Photography Digest

The overall look of the D5100 seems to indication the knowing Nikons renew of its non-pro DSLR choice. Its function set and costs mean that it places very definitely between the beginner-friendly D3100 and the high-end D7000 - it's clearly targeted to entice the attention of fan camcorders lovers without cannibalizing earnings of is sis designs. A dslr dslr digital camera manufacturer can assess the achievements of its industry placement by seeing how many individuals are considering 'which design is right for me?' on conversation boards - and we think a D3100/D5100/D7000 development would reduce such issues. The formal extensive range is that the D90 preserves its place in the extensive range, but both its manufacturers and overlap with other designs recommend that its element is now more one of conventional attention than upcoming importance.

The D5100 has a very similar 16.2MP CMOS indication to the amazing one seen in the D7000 but, normally, drops out on that online digital camera's high-end make and feature-set. So there's no wifi display management, vitamin nutrient mineral magnesium metal make or 39-point AF program but the actual picture amazing is all but similar.

As has become conventional for a Nikon at this cost, the D5100 provides just one management modify, pentamirror viewfinder and no built-in auto-focus web page. However, it earnings 1080p movie ability (at 30, 25 or 24fps), stored using the effective H.264/AVC codec, and a 920,000 dot definitely articulated LCD board to help capture it. These are both considerable earnings over its forerunner the D5000, and the upgrades enhance to the D5100 having little, more clean development and a more conventional side-mounted mixed for that LCD.

These changes handle two rather distressing factors of Nikon's existing lineup: if the D5100 and D7000 end up being nearby designs it will prevent the inelegant overlap that ongoing between the D5000 and D90. It also guarantees a more stylish overall look to the designs themselves (the D5000 was many factors, but quite wasn't one of them).

Although the D5100 is particular as having an Expeed 2 processer, it's value keeping in ideas that Nikon doesn't use this manufacturers program to indicate any particular elements, so the actual sections of plastic and abilities aren't actually the same as those in the D3100 or D7000. However, moreover to a in the same way specced 16.2MP indication, the D5100 provides the same ISO alternatives as its big sibling - enhancing up to an comparative of ISO 25,600. It also gets 14-bit Raw getting - one of the factors that allows provide the D7000 its amazing extremely effective extensive range - which is something Nikon used to provide only on its more costly designs.

Side by side

The D5100 is a bit little than the Insurgent T3i/EOS 600D - probably its closest opposition. Both are a little bit bigger than the Panasonic Lumix DMC-G2, which is designed around less scaly indication, and of course does not have an visual viewfinder set up (instead using a top amazing digital finder). Comfort, the G2 is the most 'involved', and has the most actual management factors and a touch-sensitive LCD display, but overall the three digital cameras are actually quite similar.

Nikon D5100 Key Features

• 16.2 megapixel DX-format CMOS sensor
• Side-articulated 3.0" LCD monitor (920,000 dots)
• 11 AF points (with 3D tracking)
• IS0 100-6400 range (Up to 25,600 equivalent when expanded)
• HD movies (1080p, 720p or WVGA)
• 4 fps continuous shooting
• In-camera effects filters in both stills and video modes

Compared to D5000

The D5100 is a smaller and (we think) more attractive camera than its predecessor the D5000. It is less bulbous, and closer to the D3100 and D7000 in terms of styling. The most significant design difference is the addition of a side-hinging LCD screen in the D5100, as opposed to the bulkier (and more awkward) bottom-hinged LCD used in the D5000.

Key Differences

• Higher resolution sensor (16.2MP vs. 14MP)
• 1080p video mode
• Wider ISO range (100-25,600 equivalent)
• Full-time AF mode (AF-F in live view)
• Dual IR receivers (front and rear)
• Side-articulated LCD screen (as opposed to bottom-articulated)
• 921k dot LCD screen
• 14-bit NEF (Raw) mode
• Effects modes

Compared to the D3100 and D5000: major feature and specification differences

As you can see from the table below the D5100's specification is a significant advance over its predecessor, and substantially in advance of its little brother the D3100.

	Nikon D3100	Nikon 5100	Nikon D5000
Sensor	� 14.2 million effective pixels  � 23.1 x 15.4 mm CMOS (DX format)	� 16.2 million effective pixels  � 23.6 x 15.6 mm CMOS (DX format)	� 12.3 million effective pixels  � 23.6 x 15.8 mm CMOS (DX format)
Image sizes	� 4608 x 3072 (14.2 MP)  � 3456 x 2304  � 2304 x 1536	� 4928 x 3264 (16.2MP)  � 3696 x 2448  � 2464 x 1632	� 4288 x 2848 (12 MP)  � 3216 x 2136  � 2144 x 1424
Movie mode	� 1080p24  � 720p30/25/24  � 424p24	� 1080p30/25/24  � 720p30/25/24  � 424p30/24	� 720p24
Sensor cleaning	� Image Sensor Cleaning  � Airflow control system  � Image Dust Off reference data (optional Capture NX 2 software required)	� Image Sensor Cleaning  � Airflow control system  � Image Dust Off reference data (optional Capture NX 2 software required)	� Image Sensor Cleaning  � Airflow control system  � Image Dust Off reference data (optional Capture NX 2 software required)
AF drive mode	� AF-A  � AF-S  � AF-C  � MF  � AF-F (Live view only)	� AF-A  � AF-S  � AF-C  � MF  � AF-F (Live view only)	� AF-A  � AF-S  � AF-C  � MF
Sensitivity	� ISO 100 - 3200  � To ISO 12800 with boost	� ISO 100 - 6400  � To ISO 25600 with boost	� ISO 200 - 3200  � ISO 100-6400 with boost
Continuous	� 3 fps	� 4 fps  � 100 / 16 frames    (Fine JPEG / RAW)	� 4 fps  � 63 / 11 frames    (Fine JPEG / RAW)
AE bracketing	No	Yes	Yes
Viewfinder magnification	� 0.8x	� 0.78x	� 0.78x
Viewfinder Frame coverage	� Approx. 95%	� Approx. 95%	� Approx. 95%
LCD monitor	� 3.0" TFT LCD  � 230,000 pixel TFT	� 3.0" TFT LCD  � 921,000 pixel TFT  � Articulated	� 2.7" TFT LCD  � 230,000 pixel TFT  � Articulated
Dimensions	124 x 96 x 74.5 mm (4.9 x 3.7 x 3.0 in)	128 x 97 x 79 mm (5.0 x 3.8 x 3.1in)	127 x 104 x 80 mm (5.0 x 4.1 x 3.1 in)
Weight	� No battery: 455g (1.0 lb)  � With battery: 505g (1.1 lb)	� No battery: 510g (1.1 lb)  � With battery: 560g (1.2 lb.)	� No battery: 560g (1.2 lb.)  � With battery: 611g (1.3 lb.)
Image processing engine	� Expeed 2  � 12 bit	� Expeed 2  � 14 bit	� Expeed  � 12 bit
Active D-lighting	On/Off	Auto, Extra high, High, Normal, Low, or Off	Auto, Extra high, High, Normal, Low, or Off
In-camera retouching	� D-Lighting  � Red-eye reduction  � Trimming  � Monochrome & filter  effects  � Color balance  � Small picture  � Image overlay  � NEF (RAW) processing  � Quick retouch  � Straighten  � Distortion control  � Fisheye  � Color outline  � Perspective control  � Miniature effect  � Edit movie	� D-Lighting  � Red-eye reduction  � Trimming  � Monochrome & filter effects  � Color balance  � Image overlay  � NEF (RAW) processing  � Resize  � Quick retouch  � Straighten  � Distortion control  � Fisheye  � Color outline  � Color sketch  � Perspective control  � Miniature effect  � Selective Color  � Edit movie  � Side-by-side comparison	� D-Lighting  � Red-eye reduction  � Trimming  � Monochrome & filter effects  � Color balance  � Small picture  � Image overlay  � NEF (RAW) processing  � Quick retouch  � Straighten  � Distortion control  � Fisheye  � Color outline  � Perspective contro

Original Article:www.dpreview.com

Nikon D7000 Key Features

• 16.2MP CMOS sensor
• 1080p HD video recording with mic jack for external microphone
• ISO 100-6400 (plus H1 and H2 equivalent to ISO 12,800/25,600)
• 39-point AF system with 3D tracking
• New 2016 pixel metering sensor
• Scene Recognition System (see 2016 pixel sensor, above) aids WB/metering + focus accuracy
• Twin SD card slots
• 3.0 inch 921k dot LCD screen
• New Live View/movie shooting switch
• Full-time AF in Live View/movie modes
• Up to 6fps continuous shooting
• Lockable drive mode dial
• Built-in intervalometer
• Electronic virtual horizon
• Shutter tested to 150K actuations

Positioned alongside the D90 and D300S, the D7000 is clearly a lot closer to the former than the latter in terms of its size and control layout. The similarities between the D90 and D7000 don't run much deeper than the surface level though - where specifications are concerned, on paper, the D7000 at least matches and frequently surpasses the abilities of the D300S in several key areas.

Nikon D7000 and Nikon D90: Key differences

The D7000 sits above the D90 in Nikon's current lineup, and as befits its new position in the range, the D7000 combines elements of the D90 with elements of the D300S - Nikon's current APS-C flagship. The most obvious physical clue to its new position is a magnesium alloy body shell, which up to now has been reserved for Nikon's top-end APS-C and full frame cameras.
'Under the hood' though the differences are legion - a new 16.2MP CMOS sensor, dual card slots, a new 39-point AF array, 'true' HD movie mode with full-time AF and more customization options, some of which are inherited from Nikon's professional DSLRs. Like the D90, the D7000 supports AF with Nikon's older AF and AF-D lenses (lower-end models are limited to compatibility with AF-S and AF-I optics only) but additionally, because the D7000 has an Ai indexing tab on its lens mount, up to 9 'non-CPU' lenses can also be registered with the camera.
This allows the use of virtually any Ai specification or later lens to be used in aperture priority or manual mode with the D7000, with almost no loss of functionality (apart from AF). Novice DSLR users might never look beyond the horizons offered by their kit lenses, but for the enthusiast, legacy support like this could well be a deal-clincher.

The overall dimensions of the D7000 are very similar to the older D90, but the heavier, magnesium alloy body shell and thicker rubber on the hand grip lend it a noticeably more 'serious' feel.

• Higher resolution sensor (16.2MP vs. 12.3MP)
• Choice of 12-bit or 14-bit NEF (RAW)
• 1080p HD movie mode
• Limited movie editing functionality
• AF possible during video shooting
• Live View switch (basically the same as D3100)
• Faster AF in live view mode.
• Twin SD card slots
• Non-CPU lens data function (allows registration of up to 9 non-G lenses with manual apertures)
• Magnesium alloy body shell
• Wider ISO span (100-25,600 including 'H1' and 'H2')
• Newly developed 39-point AF system
• 'Quiet' single frame advance mode
• 'Proper' mirror lock-up (as distinct from 'exposure delay mode')
• Lockable drive mode dial
• Higher maximum frame rate (6fps) with a Continuous Lo shooting option (1-5fps)
• 100% viewfinder
• Choice of 12-bit or 14-bit NEF (RAW) recording in compressed or lossless compressed formats
• Up to 9 'non-CPU' lenses can be registered (same as D300s/D3s/D3X)
• New EN-EL15 lithium-ion battery
• New MB-D11 battery pack (magnesium alloy construction)
  
  

  Ergonomically, the D7000 and D90 are quite similar, and as you can see from this view of the back of the two cameras, in terms of its control layout, the D7000 is very close to the D90. Some controls have changed slightly (the D90's 'Lv' button becomes a spring-loaded switch for example) but the number of control points is the same and everything is basically in the same place.

Compared to the D90 and D300S: core feature and specification differences

	Nikon D7000	Nikon D90	Nikon D300S
Construction	Magnesium alloy body	Polycarbonate	Magnesium alloy body
Sensor	� 23.6 x 15.6 mm CMOS sensor � RGB color filter array � Built-in fixed low-pass filter (with self-cleaning unit) � 16.2 million effective pixels � RGB Color Filter Array � 14-bit A/D converter	� 23.6 x 15.8 mm CMOS sensor � RGB color filter array � Built-in fixed low-pass filter (with self-cleaning unit) � 12.3 million effective pixels � RGB Color Filter Array � 12-bit A/D converter	� 23.6 x 15.8 mm CMOS sensor � RGB color filter array � Built-in fixed low-pass filter (with self-cleaning unit) � 12.3 million effective pixels � RGB Color Filter Array � 14-bit A/D converter
ISO range	� Auto ISO (100-Hi2) � ISO 100-6400 in 0.3 or 1.0 EV increments � H1 and H2 (ISO 12800 and 25600) expansion � Adjustable Auto ISO limit	� Auto ISO (400-H1) � ISO 200 -3200 in 0.3 or 1.0 EV increments � L1 (ISO 100) and H1 (ISO 6400) expansion � Adjustable Auto ISO limit	� Auto ISO (400-H1) � ISO 200 -3200 in 0.3 or 1.0 EV increments � L1 (ISO 100) and H1 (ISO 6400) expansion � Adjustable Auto ISO limit
Movie resolution*	� 1920 x 1080p (24fps) � 1280 x 720p (30, 25, 24fps) � 640 x 424p (30, 25fps)	� 1280 x 720p (24 fps) � 640 x 424p (24 fps) � 320 x 216p (24 fps)	� 1280 x 720p (24 fps) � 640 x 424p (24 fps) � 320 x 216p (24 fps)
AF sensor	� 39 AF points � 9 cross-type sensors	� 11 AF points � 1 cross-type sensor	� 51 focus points � 15 cross-type sensors
Metering sensor	� TTL exposure metering using 2016-pixel RGB sensor � Metering range: EV 0 - 20 EV	� TTL exposure metering using 403-pixel RGB sensor � Metering range: EV 0 - 20 EV	� TTL exposure metering using 1005-pixel RGB sensor � Metering range: EV 0 - 20 EV
Viewfinder	� Eye-level pentaprism � 100% frame coverage � Magnification: 0.94x � Eyepoint: 19.5 mm � Type B BriteView Clear Matte screen Mark II with AF area brackets � Built-in diopter adjustment (-3 to +1.0m-1)	� Eye-level pentaprism � 96% (horizontal and vertical) frame coverage � Magnification: 0.94x � Eyepoint: 19.5 mm � B-type BrightView Clear Matte Screen II with AF area brackets � Built-in diopter adjustment (-2 to +1m-1)	� Eye-level pentaprism � 100% frame coverage � Magnification: 0.94x � Eyepoint: 19.5 mm � B-type BrightView Clear Matte Screen II with AF area brackets � Built-in diopter adjustment (-2 to +1m-1)
Continuous shooting rate	� Approx 6 fps max	� Approx 4.5 fps max	� Up to approx 8fps with AC adapter or MB-D10 pack and batteries other than EN-EL3e
Memory format	� SD/SDHC/SDXC (dual slots)	� SD/SDHC	� Compact Flash (type I and UDMA) (dual SD/CF slots)
Dimensions	Approx 132 x 105 x 77mm (5.2 x 4.1 x 3.0in)	Approx 132 x 103 x 77 mm (5.2 x 4.1 x 3.0 in.)	Approx 147 x 114 x 74 mm (5.8 x 4.5 x 2.9 in)
Weight (inc battery)	780 g (1.7 lb.)	704 g (1.5 lb.)	918 g (2.2 lb.)

Original Article:www.dpreview.com

Nikon has designed a addiction of developing very eye-catching entry-level DSLRs, which are hardly ever the best specified but wisely designed so that they're easy and pleasant to catch with. The D3000 fixed this routine completely, a soothing renew of the D60 (which was itself a a little bit modified D40X), it included ease-of-use functions to create it a pleasant little photographic camera to use, despite a requirements that was starting to look rather out-of-step with the relax of the industry.

The D3000 marketed well, despite its rather outdated 10 mega-pixel indicator and deficiency of both stay perspective and film. However, there's only such a lengthy time that brilliant item style and function incorporation can create up for a requirements that looks old. So with this in mind, Nikon has declared the D3100 - probably the greatest renew of its entry-level providing since it really assaulted the low end industry with the unique D40.

The D3100 is designed around a 14.2 mega-pixel CMOS indicator, providing not only stay perspective but also Full HD film catch to Nikon's entry-level design for once. In fact, this created it the first Nikon DSLR to provide 1920x1080 film producing. It can only history segments up to about ten minutes lengthy (due to a 4Gb highest possible quality restriction distributed by all DSLRs), but this still matters as an amazing function addition at this stage.

The body gets a minor renew from a primary style that basically goes back four years to the D40, getting an extra option to the left of the display, a drive function change at the platform of the function change, a jumped handle to interact with stay perspective and a immediate history film option. Modifications have also been created to the feature-teaching, hand-holding 'Guide Mode', and an additional auto-focus function that's designed to allow better concentrating in stay perspective and auto-focus during film capturing.

All of this contributes up to a DSLR that features all of 2010's 'must have' functions but looks like the item of development, rather than extraordinary advancement. And 2010 has been a year during which the relax of the industry hasn't devloped along such foreseen collections, not least during the development of the large indicator, mirrorless interchangable contacts photographic camera audience.

Camera creators always try to stress that mirrorless camcorders are developing an entirely new industry, rather than competitive with entry-level DSLRs, but it's pretty clear that many people planning to update from their point-and-shoot lightweight will consider both types of photographic camera when developing their decision. So, while the D3100 is definitely a DSLR (in an occasion where the line between DSLRs and mirrorless camcorders is becoming progressively hazy), its beginner-friendly information function places it directly in competitors with several of the mirrorless designs that are similarly desperate to welcome point-and-shoot upgraders.

Many of these camcorders, such as Sony's NEX-3 and 5, Olympus' E-PL1 and Panasonic's GF2, provide in the same way available connections in less sized, competitively-priced provides. They also, by eshewing the traditional DSLR style, are able to provide a capturing experience that is much nearer to that of a lightweight photographic camera - which even the best DSLR stay perspective execution can't easily simulate presently.

So, while the D3100 provides an enhanced function set in comparison to a photographic camera we really liked, it continues to be to be seen whether these improvements will be enough to create it take a position out as well as its forerunner did.

Nikon D3100 Key Features

• 14.2 megapixel DX-format CMOS sensor
• 3.0" LCD monitor (230,000 dots)
• Image sensor cleaning (sensor shake)
• 11 AF points (with 3D tracking)
• IS0 100-3200 range (12,800 expanded)
• HD movies (1080p, 720p or WVGA)

Nikon D3100 vs D3000: Key Differences

The D3100 substantially refreshes the D3000, taking a rather outdated-looking specification and turning it into one of the most competitive in its sector.

• Higher resolution sensor (14.2MP vs. 10MP)
• Ability to shoot Raw + Fine JPEG
• Socket for connecting Nikon GP1 GPS unit
• Optional wired remote via GPS socket
• No wireless remote option
• Live view
• 1080p HD movies
• HDMI output
• Wider ISO range
• Full-time AF mode (AF-F in live view)
• Revised focus screen (different AF point illumination)

Compared to the Nikon D3000 and D5000: major feature and specification differences

As you can see from the table below the D3100's specification not only exceeds that of its predecessor, but also in some respects that of its more expensive bigger brother.

	Nikon D3100	Nikon D3000	Nikon D5000
Sensor	� 14.2 million effective pixels � 23.1 x 15.4 mm CMOS (DX format)	� 10.2 million effective pixels � 23.6 x 15.8 mm CCD (DX format)	� 12.3 million effective pixels � 23.6 x 15.8 mm CMOS (DX format)
Image sizes	� 4608 x 3072 (14.2 MP) � 3456 x 2304 � 2304 x 1536	� 3872 x 2592 (10.0 MP) � 2896 x 1944 � 1936 x 1296	� 4288 x 2848 (12 MP) � 3216 x 2136 � 2144 x 1424
Movie mode	Yes 1080p24 720p30/25/24 424p24	No	Yes 720p24
Live View	Yes	No	Yes
Sensor cleaning	� Image Sensor Cleaning � Airflow control system � Image Dust Off reference data (optional Capture NX 2 software required)	� Image Sensor Cleaning � Airflow control system � Image Dust Off reference data (optional Capture NX 2 software required)	� Image Sensor Cleaning � Airflow control system � Image Dust Off reference data (optional Capture NX 2 software required)
Autofocus	� 11 area TTL � Nikon Multi-CAM1000	� 11 area TTL � Nikon Multi-CAM1000	� 11 area TTL � Nikon Multi-CAM1000
In-body focus motor	� No	� No	� No
AF area modes	� Single point � Dynamic area � Auto area � 3D Tracking (11-points)	� Single point � Dynamic area � Auto area � 3D Tracking (11-points)	� Single point � Dynamic area � Auto area � 3D Tracking (11-points)
AF drive mode	� AF-A � AF-S � AF-C � MF � AF-F (Live view only)	� AF-A � AF-S � AF-C � MF	� AF-A � AF-S � AF-C � MF
Live view AF modes	� Face priority � Wide area � Normal area � Subject tracking	N/A	� Face priority � Wide area � Normal area � Subject tracking
Sensitivity	� ISO 100 - 3200 � To ISO 12800 with boost	� ISO 100 - 1600 � To ISO 3200 with boost	� ISO 200 - 3200 � ISO 100-6400 with boost
Continuous	� 3 fps	� 3 fps � 25 / 7 frames (Fine JPEG / RAW)	� 4 fps � 63 / 11 frames (Fine JPEG / RAW)
Viewfinder magnification	� 0.8x	� 0.8x	� 0.78x
Viewfinder Frame coverage	� Approx. 95%	� Approx. 95%	� Approx. 95%
LCD monitor	� 3.0" TFT LCD � 230,000 pixel TFT	� 3.0" TFT LCD � 230,000 pixel TFT	� 2.7" TFT LCD � 230,000 pixel TFT � Articulated
Dimensions	124 x 96 x 74.5 mm (4.9 x 3.7 x 3.0 in)	126 x 94 x 64 mm (5.0 x 3.7 x 2.5 in)	127 x 104 x 80 mm (5.0 x 4.1 x 3.1 in)
Weight	� No battery: 455 g (1.0 lb) � With battery: 505 g (1.1 lb)	� No battery: 484 g (1.1 lb) � With battery: 534 g (1.2 lb)	� No battery: 560 g (1.2 lb) � With battery: 611 g (1.3 lb)
Image processing engine	� Expeed 2 � 12 bit	� Expeed � 12 bit	� Expeed � 12 bit
Active D-lighting	On/Off	On/Off	Auto, Extra high, High, Normal, Low, or Off
Automatic chromatic aberration correction	Yes	No	Yes
In-camera retouching	� D-Lighting � Red-eye reduction � Trimming � Monochrome & filter effects � Color balance � Small picture � Image overlay � NEF (RAW) processing � Quick retouch � Straighten � Distortion control � Fisheye � Color outline � Perspective control � Miniature effect � Edit movie	� D-Lighting � Red-eye reduction � Trimming � Monochrome & filter effects � Color balance � Small picture � Image overlay � NEF (RAW) processing � Quick retouch � Color outline � Miniature effect � Stop-motion movie	� D-Lighting � Red-eye reduction � Trimming � Monochrome & filter effects � Color balance � Small picture � Image overlay � NEF (RAW) processing � Quick retouch � Straighten � Distortion control � Fisheye � Color outline � Perspective control
Bracketing	No	No	Yes

Original Article:www.dpreview.com

The arrival of the D5100 appears to signal the completion of Nikons refresh of its non-pro DSLR lineup. Its feature set and pricing mean that it sits very comfortably between the beginner-friendly D3100 and the high-end D7000 - it's clearly aimed to attract the attention of enthusiast photographers without cannibalizing sales of is sister models. A camera maker can judge the success of its market positioning by seeing how many people are wondering 'which model is right for me?' on discussion forums - and we think a D3100/D5100/D7000 progression would minimize such doubts. The official line is that the D90 maintains its position in the range, but both its naming and overlap with other models suggest that its role is now more one of historical interest than future significance.
The D5100 has a very similar 16.2MP CMOS sensor to the excellent one seen in the D7000 but, understandably, loses out on that camera's high-end build and feature-set. So there's no wireless flash control, magnesium alloy build or 39-point AF system but the underlying image quality is all but identical.
As has become standard for a Nikon at this price point, the D5100 offers a single control dial, pentamirror viewfinder and no built-in autofocus motor. However, it gains 1080p video capability (at 30, 25 or 24fps), saved using the efficient H.264/AVC codec, and a 920,000 dot fully articulated LCD panel to help shoot it. These are both significant gains over its predecessor the D5000, and the improvements extend to the D5100 having smaller, neater construction and a more conventional side-mounted hinge for that LCD.
These changes resolve two rather awkward aspects of Nikon's existing lineup: if the D5100 and D7000 end up being neighboring models it will avoid the inelegant overlap that existed between the D5000 and D90. It also ensures a more elegant appearance to the models themselves (the D5000 was many things, but pretty wasn't one of them).
Although the D5100 is listed as having an Expeed 2 processor, it's worth remembering that Nikon doesn't use this naming system to denote any specific components, so the actual chunks of silicon and capabilities aren't necessarily the same as those in the D3100 or D7000. However, in addition to a similarly specced 16.2MP sensor, the D5100 offers the same ISO settings as its big brother - extending up to an equivalent of ISO 25,600. It also inherits 14-bit Raw shooting - one of the factors that helps give the D7000 its impressive dynamic range - which is something Nikon used to offer only on its more expensive models.

Side by side

The D5100 is slightly smaller than the Rebel T3i/EOS 600D - probably its nearest competitor. Both are slightly larger than the Panasonic Lumix DMC-G2, which is built around a smaller sensor, and of course lacks an optical viewfinder assembly (instead using a high quality electronic finder). Ergonomically, the G2 is the most 'involved', and has the most physical control points and a touch-sensitive LCD screen, but overall the three cameras are physically quite similar.

Nikon D5100 Key Features

• 16.2 megapixel DX-format CMOS sensor
• Side-articulated 3.0" LCD monitor (920,000 dots)
• 11 AF points (with 3D tracking)
• IS0 100-6400 range (Up to 25,600 equivalent when expanded)
• HD movies (1080p, 720p or WVGA)
• 4 fps continuous shooting
• In-camera effects filters in both stills and video modes

Compared to D5000

The D5100 is a smaller and (we think) more attractive camera than its predecessor the D5000. It is less bulbous, and closer to the D3100 and D7000 in terms of styling. The most significant design difference is the addition of a side-hinging LCD screen in the D5100, as opposed to the bulkier (and more awkward) bottom-hinged LCD used in the D5000.

Key Differences

• Higher resolution sensor (16.2MP vs. 14MP)
• 1080p video mode
• Wider ISO range (100-25,600 equivalent)
• Full-time AF mode (AF-F in live view)
• Dual IR receivers (front and rear)
• Side-articulated LCD screen (as opposed to bottom-articulated)
• 921k dot LCD screen
• 14-bit NEF (Raw) mode
• Effects modes

Original Article:www.dpreview.com

After years of comparative stagnation, Nikon's P-series is back. The Coolpix P7000, launched delayed last season, now has a little sibling - the P300. Both with regards to requirements and design, the P7000 was developed to competing The canon eos Powershot G-series, but the P300 is delivered a little reduced.

Although at first glimpse it looks a lot like the Cannon Powershot S95 and Olympus XZ-1, the P300 is a considerably different photographic camera in a number of essential methods. It gives you greater excellent, at 12MP rather than the 10MP typical in that category. It also provides Complete HD movie (1080p in contrast to 720p), but its real shades are tricked by a reduced price-point, less sized indicator (1/2.3" in contrast to 1/1.6" or 1/1.7"), and the lack of ability to history RAW information.

And so, despite obviously being developed to entice the same viewers as the Panasonic LX5 and Cannon S95, the Coolpix P300 is actually a lot nearer in requirements conditions to a photographic camera like the Cannon SD 4000 IS/IXUS 300 HS. Like the SD 4000 IS, the P300 provides excellent and guide management in a truly lightweight system, for less money than the bigger indicator, RAW-enabled Powershot S95, or its 'big brother' the Coolpix P7000. The P300's contacts is optically stable, protects a useful 24-100mm (equivalent) variety, and is remarkably quick at wideangle, if unspectacular at the lengthy end (f/1.8-4.9). The back 3in LCD display is shiny and contrasty with 921k facts - the same requirements as the displays in Nikon's mid-range and top-end DSLRs.

Key features

• 12 megapixel BSI (back side illuminated) CMOS sensor (1/2.3in)
• ISO 160-3200 at full 12MP resolution
• 1080p High Definition video mode
• 24-100mm (equivalent) f/1.8-4.9 lens with optical stabilization
• PASM modes
• Twin control dials - one top, one rear
• Built-in stereo microphone

The 'big' new function presented in the Coolpix P300 is 1080p, 'Full HD' movie. Complete HD is still relatively unusual in lightweight camcorders, and it is something that none of the P300's 'high-end' colleagues currently provide. In most other aspects, the P300's requirements piece is much like our objectives of the newest lightweight camcorders. At the comparative of 24mm, its contacts is broader than either the Cannon S95's or Olympus XZ-1's 28mm comparative, but is a little bit reduced than both at the tele end. It is important to note that although it features a very quick highest possible aperture of f/1.8, this gets a lot small as the contacts is zoomed in. Actually, f/1.8 is only available with the contacts set to its very greatest central duration.

Beside two of its most obvious competitors (in control terms) the similarities between the P300 and Canon S95 are obvious. The two cameras are almost exactly the same size, and offer similar control layouts. The Olympus XZ-1 is slightly larger in all dimensions, mainly as a result of the larger lens required to offer its wider-aperture and larger imaging circle to light its larger sensor.
From behind, the main difference between the P300 and S95 is the direct movie shooting button of the former. As you can see from looking at all three cameras in this view, the rear control layout has become almost 'standard'.

A fast lens usually means greater control over depth of field, but here too, all is not what it seems. Because, all other things being equal, a smaller sensor means less control over depth of field, the P300 doesn't match up to its high-end competitors despite seeming to offer a similar maximum aperture range. Also, for good depth of field control the lens really needs to be fast at the telephoto end, and the P300's isn't. So don't expect to be able to get the same sort of blurred backgrounds with the P300 as you can with the Olympus XZ-1, for example.

Original Article:www.dpreview.com

Using the Nikon V1

Since their release, the Nikon V1 and its little sibling the J1 have produced a lot of conversation amongst our visitors, not all of it good. As a digital photographer as well as photo camera writer, I am fascinated by this new program for many factors. It took Nikon three several weeks to get us a V1 after we got our first glance of non-working examples in New You are able to, but as soon as it came I got it and began capturing. A complete evaluation of the V1 is ongoing, but considering the attention rate that the new program produced among our visitors, I desired to discuss some beginning opinions with you. This 3-page content is classified as 'opinion' and prior to a complete evaluation with the associated facilities examining and our regular in-depth research, it should be study accordingly.

Despite the relatively small dimension its indicator, the V1 is amongst the bulkiest lightweight similar contacts program camcorders that I've used. It is no shock that the V1 is bigger than the truly lightweight Pentax Q, but what is very apparent when the photo camera is straight in comparison to its competitors is how much chunkier it seems in comparison to larger-format opponents like the Olympus E-PL3 / E-PM1 and Panasonic NEX-C3.

Like these camcorders, the V1 is developed to be easy to use, whatever your stage of photo encounter. However, whereas its opponents have decided for huge receptors and many functions (including, progressively, touch-sensitive LCD screens) Nikon has made a serious attempt to keep the V1 as simple as possible, both with regards to ergonomics and (in some respects) requirements. 

Guess which of these cameras (L-R: the Sony NEX-C3, Nikon V1 and Olympus E-PM1) has the smallest sensor? The answer of course is the 10MP V1, despite its larger overall dimensions. The 16MP C3 has an APS-C sized sensor and the E-PM1 is based around a 12MP Micro Four Thirds sensor.

The lack of a 'traditional' exposure mode dial and conventional control dials might seem a little strange, but the audience that Nikon is aiming this camera at may not expect to see either, and in general use with the V1 I don't really miss them. One thing I really like about the V1 compared to some of its competitors (like the Olympus PEN-series and the lower-end Sony NEX models) is its excellent built-in EVF. In use, the V1's EVF isn't as nice as the ultra high-resolution unit in the latest Sony NEX-7 and SLT-A65/77 but it isn't too far behind and with a resolution of 1.44 million dots it is pleasantly crisp and detailed.

If you want to take manual control over exposure you�ll have to select one of the PASM modes from within the main shooting menu, at which point exposure settings are changed using the tiny �zoom� jog switch on the camera�s rear. Again, it took a little time for me to get used to it, but after a short while it became second nature. After I'd stopped trying to zoom the lens by pulling on the zoom toggle, that is...

Less effective is the V1�s manual focus mode, which uses the rear control dial to rack focussing back and forth. To make it easier to see what's in focus and what's not - at least in theory - the zoom switch on the V1's rear acts as a focus area magnification toggle. The trouble is that the screen image gets lower and lower in resolution as you zoom in, making it very hard to focus accurately. To be honest, after trying repeatedly to use manual focus, and failing to reliably get sharp results, I think this is more of a token gesture than a serious feature.

The long thin control at the top right of this view is a 'zoom' toggle that acts as a magnification control in playback mode and an exposure value shifter in PASM shooting.  The 'F' button to the left of the zoom toggle isn't customizable. In still image shooting it brings up a menu which allows you to switch between mechanical and electronic shutter. The mode dial beneath is is where you select from Motion Snapshot, Smart Photo Selector, Still Image and Movie modes. Very simple, but easy to rotate by accident.

The V1 does have a control dial, but during shooting its only purpose is to control shutter speed if you're shooting in manual exposure mode or adjust focus in manual focus mode.

The V1's design doesn't really encourage much manual control over shooting settings, but that's not a bad thing, per se, and perfectly in keeping with Nikon's intentions for this model. Manual exposure control is there if you want it, and the V1 handles very nicely in aperture and shutter priority modes if you're that way inclined, but there's no danger of a beginner being swamped with confusing control and customization options.

One of the V1's most interesting functions is Smart Photo Selector, which sits above the green 'still image' icon on the exposure mode dial. In this mode, the V1 shoots twenty images at 30fps in electronic shutter mode, then analyses them and saves four or five (max 5) of what it considers to be the 'best'. If your subject is blurred, out of frame or blinking, that frame won't make the cut. The process takes just over two seconds, and works really well. This isn't the sort of mode that I tend to reach for very often, but I'm very impressed by how well it works in the V1, and - crucially - how efficient it is. It only takes a couple of seconds from the time the shutter is released to the selected images being saved to the memory card.
Although there is plenty more shooting and testing to with the V1 before we publish our definitive 'take' on the camera, a couple of things have annoyed me during my initial shooting. Firstly, the exposure mode dial on the V1's rear, which rotates far too freely.

The J1 has this problem as well - in my shooting I've lost count of the number of times I've accidentally rotated the dial when shifting my grip on the camera, and ended up in one of the other exposure modes. This is especially annoying when you end up in movie mode, because it's easy not to realise what has happened. In movie mode you see, pressing the shutter release button captures an image, but at reduced resolution (8MP) and only in the 16:9 aspect ratio. If you slip into this mode by accident and you're not paying attention you could end up going home with quite a few images in the 'letterbox' format.
Secondly, with its kit zoom and 10mm pancake lens options the V1 powers up quickly in roughly 1 second, and only takes a fraction of a second longer to power down. When the camera goes to sleep though, it takes almost two seconds to 'wake up' before you can take a photograph, and a long half press of the shutter button is required to rouse it. Shot to shot time in single frame advance mode isn't great either at around two seconds on average, including AF re-aquisition. This isn't bad performance by the standards of a high-end compact, but it isn't great compared to some of the V1's mirrorless interchangeable lens competitors.

Source:www.dpreview.com

Like its precursor, the Nikon D4 looks as if it�s going to be an incredibly amazing image picture electronic image photographic electronic camera. Nikon has seemed to its professional user-base and tried to perform out what it required to add or change on pictures image electronic image photographic electronic camera that just many years ago revealed the best they were able of. The result is pictures image electronic image photographic electronic camera with few big changes but a extensive series of little upgrades.

The biggest change is, of course, the improvement in film capabilities. Given the enhancing need for solutions for film from camcorders fans, and the amazing success of Canon�s 5D Level II in the professional film market, it was expected that Nikon�s pro considerable would need to offer a more amazing operate set than the present styles.

Beyond this, the changes to the stills-shooting specifications are relatively frequent � there happens to be higher-resolution, 16.2MP, full-frame CMOS sign and the ability to catch at 10 can handle per second with auto-focus, but that is about it. The new chip's ability has confident Nikon to offer an ISO wide range from 100-12,800 that can then be extended to 50 � 204,800 (Hi4). The considerable changes, beyond film, are a remarkable wide range of little variations, upgrades and upgrades to what was already a well worked-out image picture electronic image photographic electronic camera. These contain a as well as roughage shutter rated to 400,000 actuations that can fire at up to 1/8000th of a second.

The biggest particular changes are the addition of a 91,000 pixel �metering� sign, modifying the 1005 pixel example used up until now. This sign is used for much more than just metering, suffering from a key element in subject tracking, shiny balance and 'Active D-lighting' (a strategy Canon seems pleased with, given the overall look of a similar system in the 1DX). The higher-resolution sign allows the image picture electronic image photographic electronic camera to offer experience identification when getting through the recognizable viewfinder.

Then there are the ergonomic office office workplace office workplace office changes to the camera�s system. Again like Canon�s 1DX, goes have been developed to make the ergonomics of portrait-orientation getting more keep much likeness to those of getting in landscapes framework. The image picture electronic image photographic electronic camera no more features a dedicated AFL choice, instead getting push-button a joystick for both the immediately and landscapes getting orientations. An additional disturbing team has also been involved to offer a better keep in the immediately path and an additional operate choice involved next to the immediately shutter choice.

Key Specifications:

• 16.2 effective megapixel, full-frame sensor (16.6MP total)
• 10fps shooting with AF and AE, 11fps with focus and exposure locked, 24fps 2.5MP grabs
• 91,000 pixel sensor for metering, white balance, flash exposure, face detection and active d-lighting
• ISO Range 100-12,800 (extendable from 50 � 204,800)
• MultiCAM 3500FX Autofocus sensor works in lower light and with smaller apertures
• Two sub-selector joystick/buttons for shooting orientation
• 1080p30 HD video at up to 24Mbps with uncompressed video output
• New EN-EL18 battery (21.6Wh capacity, CIPA-rated at 2600 shots)
• Twin card slots - one Compact Flash and one XQD

Source:www.dpreview.com

When Nikon launched the CoolPix P7000 truly, several experts, such as ourselves, said on its unusual likeness to the Cannon Powershot G-series. Clearly designed to contest with The canon eos G-series in the high-end lightweight photographic camera industry, the raw-enabled P7000 provided very identical ergonomics, as well as near-identical top-level requirements to the Powershot G12. Unfortunately, although it was able to produce fantastic picture excellent, the P7000 was affected with inadequate functional rate and frustratingly glitchy on-screen choices. The overall impact was of a photographic camera which was almost, but not quite completed for community launch. It was a photographic camera that we desired to really like, but just couldn't.

The P7100 isn't significantly different to the P7000 with regards to requirements - it uses the same 10MP CCD as its forerunner (and is thus restricted to the same 720p movie specification) and the same contacts. The LCD show might be articulated, but it is the same fantastic 3in, 921k-dot show as before. The P7100's type aspect is almost exactly the same as the P7000, and is partially described by the same visual viewfinder.

Meaningful changes have been made though to both its ergonomics and functional rate as opposed to P7000. The most apparent actual improvements are a control switch on the top side of the photographic camera, and of course that flip-out LCD show on the back. Operationally, Nikon statements to have significantly improved the P7100's responsiveness as opposed to P7000, in everything from picture handling time to selection activation/dismissal - places in which the P7000 poorly lagged behind its opponents.

Not all of the camcorders in its category are quite so huge though. Actually, the P7100, like its forerunner and like the Cannon Powershot G12, are amazing amongst their colleagues for their huge. Immediate opponents like Panasonic's Lumix DMC-LX5, and Samsung's TL500 / EX1 (which stocks the same 10MP CCD sensor), are relatively little camcorders but the P7100, by evaluation, is something of a monster, thanks mostly to its size.

Certainly not little enough to fit in a clothing or trouser wallet, the P7100 isn't small than some identical contacts mirrorless camcorders. What the P7100 has which these camcorders do not though is a flexible built-in contacts, protecting a variety of 28-200mm (equivalent).

Compared to CoolPix P7000 - key differences

The differences between the P7100 and its predecessor are relatively few, and quite subtle. Here's a list:

• Rear LCD now articulated (fold out design)
• New front control dial
• AE lock in movie mode
• New effects modes (including cross-process, optical zoom burst effect and mono filters)
• Claimed increase in AF response and accuracy
• Decreased raw (.NRW) write times
• Claimed improvements to operation speed (menu activation/dismissal etc).
• Claimed improvements to noise-reduction using Expeed C2 'ultraimaging' processing

P7000, G12 and P7100 compared (key differences)

	Canon Powershot G12	Nikon CoolPix P7000	Nikon CoolPix P7100
Sensor	� 1/1.7" Type CCD � 10.1 million effective pixels � Primary color filter array	� 1/1.7" Type CCD � 10.1 million effective pixels � Primary color filter array	� 1/1.7" Type CCD � 10.1 million effective pixels � Primary color filter array
Optical zoom	� 28-140mm (equivalent) � f/2.8-4.5	� 28-200mm (equivalent) � f/2.8-5.6	� 28-200mm (equivalent) � f/2.8-5.6
Video mode	� MOV [H.264 + Linear PCM (stereo)]: 1280 x 720 @ 24 fps 640 x 480 @ 30fps 320 x 240 @ 30fps	� MOV [H.264 + Linear PCM (stereo)]: 1280 x 720 @ 24 fps 640 x 480 @ 30fps 320 x 240 @ 30fps	� MOV [H.264 + Linear PCM (stereo)]: 1280 x 720 @ 24 fps 640 x 480 @ 30fps 320 x 240 @ 30fps
LCD screen	� 2.8" Vari-angle TFT LCD monitor � 460,000 dots � Approx 100% coverage	� 3.0 inch LCD � 921k dots � 100% coverage in playback mode (97% in live view)	� 3.0 inch flip-out LCD � 921k dots � 100% coverage in playback mode (97% in live view)
Viewfinder	Real-image zoom, optical viewfinder	Real-image zoom, optical viewfinder	Real-image zoom, optical viewfinder
Dimensions	112 x 76 x 48 mm	114 x 77 x 45 mm	116 x 77 x 48mm
Weight (including battery and card)	Approx. 355g	Approx. 360g	Approx. 395g

Source:www.dpreview.com

The Nikon D4 is a serious photographic tool at a serious price. At $6000 the D4 is twice the cost of the recently-released D800, and offers just under half of its pixel count. But it's what the D4 does with its pixels - and how quickly and reliably it does it - which makes it so potentially attractive to working professionals. The D4 is built for speed and versatility. It might not offer the highest resolution on the market, but it is designed to deliver its 16MP images at a rate of 11 per second in all winds and weathers.

A few days ago we took delivery of a factory-fresh production D4 in our Seattle offices and it's hardly been turned off since. We've already published a detailed overview of the D4, and we've also asked a group of professional photographers what they think, but in this article, I'll be explaining what the D4 is actually like to use, as we move forward towards a full, in-depth review.
Full disclosure here, I use a D3S regularly, and outside of my day to day shooting for dpreview, much of my personal and professional photography over the past five years has been shot using either the D3 or D3S. Like all camera reviewers I swap between different systems constantly, but I happen to know the D3 and D3S very well.

The New York Dolls, 2009, taken on a Nikon D3S at ISO 8000 (processed Raw)	Denmark Hill, 2010, taken on a Nikon D3X at ISO 320 (Processed Raw)
Biffy Clyro, 2010, taken on a Nikon D3S at ISO 6400 (Processed Raw)	Kentish Town, 2009, taken on a Nikon D3 at ISO 400 (Processed Raw)

That said, bear in mind that this article is not a review. That's in the pipeline. Also, I don't pretend to speak for all photographers, so if you think I've got something wrong, or I haven't mentioned something that you really like (or don't like) in this article feel free to leave a comment. You'll find four pages in this article, the first three comprise a quick overview of my early impressions of the camera, both good and bad, and page four is reserved for samples - studio, real-world and video clips.

Overview

The D4 is a heavy, chunky camera, just like the D3S which it replaces. But whereas the D3S inherited the 2007-vintage D3 chassis, the D4 brings new ergonomics as well as an updated specification. Cosmetically, the D4 is curvier and more streamlined than its predecessors, and slightly lighter, too. The D4's battery is new, and is not compatible with the older type used in the D3 and D3S. The same applies to the D4's battery compartment door, which looks like it might be interchangeable with that from the older models, but is actually a slightly different size.
Although most of its controls are in basically the same places compared to the D3 and D3S the D4 feels subtly different in use thanks in part to the redesigned hand grip and the steeper angle of the main shutter release.

Compared to the D3S, the D4 looks slightly different when viewed from the top. A red movie shooting button is an obvious addition to the right hand side of the top plate but in this view you can also see that the 3-position metering switch has been removed and metering mode added to the cluster of controls on the upper left.	Changes have been made to the D4's rear controls and control layout as well - two new 'sub-selector' joysticks have been added for horizontal and vertical format shooting and a new live view switch (the same as that used on the recently announced D800) has been added below the LCD screen.

Key Specifications:

• 16.2 effective megapixel, full-frame sensor (16.6MP total)
• 10fps shooting with AF and AE, 11fps with focus and exposure locked, 24fps 2.5MP grabs
• 91,000 pixel sensor for metering, white balance, flash exposure, face detection and active d-lighting
• ISO Range 100-12,800 (extendable from 50 � 204,800)
• MultiCAM 3500FX Autofocus sensor works in lower light and with smaller apertures
• Two sub-selector joystick/buttons for shooting orientation
• 1080p30 HD video at up to 24Mbps with uncompressed video output
• New EN-EL18 battery (21.6Wh capacity, CIPA-rated at 2600 shots)
• Twin card slots - one Compact Flash and one XQD

Source:www.dpreview.com

When the Nikon D800 and D800E were announced, the specification that got everyone's attention was - and to a large degree still is - the massive pixel count of their 36.3MP CMOS sensor. When a moderately-sized full-frame DSLR body aspires to go toe-to-toe with medium format cameras and backs at a fraction of their price, other attributes can seem secondary. But don't be misled. Coming as a successor to the now 3 1/2 year old D700, Nikon has updated much more than just the resolution. The D800 has a significantly more advanced feature set than its predecessor, particularly in terms of its video capabilities that make it, on paper at least, a viable and tempting option for professionals.
At the heart of the D800 is a brand new Nikon-developed sensor that boasts 36.8 million pixels in total, with a maximum effective output of 36.3MP. Its ISO span is 100-6400 natively, expandable to a range of 50 ('Lo1') to 25,600 ('Hi2') equivalent. Nikon's highest resolution DSLR to date, the D800/E more than doubles the pixel count of the flagship D4. The D800 is potentially very attractive to studio and landscape professionals, but should pique the interest of a great many enthusiast Nikon users too - many of whom may have been 'stuck' at 12MP for years, with a D300, D300s or D700.

	The D800 and D800E's 36.3MP CMOS sensor has by far the greatest pixel count of any non medium-format DSLR currently on the market. The ISO span is slightly wider than that of its predecessor the D700, at 100-6400, expandable down to ISO 50 and up to ISO 25,600 (equivalent).

Of course, the D800 faces a competitive field that has made significant gains as well. Arch-rival Canon has recently updated its best-selling full-frame model to the 22.3MP EOS 5D Mark III. That the D800 has to prove itself a compelling upgrade for current Nikon shooters is a given. Yet a glance at the specifications indicates that Nikon has clearly been paying attention to the success of the Canon EOS 5D Mark II, and its video performance in particular. The hope among the Nikon faithful is that the D800 matches or exceeds the impressive high ISO performance of recent Nikon DSLRs while providing the resolution benefits of a much higher pixel count.

Apart from their sensors, the D800 and D4 share many identical specifications. Although the D800 offers a much slower maximum frame rate at full resolution (4fps, compared to 11fps in the D4) and lacks some of the pro-oriented 'frills' like built-in Ethernet connectivity, it shares the same revamped 51-point AF system which is effective down to -2EV, the same processing engine and almost exactly the same highly advanced video mode.

Broad appeal

Whereas the D4 is intended as a specialist tool for professionals that need to capture images quickly in all types of weather and light conditions, the D800 has been designed to appeal to a much broader user base. For most of us, D4-only features such as ultra-high ISO shooting, very fast frame rates, QXD card compatibility, 2000+ image battery life and built-in Ethernet, are simply not that high on the list of must-haves. The same goes for many pros who earn their livings with their camera.
Wedding, event and studio photographers, for example are likely to be far more concerned with resolution at low ISO sensitivities than shooting at 11 fps at ISO 204,000. To them, a camera with the D800's feature set, priced at less than half the cost of a D4 is an exciting prospect indeed.
And let's not forget videographers. The D4 is Nikon's most advanced video-enabled DSLR. And the D800 offers almost exactly the same video specification in a smaller, lighter, and significantly less expensive body, making it potentially much more attractive as either a primary or 'B' video camera on a low-budget shoot.

Compared to D700: Specification highlights

• 36.3MP CMOS sensor (compared to 12.1MP)
• 15.3MP DX-format capture mode (compared to 5MP)
• 25MP 1.2x Crop mode
• 51-point AF system with 15 cross-type sensors, rated to -2EV* (compared to -1EV)
• ISO 100-6400 extendable to ISO 25,600 equiv (same as D700)
• 1080p video at 30, 25 or 24 frames per second, up to 24Mbps, with uncompressed HDMI output and audio monitoring options*
• 3.2", 921,000 dot LCD with anti-fog layer* (compared to 3in, 921k-dot)
• Maximum 4fps continuous shooting in FX mode** (compared to 8fps in FX mode)
• Advanced Scene Recognition System with 91,000 pixel metering sensor* (compared to 1005-pixel)
• 'Expeed 3' Image Processing*
• Dual-axis Virtual Horizon (on LCD screen/viewfinder)* (compared to single-axis)

Compared to the Nikon D700

The D800 shares basically the same form factor as its predecessor the D700. Both models have a built-in flash and lack the integrated vertical grip of Nikon's top-end DSLRs, which is available instead via an accessory battery grip. There are differences though - some minor, some major.
The most obvious differences from the perspective of core functionality are a massive increase in resolution - from 12 to 36MP - which comes with a significant boost in processing power, and the addition of video mode. The D800's video mode is lifted almost completely from the professional D4 and boasts 1080p30 resolution with the option to output uncompressed footage via HDMI.

The ergonomic changes that have resulted from the inclusion of video are the addition of a video/stills live view mode control on the rear, plus a direct movie shooting button on the top plate. Among other refinements, a D7000/D4-style integrated AF mode/function control can be found on the front of the camera, and the door covering the ports on the side of the D800 is now hinged, and stays open when opened rather than flapping annoyingly against your fingers when you try to plug in accessories. The D800's LCD screen is slightly larger than the D700's, at 3.2 inches, but resolution remains unchanged. A Picture Control button now sits on the D800's rear plate.

Compared to the Canon EOS 5D Mark III

One of the few obvious physical differences between the D800 and the Canon EOS 5D Mark III is that the D800 has a built-in flash whereas the 5D Mark III doesn't. Both cameras share very similar proportions and the D800 weighs only 50 grams less. Both have 3.2 inch rear LCDs, with the 5D Mark III boasting a higher screen resolution of 1.04 million versus 921,000 pixels in the D800.
Under the hood of course is where the most notable difference lies. The D800's 36.3MP sensor surpasses the pixel count of the 22.3MP 5D Mark III, as well as every other 35mm-format DSLR currently on the market. The D800 also offers a useful DX (APS-C) crop mode which captures 15.3MP stills. While the D800 inherits the 51-point AF system of the D4 with 15 cross-type points, the 5D Mark III sports a 61-point AF system shared with the EOS-1D X, in which 41 of these are cross-type points. The D800 has an edge in flexibility, however, when it comes to the aperture required for these cross-type points to function. While the 5D Mark III requires a minimum aperture of f/4, the D800 can utilize 9 of its center cross-type points at an aperture as narrow as f/8.


Source:www.dpreview.com

When the Nikon D800 and D800E were announced, the specification that got everyone's attention was - and to a large degree still is - the massive pixel count of their 36.3MP CMOS sensor. When a moderately-sized full-frame DSLR body aspires to go toe-to-toe with medium format cameras and backs at a fraction of their price, other attributes can seem secondary. But don't be misled. Coming as a successor to the now 3 1/2 year old D700, Nikon has updated much more than just the resolution. The D800 has a significantly more advanced feature set than its predecessor, particularly in terms of its video capabilities that make it, on paper at least, a viable and tempting option for professionals.
At the heart of the D800 is a brand new Nikon-developed sensor that boasts 36.8 million pixels in total, with a maximum effective output of 36.3MP. Its ISO span is 100-6400 natively, expandable to a range of 50 ('Lo1') to 25,600 ('Hi2') equivalent. Nikon's highest resolution DSLR to date, the D800/E more than doubles the pixel count of the flagship D4. The D800 is potentially very attractive to studio and landscape professionals, but should pique the interest of a great many enthusiast Nikon users too - many of whom may have been 'stuck' at 12MP for years, with a D300, D300s or D700.

	The D800 and D800E's 36.3MP CMOS sensor has by far the greatest pixel count of any non medium-format DSLR currently on the market. The ISO span is slightly wider than that of its predecessor the D700, at 100-6400, expandable down to ISO 50 and up to ISO 25,600 (equivalent).

Of course, the D800 faces a competitive field that has made significant gains as well. Arch-rival Canon has recently updated its best-selling full-frame model to the 22.3MP EOS 5D Mark III. That the D800 has to prove itself a compelling upgrade for current Nikon shooters is a given. Yet a glance at the specifications indicates that Nikon has clearly been paying attention to the success of the Canon EOS 5D Mark II, and its video performance in particular. The hope among the Nikon faithful is that the D800 matches or exceeds the impressive high ISO performance of recent Nikon DSLRs while providing the resolution benefits of a much higher pixel count.

Apart from their sensors, the D800 and D4 share many identical specifications. Although the D800 offers a much slower maximum frame rate at full resolution (4fps, compared to 11fps in the D4) and lacks some of the pro-oriented 'frills' like built-in Ethernet connectivity, it shares the same revamped 51-point AF system which is effective down to -2EV, the same processing engine and almost exactly the same highly advanced video mode.

Broad appeal

Whereas the D4 is intended as a specialist tool for professionals that need to capture images quickly in all types of weather and light conditions, the D800 has been designed to appeal to a much broader user base. For most of us, D4-only features such as ultra-high ISO shooting, very fast frame rates, QXD card compatibility, 2000+ image battery life and built-in Ethernet, are simply not that high on the list of must-haves. The same goes for many pros who earn their livings with their camera.
Wedding, event and studio photographers, for example are likely to be far more concerned with resolution at low ISO sensitivities than shooting at 11 fps at ISO 204,000. To them, a camera with the D800's feature set, priced at less than half the cost of a D4 is an exciting prospect indeed.
And let's not forget videographers. The D4 is Nikon's most advanced video-enabled DSLR. And the D800 offers almost exactly the same video specification in a smaller, lighter, and significantly less expensive body, making it potentially much more attractive as either a primary or 'B' video camera on a low-budget shoot.

Compared to D700: Specification highlights

• 36.3MP CMOS sensor (compared to 12.1MP)
• 15.3MP DX-format capture mode (compared to 5MP)
• 25MP 1.2x Crop mode
• 51-point AF system with 15 cross-type sensors, rated to -2EV* (compared to -1EV)
• ISO 100-6400 extendable to ISO 25,600 equiv (same as D700)
• 1080p video at 30, 25 or 24 frames per second, up to 24Mbps, with uncompressed HDMI output and audio monitoring options*
• 3.2", 921,000 dot LCD with anti-fog layer* (compared to 3in, 921k-dot)
• Maximum 4fps continuous shooting in FX mode** (compared to 8fps in FX mode)
• Advanced Scene Recognition System with 91,000 pixel metering sensor* (compared to 1005-pixel)
• 'Expeed 3' Image Processing*
• Dual-axis Virtual Horizon (on LCD screen/viewfinder)* (compared to single-axis)

Compared to the Nikon D700

The D800 shares basically the same form factor as its predecessor the D700. Both models have a built-in flash and lack the integrated vertical grip of Nikon's top-end DSLRs, which is available instead via an accessory battery grip. There are differences though - some minor, some major.
The most obvious differences from the perspective of core functionality are a massive increase in resolution - from 12 to 36MP - which comes with a significant boost in processing power, and the addition of video mode. The D800's video mode is lifted almost completely from the professional D4 and boasts 1080p30 resolution with the option to output uncompressed footage via HDMI.

The ergonomic changes that have resulted from the inclusion of video are the addition of a video/stills live view mode control on the rear, plus a direct movie shooting button on the top plate. Among other refinements, a D7000/D4-style integrated AF mode/function control can be found on the front of the camera, and the door covering the ports on the side of the D800 is now hinged, and stays open when opened rather than flapping annoyingly against your fingers when you try to plug in accessories. The D800's LCD screen is slightly larger than the D700's, at 3.2 inches, but resolution remains unchanged. A Picture Control button now sits on the D800's rear plate.

Compared to the Canon EOS 5D Mark III

One of the few obvious physical differences between the D800 and the Canon EOS 5D Mark III is that the D800 has a built-in flash whereas the 5D Mark III doesn't. Both cameras share very similar proportions and the D800 weighs only 50 grams less. Both have 3.2 inch rear LCDs, with the 5D Mark III boasting a higher screen resolution of 1.04 million versus 921,000 pixels in the D800.
Under the hood of course is where the most notable difference lies. The D800's 36.3MP sensor surpasses the pixel count of the 22.3MP 5D Mark III, as well as every other 35mm-format DSLR currently on the market. The D800 also offers a useful DX (APS-C) crop mode which captures 15.3MP stills. While the D800 inherits the 51-point AF system of the D4 with 15 cross-type points, the 5D Mark III sports a 61-point AF system shared with the EOS-1D X, in which 41 of these are cross-type points. The D800 has an edge in flexibility, however, when it comes to the aperture required for these cross-type points to function. While the 5D Mark III requires a minimum aperture of f/4, the D800 can utilize 9 of its center cross-type points at an aperture as narrow as f/8.


Source:www.dpreview.com