In summary
Like its predecessor, the D610 has been designed to provide a ‘full frame’ DSLR camera for photographers who can’t afford (or are reluctant to fork out for) any of Nikon’s previous professional and semi-professional models (D4, D3x, D3s, D800, D800E) or the retro-styled Df. Naturally you will need a decent suite of FX lenses to go with the camera, although the 24-85mm f/3.5-4.5G ED VR lens in the kit makes a good starting point.
If you fit a DX lens, the D610 will recognise it and adjust the frame size to 24 x 16 mm to cope with their smaller image circles ““ provided the default Auto DX crop setting hasn’t been switched off in the Image area section of the shooting menu. This reduces image resolution, although the crop has the effect of magnifying the scene by 1.5x.
The lack of weatherproofing makes this camera (and its predecessor) less than ideal for travelling or hiking. However, the magnesium alloy front and rear chassis and polycarbonate resin top cover and cladding make it robust enough for general use and the shutter mechanism is rated for 150,000 cycles, which meets ‘pro-sumer’ standards.
Like its predecessor, the D610 would make a good second body for professional photographers who use Nikon’s FX gear. The interface and menu structure are very similar to Nikon’s other high-end DSLRs and photographers acquiring the D600 as a second body will find the transition straightforward. Users of larger cameras could welcome the reduction in size and weight as long as they can accommodate the compromises in features and/or performance.
Full review
Nikon’s D610 comes only 13 months after the D600 was launched and provides only three updated features: improved auto white balance, an upgraded shutter mechanism that boosts the continuous frame rate to six frames/second (vs 5.5 fps on the D600) and a new Quiet Continuous mode which shoots more quietly at 3 fps. Apart from that, the D610 remains the same as the D600, which we reviewed in November 2012.
Angled front view of the D610 with the 24-85mm lens used for our review. (Source: Nikon.)
Rear view of the D610. (Source: Nikon.)
Top view of the D610 with no lens fitted. (Source: Nikon.)
Key features of both models include the 24-megapixel full-frame FX-format sensor, twin SD card slots, 100% viewfinder coverage, 3.2-inch 921,000-dot monitor screen and 39-point AF system that works down to f/8. Movie capabilities provide Full HD/1080p video at 24, 25 and 30 fps plus a microphone input, headphone jack and uncompressed HDMI output.
While the new Quiet Continuous mode may have been added to compete with the silent mode on Canon’s EOS 6D), sadly, Nikon has not taken the opportunity to include Wi-Fi or GPS as well. Instead, users are forced to buy accessories, unless they purchase the D610 kit with the 24-85mm lens, which includes the WU-1b wireless mobile adapter.
Who’s it For?
Like its predecessor, the D610 has been designed to provide a ‘full frame’ DSLR camera for photographers who can’t afford (or are reluctant to fork out for) any of Nikon’s previous professional and semi-professional models (D4, D3x, D3s, D800, D800E) or the retro-styled Df. Naturally you will need a decent suite of FX lenses to go with the camera, although the 24-85mm f/3.5-4.5G ED VR lens in the kit makes a good starting point.
If you fit a DX lens, the D610 will recognise it and adjust the frame size to 24 x 16 mm to cope with their smaller image circles ““ provided the default Auto DX crop setting hasn’t been switched off in the Image area section of the shooting menu. This reduces image resolution, although the crop has the effect of magnifying the scene by 1.5x.
The lack of weatherproofing makes this camera (and its predecessor) less than ideal for travelling or hiking. However, the magnesium alloy front and rear chassis and polycarbonate resin top cover and cladding make it robust enough for general use and the shutter mechanism is rated for 150,000 cycles, which meets ‘pro-sumer’ standards.
Like its predecessor, the D610 would make a good second body for professional photographers who use Nikon’s FX gear. The interface and menu structure are very similar to Nikon’s other high-end DSLRs and photographers acquiring the D600 as a second body will find the transition straightforward. Users of larger cameras could welcome the reduction in size and weight as long as they can accommodate the compromises in features and/or performance.
Features
We’ve already provided details of the camera body, control layout, image sensor and processor in our review of the D600 so there’s no real need to duplicate that information. The same applies to the camera’s movie capabilities, which are also unchanged.
Playback and software are also the same as the D600’s and we reviewed the 24-85mm f/3.5-4.5G ED VR kit lens in November 2012 and one of the other lenses supplied with the review camera, the AF-S Nikkor 14-24mm f/2.8G ED, in February 2009. A review of the third lens supplied, the AF-S Nikkor 70-200mm f/2.8G ED VR II, has just been posted.
Performance
As before, all tests were carried out with the AF-S Nikkor 24-85mm f/3.5-4.5G ED VR lens supplied with the review camera, enabling us to compare the D610 with its predecessor. Because they are physically and technically so similar, we weren’t surprised to find their performances were very similar as well.
Subjective evaluations of JPEG and NEF.RAW images from the review camera showed them to be just as detailed as those from the D600 we tested and colours were reproduced in a similar way with an almost identical balance of hues and saturation. Imatest confirmed that colour reproduction was almost identical for both JPEGs and raw files.
Imatest showed a steady loss of resolution as sensitivity was increased, although it was gradual at low sensitivities but increased steadily from about ISO 1600 on. While the differences between centre and edge resolution were virtually identical to those from the D600, the new camera delivered slightly higher overall resolution than its predecessor, especially at the highest ISO settings. The graph below shows the results of our Imatest tests.
Resolution didn’t quite match expectations for the camera’s 24.2MP sensor for either JPEGs or NEF.RAW files, although it was marginally higher with the D610 than its predecessor. The centre resolution of raw files from the review camera came close to expectations for the image sensor at low sensitivity settings, indicating better performance would probably be achieved with a professional quality lens. (This was confirmed with our review of the AF-S Nikkor 70-200mm f/2.8G ED VR II.)
We found it more difficult to focus with the 24-85mm lens in very low light levels than we had with the D600 and had to repeat our night-shooting tests in brighter conditions where the camera and lens combination was able to focus reliably. As with the D600, JPEGs shot at ISO settings above 1600 are automatically processed to suppress noise, even when noise reduction is set to Off. Image quality across the camera’s ISO range was impressive, with details being retained at the highest settings despite slight softening and a reduction in contrast and colour saturation.
The output of the built-in flash appeared to be even more feeble than the previous camera’s which meant the warming influence of the ambient room lighting can be seen in all test shots. As usual, these were taken in the P mode.
We were unable to obtain sharp flash exposures at the 85mm focal length with ISO settings lower than 200, where the shutter speed of 1/2 second was just fast enough for hand-held shooting. Resolution was maintained through the higher ISO settings, although by the Hi2 (ISO 25600 equivalent) setting shots were more than a stop over-exposed.
Auto white balance performance was better than the D600’s, particularly under incandescent lighting, where only a trace of the warm colour cast remained. Shots taken under fluorescent lighting could be considered colour neutral. With plenty of in-camera adjustments plus post-capture colour balance adjustments, colour control is not an issue for this camera.
As with the D600, our assessments of video performance are based on clips recorded on memory cards, where the camera has a fair bit of sub-sampling to do to compress the 24.2MP sensor output to deliver 1920 x 1080-pixel frames. We recorded most clips with the AF-S Nikkor 70-200mm f/2.8G ED VR II lens.
Despite the fast maximum aperture of this lens, shooting movies in bright outdoor lighting with only the monitor available for composing shots and tracking subjects was fraught with difficulties, even in slightly overcast conditions. We tried removing the protective plastic cover from the screen (because it was badly scratched on the camera we received) but it didn’t make much difference. Most of our movie sequences have resulted from point-and-guess shooting. (CSCs with electronic viewfinders are far easier to use in such situations.)
Aside from that, we found the same issues we highlighted in our review of the D600 in movie clips: a tendency to produce blown-out highlights in contrasty lighting, fairly slow re-adjustment of focus and exposure in response to changes in focal length and/or subject positioning and during panning and there’s still no in-built wind-cut filter.
Our timing tests were carried out with the same 32GB SanDisk Extreme Pro SDHC U1 card as we used for the D600, using the same 24-85mm lens. The results were remarkably similar, with the review camera powering-up ready for shooting almost immediately and Live View shooting being accessible within about half a second.
Capture lag averaged 0.1 seconds with the viewfinder but extended to roughly 1.3 seconds in Live View mode as a result of autofocusing lag in moderately low light levels. Shot-to-shot times averaged 0.55 seconds without flash but 2.5 seconds with. It took an average of 1.3 seconds to process a single JPEG file and 1.6 seconds for a raw file and 1.8 seconds for a RAW+JPEG pair.
In the high-speed continuous shooting mode, the test camera recorded a burst of 20 Large/Fine JPEGs in 3.8 seconds, confirming the higher burst capture speed. It took 6.1 seconds to process this burst. For high-speed bursts of RAW+JPEG pairs, the camera recorded 10 shots in 1.6 seconds. It took 11.2 seconds to process this burst.
In the low-speed continuous shooting mode and the quiet continuous mode (which wasn’t totally silent), frame rates were reduced to approximately three frames/second. Processing appeared to be on the fly in both modes.
Conclusion
As mentioned above, the only differences between the D610 and the D600 are the improvement to auto white balance adjustment, the slightly faster continuous frame rate and the new quiet continuous shutter drive mode. Otherwise, the two models are identical, a factor confirmed by our testing.
The consensus among commentators is that Nikon released the D610 to counter complaints about dust and oil on many D600 sensors. This problem didn’t happen with all cameras and was more prevalent among the early production runs than later in the manufacturing cycle.
The original D600 is still listed on Nikon’s Australian website and was still on sale through a number of local online resellers, with body-only prices listed between AU$1550 and $2000 when this review was posted; quite a drop since the camera was first released. If you decide to purchase the earlier model, insist upon proof that all dust and oil problems have been repaired by Nikon. (The same applies when buying the camera secondhand.)
On 26 February, 2014, following a proposed class action against Nikon for the D600’s lubricant and dust issues, Nikon issued a Service Advisory saying it will provide a free service covering inspection, cleaning and replacement of the shutter assembly and related parts of affected cameras as well as the cost of shipping D600 cameras to Nikon and their return to customers. This will apply worldwide and details can be found on the Service & Support pages of your regional Nikon website. (The US website contains the most detailed information.)
If you already have a D600 that is problem-free, there’s no reason to do anything. If your D600 has these problems they can now be fixed for free ““ although your camera will be out of action while this is being done.
Regardless of which camera you choose, the D610 and D600 are very good consumer cameras and if you’re a Nikon user who wants ‘full frame’ format at 24-megapixels, either one would represent a good buy. But, being designed for consumers rather than professional photographers, both cameras have the following limitations:
1. The camera’s video capabilities are consumer level only. Aperture settings are not adjustable when shooting movies in Live View mode because the camera lacks the necessary power aperture control. And even though the camera can output uncompressed video via the HDMI port, it’s not at professional standard.
2. The camera body isn’t fully weatherproof.
3. Even though there are dual SD slots, the fastest SD cards can’t meet the read/write speeds of the fastest CF cards which, themselves cannot equal XQD card speeds. Some camera functions can slow data transfer, which will reduce frame rates and buffer capacities.
4. There’s no eyepiece shutter for the viewfinder, so light can be admitted and will affect longer exposures when the self-timer and/or Live View modes are used.
5. The remote controllers for the cameras are consumer-level only and there’s no PC synch socket for using the camera with studio flash set-ups. (The AS-15 Synch Terminal Adapter is available separately and the camera supports Nikon’s Creative Lighting System, which allows the built-in flash to be used as a master flash in commander mode.)
Late in February, Nikon announced it was replacing the optional Capture NX raw file processor with a free Capture NX-D application designed for processing raw files and based upon Silkypix code. We’ve never found Silkypix to be a capable raw file processor and, it seems, the new software has been stripped of the Nik control points that induced many photographers to purchase the original application. If you want more information, you can find it at Thom Hogan’s website: http://www.dslrbodies.com/newsviews/capture-nx-d-announced.html.
SPECS
Image sensor: 35.9 x 24.0 mm CMOS sensor with approx. 24.7 million photosites (24.3 megapixels effective)
Image processor: EXPEED 3
A/D processing: 12- or 14-bit lossless compression
Lens mount: Nikon F mount (with AF coupling and AF contacts)
Focal length crop factor: 1x
Image formats: Stills ““ NEF.RAW, JPEG, RAW+JPEG; Movies ““ MOV (MPEG-4 AVC/H.264) with Linear PCM audio
Image Sizes: Stills ““ FX (36×24) image area: 6016 x 4016 (L), 4512 x 3008 (M), 3008 x 2008 (S); DX (24×16) image area: 3936 x 2624 (L), 2944 x 1968 (M), 1968 x 1312 (S); FX-format photographs taken in movie live view: 6016 x 3376 (L), 4512 x 2528 (M), 3008 x 1688 (S); DX-format photographs in movie live view: 3936 x 2224 (L), 2944 x 1664 (M), 1968 x 1112 (S); Movies: 1920 x 1080; 30 p (progressive), 25 p, 24 p 1,280 x 720; 60 p, 50 p, 30 p, 25 p Actual frame rates for 60 p, 50 p, 30 p, 25 p, and 24 p are 59.94, 50, 29.97, 25, and 23.976 fps respectively; options support both high and normal image quality
Image Stabilisation: Lens-based
Dust removal: Image sensor cleaning, Image Dust Off reference data (optional Capture NX 2 software required)
Shutter speed range: 1/4000 to 30 seconds plus Bulb and Time (requires optional ML-L3 remote control), X-sync at 1/200 sec.
Exposure Compensation: +/- 5EV in 1/3- or 1/2-EV increments
Exposure bracketing: 2-3 frames in steps of 1/3, 1/2, 2/3, 1, 2, or 3 EV
Other bracketing options: White balance, flash exposures, ADL
Self-timer: 2 s, 5 s, 10 s, 20 s delay selectable; 1-9 exposures at intervals of 0.5, 1, 2, or 3 s
Focus system: Nikon Multi-CAM 4800 autofocus sensor module with TTL phase detection, fine-tuning, 39 focus points (including 9 cross-type sensors; the centre 33 points are available at apertures slower than f/5.6 and faster than f/8, while the centre 7 focus points are available at f/8), and AF-assist illuminator (range approx. 0.5-3 m/1 ft 8 in.-9 ft 10 in.)
Focus modes: Autofocus (AF): Single-servo AF (AF-S); continuous-servo AF (AF-C); auto AF-S/AF-C selection (AF-A); predictive focus tracking activated automatically according to subject status Manual focus (M): Electronic rangefinder can be used
AF-area modes: Single-point AF; 9-, 21-, or 39-point dynamic-area AF, 3D-tracking, auto-area AF
Exposure metering: TTL exposure metering using 2,016-pixel RGB sensor with Matrix: 3D colour matrix metering II (type G, E, and D lenses); colour matrix metering II (other CPU lenses); colour matrix metering available with non-CPU lenses if user provides lens data Centre-weighted: Weight of 75% given to 12 mm circle in centre of frame. Diameter of circle can be changed to 8, 15, or 20 mm, or weighting can be based on average of entire frame (non-CPU lenses use 12-mm circle or average of entire frame) Spot: Meters 4 mm circle (about 1.5% of frame) centred on selected focus point (on centre focus point when non-CPU lens is used)
Shooting modes: Auto (auto; auto (flash off)); scene (portrait; landscape; child; sports; close up; night portrait; night landscape; party/indoor; beach/snow; sunset; dusk/dawn; pet portrait; candlelight; blossom; autumn colours; food; silhouette; high key; low key); programmed auto with flexible program (P); shutter-priority auto (S); aperture-priority auto (A); manual (M); U1 (user settings 1); U2 (user settings 2)
Picture Controls: Standard, Neutral, Vivid, Monochrome, Portrait, Landscape; selected Picture Control can be modified; storage for custom Picture Controls
Colour space options: sRGB, Adobe RGB
ISO range: ISO 100-6400 in steps of 1/3 or 1/2 EV. Can also be set to approx. 0.3, 0.5, 0.7, or 1 EV (ISO 50 equivalent) below ISO 100 or to approx. 0.3, 0.5, 0.7, 1, or 2 EV (ISO 25600 equivalent) above ISO 6400; auto ISO sensitivity control available
White balance: Auto (2 types), incandescent, fluorescent (7 types), direct sunlight, flash, cloudy, shade, preset manual (up to 4 values can be stored), choose colour temperature (2500 K – 10000 K), all with fine-tuning
Flash: Built-in TTL flash, GN=12 (ISO 100/m), i-TTL flash control using 2,016-pixel RGB sensor is available with built-in flash and SB-910, SB-900, SB-800, SB-700, SB-600, SB-400, or SB-300; i-TTL balanced fill-flash for digital SLR is used with matrix and centre-weighted metering, standard i-TTL flash for digital SLR with spot metering
Flash modes: Auto, auto with red-eye reduction, auto slow sync, auto slow sync with red-eye reduction, fill-flash, red-eye reduction, slow sync, slow sync with red-eye reduction, rear-curtain with slow sync, rear-curtain sync, off; Auto FP High-Speed Sync supported
Flash exposure adjustment: -3 to +1EV in 1/3 or 1/2EV increments
Sequence shooting: Max. 6 shots/sec. for 57 Large/Fine JPEGs or 16 NEF.RAW files with a UHS-I certified SDHC or SDXC card
Other features: Built-in monaural or external stereo microphone with adjustable sensitivity; Index marking, time-lapse photography
Storage Media: Dual slot for SD/SDHC/SDXC memory cards; UHS-1 compatible; Slot 2 can be used for overflow or backup storage or for separate storage of copies created using NEF+JPEG; pictures can be copied between cards
Viewfinder: Eye-level pentaprism single-lens reflex viewfinder; 100% FOV coverage for FX, 97% for DX; 0.7x magnification, 21 mm eye point, -3 to +1 dpt adjustment, Type B BriteView Clear Matte Mark VIII screen with AF area brackets (framing grid can be displayed)
LCD monitor: 3.2-inch low-temperature polysilicon TFT colour LCD with approx. 921,000 dots, 170-degree viewing angle, approx. 100% frame coverage, automatic monitor brightness control using ambient brightness sensor
Playback functions: Full-frame and thumbnail (4, 9, or 72 images or calendar) playback with playback zoom, movie playback, photo and/or movie slide shows, histogram display, highlights, photo information, GPS data display, and auto image rotation
Interface terminals: Hi-speed USB, Type C mini-pin HDMI connector, terminal Remote cord: MC-DC2 (available separately) GPS unit: GP-1/GP-1A (available separately), Stereo mini-pin input and output jacks (3.5 mm diameter; plug-in power supported)
Wi-Fi function: IEEE 802.11b/g/n; Live View, Rec View, Wireless Touch AF shutter (Control settings for aperture, shutter speed, exposure, ISO sensitivity, white balance and Drive Mode), Wireless Release, Power Off; Selectable from iAuto / ART / PASM (Live Bulb, Live Time)
Power supply: EN-EL15 rechargeable lithium-ion battery; CIPA rated for approx. 900 shots/charge or 110 minutes of HD movie footage
Dimensions (wxhxd): Approx. 141 x 113 x 82 mm
Weight: Approx. 760 grams (body only)
TESTS
JPEG images
NEF.RAW images converted with Adobe Camera Raw.
SAMPLES
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
30-second exposure at ISO Lo 1, 35mm focal length, f/4.
15-second exposure at ISO 200, 35mm focal length, f/5.6.
8-second exposure at ISO 800, 24mm focal length, f/8.
5-second exposure at ISO 6400, 24mm focal length, f/13.
4-second exposure at ISO Hi 1 (ISO 12800), 24mm focal length, f/16.
2-second exposure at ISO Hi 2 (ISO 25600), 24mm focal length, f/16.
Flash exposure at ISO 200, 85mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 800, 85mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 6400, 85mm focal length, 1/60 second at f/8.
Flash exposure at ISO Hi1 (ISO 12800), 85mm focal length, 1/60 second at f/10.
Flash exposure at ISO Hi2 (ISO 25600), 55mm focal length, 1/60 second at f/11.
FX Image Area setting: 24mm focal length, ISO 400, 1/125 second at f/11.
FX Image Area setting: 85mm focal length, ISO 400, 1/500 second at f/11.
DX Image Area setting: 24mm focal length, ISO 400, 1/125 second at f/11.
DX Image Area setting: 85mm focal length, ISO 400, 1/640 second at f/11.
85mm focal length, ISO 400, 1/250 second at f/11.
85mm focal length, ISO 100, 1/2000 second at f/3.5.
70mm focal length, ISO 1600, 1/50 second at f/5.0.
85mm focal length, ISO Hi 2 (25600 equivalent), 1/500 second at f/10.
135mm focal length, ISO 180, 1/250 second at f/8.
195mm focal length, ISO 200, 1/250 second at f/10.
Still frame from Full HD (1920 x 1080 pixels) video clip recorded in 50p mode.
Still frame from Full HD video clip recorded at 24 fps.
Still frame from HD (1280 x 720 pixels) video clip recorded in 50p mode.
Still frame from HD (1280 x 720 pixels) video clip recorded at 30 fps.
Additional image samples can be found with our review of the AF-S Nikkor 70-200mm f/2.8G ED VR II.
Rating
RRP: n/a ASP: AU$2050, US$2000 (body only); AU$2699, US$2600 (as reviewed with 24-85mm VR lens)
- Build: 8.5
- Ease of use: 8.5
- Autofocusing: 8.5
- Still image quality JPEG: 8.8
- Still image quality RAW: 9.0
- Video quality: 8.5
