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ut it’s no jackrabbit when it comes
to burst capture, right?
Right. Unless you switch the D3X to
its 10.5MP DX crop mode, where, Nikon
says, it fires off 7 frames per second.
And that’s not the only crop mode.
Prefer a 5:4 aspect ratio? You can
have it—it brings the capture down to
20.4MP, while keeping the burst at 5 fps.
Although it boosted the megapixels,
Nikon kept much of what made the D3
a breakthrough DSLR. There’s the same
51-point Multi-CAM 3500FX AF system
with a block of 15 cross-type sensors
in the center of the frame. You also can
limit the system to 21 or 9 AF points in
Group Dynamic tracking mode or opt
for 11-point selectable AF, as with the
older D2Xs or D200.
Plus, in 3D tracking mode, the AF
system uses the 1,005-pixel sensor
in the 3D Color Matrix Metering II
metering system. We all know how this
determines exposure by referencing
a database of images. But Nikon has
added a database for white balance,
too. We’re eager to see how that
performs when we get a production unit
into the Pop Photo Lab.
And as with other pro-level cameras
of late, you can fine-tune the focusing
for up to 20 specific lenses.
Go live
There are two live-view modes.
Handheld mode uses the same phasedetection
AF as regular shooting, but
blanks out the screen while focusing.
Tripod mode uses contrast-detection
AF, though if the version in the D3 is
any indication, it’s far slower than the
phase-detection system.
Have trouble leveling your horizon
lines? The D3X has a virtual horizon
indicator. In regular shooting mode,
you can put it on the 3-inch, 920,000dot
LCD with a second indicator in the
optical viewfinder. In live view, it can be
overlaid on the image you’re framing.
Image processing is handled by
Nikon’s EXPEED processing engine. It
packs a 16-bit processing pipeline and
14-bit analog-to-digital conversion. That
means 14-bit RAW files that contain
more gradations per color channel than
the 12-bit RAW files coming out of
entry-level DSLRs.
If you’ve used a Nikon pro body,
you’ll feel right at home with the D3X.
Controls and general design mimic the
D3. The magnesium-alloy chassis and
copious weathersealing are engineered
for extreme conditions. And its shutter
is rated to a hefty 300,000 cycles.
All the familiar Nikon dials, switches,
buttons, and command wheels are in
about the same locations as on the D3.
Pop-up flash? While the pro-level D700
has one, the D3X doesn’t.
High-definition TV fans, note that
Nikon has switched from the full-sized
HDMI jack on the D3 to the smaller mini
HDMI jack. This lets you connect the
camera directly to an HDTV.
A pair of CompactFlash slots provides
plenty of room for storage, which you’ll
need, given the pixel count. As with
previous dual-slot Nikons, you can use
the second slot as a mirrored backup
of the main one, set one slot for JPEGs
and the other for RAW files, or switch to
the second one when the first fills up.
This arrangement is unique. Canon’s
1Ds has two slots, but one is for SD
cards, while the Sony A900’s second
slot takes Memory Stick PRO Duo
cards. Some might argue that since
most pros use CF cards, Nikon’s
approach is best. But Canonites
can counter that as SD cards reach
capacities higher than 8GB, the tiny
SD cards are becoming useful to pros.
Also, the ability to use devices such as
Eye-Fi wireless SD cards and Canon’s
OSK-E3 data security kit ($650, street)
adds to the appeal of the SD slot.
Does it seem odd that Nikon includes
the same Retouch Menu as in its
amateur-caliber models? The company
says that pros asked for this feature,
which lets you crop and apply minor
fixes to photos right in the camera. And
it makes sense for event photographers
who might need to print on the spot,
straight from memory cards.
Battle stations!
If there was any doubt that Nikon
has been emulating Canon’s strategy
over the past couple of years, the
D3X should put that to rest. In short
order, the company has jumped into
the full-frame field both at the top and
mid-range, and adapted its lens lineup
to more closely mirror Canon’s, with
introductions such as the AF-S Nikkor
24–70mm f/2.8G ED.
To its credit, Nikon also managed
to up the ante by leapfrogging Canon
with higher ISOs and more pixels. And
though Canon now lags behind both
Sony and Nikon in pixel count, only a
year ago it held that crown.
Nikonians have much to celebrate,
but we’re just wondering how long it will
take for Canon to return fire.
POP PHOTO FEBRUARY 2009 WWW.POPPHOTO.COM 77