Digital SLR

Unveiled at the end of August, along with the D300 'pro-sumer' model, Nikon's D3 is targeted at press photographers and is the first Nikon DSLR with a full-frame image sensor. Photographers can select from three image areas: FX format (36 x 24mm), DX format (24 x 16 mm) and 5:4 (30 x 24mm), with automatic detection when DX format lenses are used. Areas not covered by the sensor when the smaller formats are selected are automatically masked in the viewfinder. The D3 can use lenses designed for both FX and DX formats and will automatically recognise a DX lens when it is fitted.

The body design of the D3 is an evolution of the D2x, with most modifications improving overall usability and comfort. As in the D2x, magnesium alloy has been used for the body casing, chassis and mirror box to reduce weight and ensure robustness and durability. All joints are sealed to resist dust and moisture. The pentaprism housing is larger and lacks the ambient light sensor of the D2x. The grip has also been re-styled and the front panel carries a gold 'FX' logo to promote the D3's full-frame capability.


Front view of the D3 showing the lens mount and reflex mirror.

The rear panel now carries a huge 3-inch, 922,000 pixel LCD monitor, which displays images at a resolution of 640 x 480 pixels. It's a stunning display, as we noted in our D300 review. A few buttons have been moved, re-labelled or re-sized, but photographers using the camera are unlikely to be phased by the changes. The two rear command dials have been angle-adjusted for better ergonomics and are noticeably more comfortable to use. The secondary AE/AF button on the vertical control set has been moved to above the control dial making it more accessible.


Rear view showing the 3-inch LCD and secondary data display.

No plastic cover screen has been supplied with the D3 – and there appear to be no anchoring points for holding one. However, the glass covering the screen is easier to clean than earlier displays and it appears to be less prone to fingermarks and nose grease when the camera is in use.

Big, bright and beautiful are the most appropriate ways of describing the D3's viewfinder.  It combines 100% coverage with approximately 0.7x magnification and has an 18mm eyepoint that allows the camera to be used comfortable by wearers of glasses. Dioptric adjustment of -3.0 to +1 dpt is provided if you wish to shoot with the naked eye and need focus correction.


Top view showing the control layout and main data display.

The camera's shutter unit has been constructed from a carbon fibre/Kevlar hybrid material and has a guaranteed reliability of 300,000 release cycles. The associated shutter button is responsive to the touch and sensitive – but not excessively so. Dual CompactFlash slots are provided, with support for the faster UDMA memory cards. Photographers can record NEF.RAW and JPEG images simultaneously, either on one card or separately on two cards. Image files can also be copied between cards. This eliminates the need to swap cards and prepare different types of storage media for shooting sessions.

As befits a professional DSLR, the D3 is supplied with a dual battery charger, although only one EN-EL4a battery is supplied with the camera. It takes approximately two and a half hours to charge a depleted battery with the supplied MH-22 quick charger.  Indicator lights on the charger show when the battery has reached 50%, 80% and 100% of charge. The battery is C.I.P.A. rated for approximately 4,300 shots with the AF-S Nikkor 24-70mm f/2.8G ED lens when the viewfinder is used for framing shots. Live view shooting and the use of VR lenses will drain battery power, although Nikon does not state by how much.

Shared Features
The D3 shares many features with Nikon's new pro-sumer model, the D300, although its larger imager takes some functions to a higher level. Both models offer 12-megapixel resolution and come with Nikon's EXPEED image processor chip (see Sensor and Image Processing, below). They also offer 14-bit A/D conversion with 12 channel readout. The 51-point Multi-CAM 3500FX autofocus sensor is also provided in both cameras, along with the expanded suite of focusing and exposure capabilities. (More on the AF system below.)

Both cameras have the same LCD monitor and support for live view shooting. Details of the live viewing mode can be found in the D300 review (INSERT LINK). In Handheld mode, TTL phase-difference AF using all 51 AF points is automatically activated. In Tripod mode, focal-plane contrast AF on a selected point is possible. Remote view, focusing and shooting are also supported when the D3 is connected to a PC (wired or wirelessly).
Menu design is also the same in the two cameras. The D3 also has the same Active D-Lighting correction for highlights and shadows as the D300 and provides the same playback and output options as the D300, including support for HDMI (High-Definition multimedia Interface) Version 1.3a, which enables transfer of video and audio signals and display of images on HD TV screens. A standard Type A connector is provided.  


D-Lighting tonal correction is provided, with the same functionality as the D300.


Photographers can also select shots for side-by-side comparison.


In camera colour balance adjustments are provided.


Photographers can also simulate several filters that were commonly used with film-based photography.


Monochrome effects are limited but useful.

Although the D3 lacks the sensor-vibrating dust removal system provided in the D300, it includes the same Dust Off Reference Photo system. The system allows photographers to shoot a reference image of a white featureless object and use it, in combination with Capture NX, to identify and remove dust spots from image files. The system only works with CPU lenses that have focal lengths of at least 50mm.

Another D300 feature the D3 lacks is a built-in flash, although it supports the same range of flash controls and synch modes as the D300 and its hot-shoe is compatible with all Nikon's Speedlights. Support is also provided for Nikon's Creative Lighting System. Details of all these features can be found in the D300 review (INSERT LINK)

Sensor and Image Processing
Nikon has not revealed the source of the D3's 36 x 23.9mm CMOS sensor but claims it has been built to its own design. (As it does not operate a silicon chip foundry, Nikon must rely on third-party suppliers, such as Sony, for its imaging chips. Sony produced the sensor for the D300 and we suspect it may also be responsible for the fabrication of the D3's imager chip – but Nikon would not confirm our surmisings.)

With 12.1-megapixel resolution at full-frame size, the D3's photosites are significantly larger than the D300's, which has an APS-C sized imager (8.46 microns square vs 5.5 microns square on the D300). Interestingly, files from the D3 are slightly smaller than the D300's files, with top resolutions being 4256 x 2832 pixels and 4288 x 2848 pixels, respectively. (This difference is insignificant in practical terms but indicates Nikon's focus on the D3's light-capturing capabilities, more on which later.)

Some commentators have criticised Nikon for not competing head-to-head with Canon's EOS-1Ds Mark III, which has a 21.1-megapixel full frame CMOS sensor and expressed disappointment that the D3 only offers 12.1 megapixels. But we think Nikon has its priorities just right. The larger photosites in the D3's sensor (8.46 microns square vs 6.41 microns square) can capture many more photons and support shooting at much higher sensitivity settings. And you can get wonderful A3+ prints from D3 shots with the FX format setting.  

One outstanding result of the larger photosites on the D3's sensor is its superior performance at high sensitivity settings. Whereas the D300's sensitivity tops out at ISO 3200 (with the HI 0.3, 0.5, 0.7 and 1.0 settings going up to ISO 6400), the D3's normal sensitivity range is ISO 200 to ISO 6400. Like the D300, the D3 includes Lo 0.3, 0.5, 0.7 and 1.0 settings, which reach down to and equivalent of ISO 100. However, at the top end of the sensitivity scale the HI 0.3, 0.5, 0.7 and 1.0 settings take you up to an equivalent ISO of 12,800.

But then there's another setting, HI 2, which is equivalent to ISO 25,600. This is the highest sensitivity speed available in any photographic camera we know of. And, unlike the majority of amateur cameras, the D3 makes noise reduction processing optional, rather than automatic, for most ISO settings. Two noise reduction options are provided, covering long exposures and high sensitivities. While the default setting for long exposures is off, for ISO settings of HI 0.3 and above, some processing is applied, even when the control is set to Off. The default setting for this control is Normal, which applies automatic noise reduction to images at ISO 2000 and above. Photographers can elect to use High or Low settings to adjust the strength of the processing. In the off mode, where processing is also applied, it is less than at the Low setting.

Continuous shooting speeds will meet most sports photographers' requirements. The combination of fast shutter and EXPEED processor gives the D3 a top burst rate of up to11 frames/second when shooting in DX format at 5.1-megapixels and nine frames/second in FX mode. To obtain the maximum frame rate you must set the AF and exposure to lock on the first frame of the burst. Details of image sizes and buffer capacity are provided below.

Image File Options
Like the D300, the D3 offers TIFF file capture at 24-bits (8-bit RGB) and photographers can choose between 12-bit and 14-bit for NEF.RAW files. Three raw capture options are provided: uncompressed, compressed and lossless compression. Depending on the bit depth selected, losslessly-compressed files are reduced in size by between 20% and 40%, while compressed files that are reduced in size by non-reversible algorithms are 40% to 55% smaller than uncompressed files.

In addition to three JPEG quality settings covering three file sizes, two JPEG compression options are provided: size priority and optimal quality. The first compresses images to produce files that are relatively uniform in size, without regard for the effect of compression on image quality. The second prioritises picture quality but delivers files that may be of widely different sizes. Typical file sizes and buffer memory capacities for FX format (full frame) images are shown in the table below.

DX format (24 x 16 mm area) images are roughly half the size of FX files. Typical DX file sizes and buffer capacities are shown in the table below.

Note: The figures above are approximate and based on figures provided by Nikon. File sizes will vary with the amount of detail recorded in a subject. For JPEG files, the figures assume JPEG compression is set to Size Priority. Choosing the Optimal Quality setting increases file sizes and reduces the buffer capacity.

Autofocusing
We saved our coverage of Nikon's new AF system for this review to give us more time to explore the system, although the AF systems on the D3 and D300 are essentially the same. Nikon has for some time used a 1005-pixel sensor system for metering exposures. It works by comparing a database of typical scenes with scenes the camera's metering system detects. Exposure is set on the basis of such comparisons, which means when the camera detects ultra-bright conditions, such as snow or beach scenes, over-exposure can be avoided without the photographer having to apply exposure compensation.

Nikon has now adapted this technology for its autofocus system where it utilises data detected by 51 AF points. (The more AF detectors the system has, the better able it is to track objects in the sensor's field of view, resulting in faster and more accurate autofocusing, particularly with moving subjects.)

When you select 51 points 3D-tracking in the D3's Dynamic AF Area mode (Custom setting a3), the camera remembers the area where the focus point was locked and will track the object across the frame. Once the object leaves the frame, the lock is gone and you must re-set the lock once again. The system works best with subjects at a constant distance when they are moving across the frame, although it does a surprisingly good job of refocusing on objects that move towards the camera. Sports photographers will find this function particularly valuable.

The Autofocus Custom menu (a) also provides an option to select Focus Point Wrap-Around, which causes the selected focus point to 'wrap around' from top to bottom or right to left to make it easier to set a new focus point for a moving subject. You can also adjust how quickly the AF system will respond to large changes in a moving subject to prevent the system from losing focus when, for example, the subject moves behind a pole or tree.

Associated with the AF system – and another feature shared with the D300 – is the Scene Recognition System, which also uses data from the 1005-pixel RGB metering sensor. Because this sensor can detect colour, it can also detect skin tones and will automatically cause the AF system to concentrate on faces and, particularly, eyes, when human subjects are detected in a scene.

Performance
Not unexpectedly, most of the D3's response times were, in the main, too fast for us to measure. The camera powered-up ready for shooting in about 0.1 seconds and there appeared to be no delay between when the shutter was pressed and shots were taken. (Nikon claims a 37 millisecond shutter release time lag for this camera, which is credible.) Capture lag was negligible and shot-to-shot times too brief to measure when an UDMA card was used.

Continuous shooting was to specifications, with the high-speed mode recording DX JPEGs at 11 frames/second and FX frames at nine frames/second. File writing speeds appear to be able to capitalise on the speed of the new UDMA cards.

Focusing was spot on for more than 95% of the shots we took, regardless of the drive mode selected. The AF system locked onto subjects instantly and accurately and we found no evidence of hunting in low-light conditions – or when the camera was used with the AF-S Nikkor 400mm f/2.8G ED VR lens, which is reviewed on this website. (INSERT LINK)

Subjective assessment of shots showed them to be almost film-like in quality, with smooth tonal gradations, natural-looking colours and an abundance of fine detail. Skin tones were nicely rendered in a variety of lighting conditions. Performance with the Picture Control and Active D-Lighting modes was similar to the D300 but with the D3's slightly superior picture quality. We found no evidence of coloured fringing in any test shots.

Imatest evaluation showed the test camera's performance to be in line with our expectations. Resolution was generally high and colour accuracy was excellent. Lateral chromatic aberration was consistently in the 'insignificant' range with the AF-S Nikkor 24-70mm 1:2.8G ED lens that was supplied with the camera for this review. More results from our Imatest tests can be found in the separate review of this lens (INSERT LINK).

Image noise was barely visible in test shots taken at ISO settings up to 2000. Beyond that point, where noise appears, it looked more like film grain than electronic interference and had no visible effect on image sharpness. Colours and sharpness were retained, right up to ISO 25,600. The graph below plots the results from our Imatest resolution tests in line widths per pixel height against the ISO settings used for the test shots.


The graph above shows how well resolution is maintained throughout the D3's entire ISO range.

High-ISO noise suppression processing produced less image softening than with the D300, although using the High setting with shots taken at HI 2 sensitivity produced visible blurring.

The test camera's auto white balance performance was better than the D300's but it failed to totally remove the inherent colour casts of either incandescent or fluorescent lighting. However, both manual pre-sets delivered neutral colours and it was easy to tune out colour casts with the in-camera controls before taking shots – as it was to correct colour casts with editing software. Consequently, we feel this issue little practical relevance for normal photography.

Conclusion
In the D3, Nikon has provided photographers with a superb imaging tool and we enjoyed reviewing it. A beautifully-designed piece of equipment like this makes you want to keep taking pictures – and allows you to record better images than you ever have. The menu system is intuitive and anyone who has used Nikon SLRs will quickly feel at home.

At last, Nikon has produced a camera that provides some real competition for Canon at the top end of the professional DSLR range. Professional photographers with a suite of Nikkor lenses should be delighted they have a camera body to match the best of them.

IMATEST GRAPHS

SAMPLE IMAGES

Auto white balance with incandescent lighting.


Auto white balance with fluorescent lighting.


30-second exposure at ISO 6400 with no noise-reduction processing.

Long exposure at ISO 25,600 with no noise-reduction processing.


Long exposure at ISO 25,600 with high noise-reduction processing.


Photographed at dusk with ISO 6400 sensitivity. AF-S Nikkor 24-70mm f/2.8G ED lens at 70mm f/2.8.


Photographed with the AF-S Nikkor 400mm f/2.8G ED VR lens at f/4.0.


Burst of shots of a seagull landing, taken with the AF-S Nikkor 400mm f/2.8G ED VR lens.


Close-up taken with the AF-S Nikkor 24-70mm f/2.8G ED lens at 70mm. ISO 200, f/5.0.


Portrait taken with the AF-S Nikkor 400mm f/2.8G ED VR lens. ISO 320, F/5.0.

Image sensor: 36 x 23.9mm CMOS sensor (Nikon FX format) with 12.87 million photosites (12.1 megapixels effective)Lens mount: Nikon F mount with AF coupling and AF  contacts
Compatible Lenses: 1) DX AF Nikkor: All functions supported; 2) D-/G-type AF Nikkor): All functions supported (excluding PC Micro-Nikkor and IX Nikkor)
3) AF Nikkor other than D-/G-type (excluding lenses for F3AF) and AI-P Nikkor: All functions except 3D-Color Matrix Metering II possible; 4) Non-CPU AI Nikkor: can be used in exposure modes A and M; electronic range finder can be used if maximum aperture is f/5.6 or faster; Color Matrix Metering and aperture value display supported if user provides lens data (AI lenses only)
Focal length crop factor: 1x
Image formats: NEF (RAW) 12-bit or 14-bit, uncompressed, losslessly compressed or compressed; TIFF (RGB); JPEG; RAW+JPEG
Image Sizes:  FX format: 4256 x 2832(L), 3184 x 2120 (M), 2128 x 1416 (S); DX format: 2784 x 1848 (L), 2080 x 1384 (M), 1392 x 920 (S); 5:4 format: 3442 x 2832, 2656 x 2120, 1776 x 1416.
Image Stabilisation: Lens-based only
Dust removal: Image Dust Off data acquisition (Capture NX required)
Shutter speed range: 1/8000 to 30 sec in steps of 1/3, 1/2 or 1 EV plus Bulb; X-synch at 1/250 sec.
Exposure Compensation: +/- 5 EV in increments of 1/3, 1/2 or 1 EV
Self-timer: 2, 5, 10 or 20 sec. delay selectable
Focus system: TTL phase detection with Nikon MultiCAM 3500DX module; 51 AF points (including 15 cross-type sensors) with single point selection from 51 or 11 points
Focus modes: Single-servo AF, continuous-servo AF, manual focusing; predictive focus tracking automatically activated according to subject status
Exposure metering: TTL full-aperture metering with 1005-pixel RGB sensor; 3D Colour matrix Metering II, Centre-weighted (75% bias to 8-20 mm circle at centre), Spot metering (4mm circle)
Shooting modes: Program AE with flexible program, Shutter-priority auto, Aperture-priority auto, Manual
Picture Style/Control settings: Standard, Neutral, Vivid, Monochrome; storage for up to nine custom Picture Controls
Colour space options: sRGB, Adobe RGB
Custom functions: 48
ISO range: ISO 200-6400 in steps of 1/3, ½ or 1EV (expandable to 100 and 25600)
White balance: Auto plus seven manual modes with fine-tuning, colour temperature setting; bracketing of 2-9 frames in increments of 1, 2 or 3
Flash: ISO 518 accessory shoe for Nikon Speedlights; support for iTTL and Nikon Creative Lighting System
Sequence shooting: DX format: 9-11 fps high speed, up to 9 fps low speed; other formats: up to 9 fps
Storage Media: Double slot for Type I/II CompactFlash cards/microdrives
Viewfinder: Eye-level pentaprism; 100% coverage; approx. 0.7x magnification; 18mm eyepoint; dioptric adjustment -3.0 to +1 dpt
LCD monitor: 3.0-inch TFT  colour LCD, 920,000 pixels
Live View modes: 1) Handheld: TTL phase difference AF with 51 focus points   2) Tripod: focal-plane contrast AF on selected point
Data LCD: Yes; displays full photographic and digital settings
Playback functions: Full frame, thumbnail (4 or 9 segment), zoom, slideshow, RGB histogram, shooting data, highlight point display, auto image rotation, image comment (up to 36 characters), voice memo (input and playback)
Interface terminals: USB Hi-speed, HDMI, Video Out (PAL/NTSC), GPS, 10-pin remote
Power supply: EN-EL4a rechargeable lithium-ion battery
Dimensions (wxhxd): 159.5 x 157 x 87.5 mm
Weight: Approx. 1,240 grams (without battery, memory card, body cap or accessory shoe cover)