immediately feel that it was truly special. If it held the record but users didn’t notice, what good was being the world’s smallest camera?
“The concept behind the Nikon Mini set it apart from previous compact AF cameras with its focus on a compact size and light weight,” Ohshita writes.
So, how did the team do it? How was the Nikon Mini created?
The 35mm camera features a built-in 28mm f/3.5 Macro lens that sits entirely flush with the camera’s front face when not in use. It measures 108 by 62 by 32 millimeters (4.25 by 2.44 by 1.26 inches) and weighs a remarkably light 155 grams (5.5 ounces, or less than 1/12th of a Noct). The film camera features an automatic film-loading mechanism, as well as AF and AE capabilities, and even a built-in Speedlight flash. Ohshita says the camera features “a significant amount” of plastics to achieve its lightweight design.
Every aspect of the Nikon Mini’s design was very carefully considered, including the film-loading mechanism, unusual viewfinder design, and, of course, the 28mm f/3.5 lens.
Miyamoto wanted the lens to focus unusually close, and to achieve the desired minimum focusing distance, a 28mm lens would require less physical space than the more typical 35mm prime found on many cameras of the era. The minimum focusing distance was a significant consideration for the team, and ultimately, a big reason why the lens is 28mm, not 35mm.
The lens uses a triplet design, which Ohshita explains is the smallest lens structure that can still correct for all forms of aberrations, including chromatic aberration.
The full article goes into much greater detail about the Nikon Mini’s design, including its optical design, viewfinder, and autofocus system. For fans of camera and lens design, photographic history, or Nikon in general, it is a must-read. Nikon’s “The Thousand and One Nights” series is perhaps the best treasure trove of photographic product design and history anywhere online — it is an incredible resource.
“Of all the compact cameras I have designed, this model is particularly memorable,” Ohshita concludes. “I, of course, bought one and used for many years to take family photos, to carry with me on an everyday basis, and as a back-up to my SLR. It was so small and light that it was easy to carry even when I didn’t really feel like taking pictures, so the Nikon Mini was always with me. The compact size and light weight unique to this camera even made taking it along on short walks with the children possible. Its sleek, compact body expresses the passion of Miyamoto and the development team, which worked hard to create the world’s smallest and lightest camera.”
Image credits: Nikon, Kouichi Ohshita
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