The F3 is an amazing camera. The F5 great is you want to have to bother with electronics (I'm faster without the electronics, but to each his own). Digital SLRs are an example of entrenched technology that doesn't make sense.
DSLR don't make sense. The mirror in film SLRs was always a compromise [1] that doesn't exist once you have a digital sensor. It was a compromise that became popular, at least in 35mm. The DSLR was a legacy format that was "professional" only because camera manufacturers would put things like big focus motors on mirrorless cameras. Market forces slowed the adoption of mirrorless and gave the SLR a reprieve to their inescapable demise.
So in a sense, ya, the F5 is greater than any D-SLR. The F5 is the pinnacle of the SLR, an excellent solution in the film domain. Digital SLRs are compromised format for a solution no longer needed.
[1] The SLR lets you see what the film will actually see. +1. The SLR has mirror shake -1, and a film plane that's far from the last lens element -1. For small "sensors" like 35mm, it (usually) wasn't that big a problem (lightweight mirrors, geometrically smaller distances between lens and focal plane). For medium format, SLRs (like Hassleblad) were neck in neck with other solutions (Rollei, Fujifilm). For large format, I don't think there was any SLR made.
DSLR don't make sense. The mirror in film SLRs was always a compromise [1] that doesn't exist once you have a digital sensor. It was a compromise that became popular, at least in 35mm. The DSLR was a legacy format that was "professional" only because camera manufacturers would put things like big focus motors on mirrorless cameras. Market forces slowed the adoption of mirrorless and gave the SLR a reprieve to their inescapable demise.
So in a sense, ya, the F5 is greater than any D-SLR. The F5 is the pinnacle of the SLR, an excellent solution in the film domain. Digital SLRs are compromised format for a solution no longer needed.
[1] The SLR lets you see what the film will actually see. +1. The SLR has mirror shake -1, and a film plane that's far from the last lens element -1. For small "sensors" like 35mm, it (usually) wasn't that big a problem (lightweight mirrors, geometrically smaller distances between lens and focal plane). For medium format, SLRs (like Hassleblad) were neck in neck with other solutions (Rollei, Fujifilm). For large format, I don't think there was any SLR made.