Product Reviews

The Nikon full-frame 24.5-megapixel D3X officially replaces the 12-megapixel APS-C-format D2Xs. As the new flagship of the range, now boasting three full-frame models, the new Nikon sits above the 12-megapixel D3 on which it's based and is aimed at imaging creatives looking for a portable, high-resolution model for editorial and commercial work.

Although it's being compared with new full-frame models from Canon and Sony - and quite rightly, as the high-resolution Cmos sensor is a modified version of the one found in Sony A900 - the D3X occupies a small niche and comes closest in overall specification to the 21-megapixel Canon Eos 1Ds Mk III.

Needless to say, it's becoming tougher to differentiate between pro and semi-pro models, and Nikon has been panned for marrying what is in effect the Sony sensor to a standard D3 body. Like the D3, every button, dial and seam of the magnesium-alloy body is tightly sealed and the shutter tested in excess of 300,000 cycles, three times that of the Sony A900. It has twin CompactFlash card slots, enabling you to record either in parallel or concurrently, a 100% coverage viewfinder, two Live View modes using a 3in, 920,000-dot LCD, a fast 51-point AF system and, unlike the Sony, a choice of 12- or 14-bit ADC.

However, where the original D3 and similar APS-H-format Eos 1D are built for speed, the D3X, with its enormous, 70MB, 8-bit files, is all about picture quality. As a result, the maximum native sensitivity is ISO1600 (expansible to ISO6400) and a continuous-shooting rate that tops 5fps. In our tests, though, this was only achieved with Jpegs or

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12-bit Raw files.

Switching over to the 14-bit option, which then rivals the Canon Eos 1Ds Mk III, burst rate becomes a rather tardy 2fps. Still, depending on the various options, the D3X will buffer between 18-19 Raw or Jpeg files. That's better than the Canon's 12 Raw file capacity, but well behind the 56 consecutive Jpegs of its main rival, the Sony A900.

The D3X has the same superior ergonomics of the D3 and feels nearly as swift and responsive. It may have the same 51-point focus module as the D300, but autofocus in both the D3 and the D3X is noticeably quicker.

Live View isn't as well implemented as that found on the Canon Eos 1Ds Mk III, and there's no HD video capture option. We found the double mirror-flap in Handheld mode outdated and cumbersome, but the contrast-detect Tripod mode should please the D3X's target market.

The 24-70mm f/2.8 lens supplied as a sample is a superb performer. However, like its rivals in this class, it shuns built-in anti-shake. The D3X features on-board chromatic aberration reduction, but the high-resolution files mercilessly reveal any lens defects, so only the very best highly corrected, pro-level optics are likely to be a match for the sensor.

While you may not be surprised to find the picture quality outstanding at low ISOs, the longer time to market has also paid dividends in terms of the D3X's high ISO performance. It's simply superior to any of its high-resolution rivals, and comes close to the D3, better even when downsized to 12 megapixels. It's a real eye-opener. Bear in mind the lower native ISO range, but even ISO1600 is usable, and the ISO3200 and ISO6400 options will have their uses. At those extended settings, in-camera Jpegs show some colour blotches, but on dark tones and in shadow areas, it's much more of the less-distracting, grainy luminance noise.

Support for Raw files is still patchy - at the moment, you'll need to budget extra for Nikon's Capture NX 2.1.1 or Phase One's excellent C1 4.6, and you'll have to put some effort into getting better in-camera Jpegs.

In all, then, the Nikon D3X is arguably the new leader in its field and is a great buy for high resolution commercial work.