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Nikon has announced that the Russian Federal Space Agency has ordered three Nikon Digital SLR cameras, four interchangeable lenses, software and various accessories to be used on board the International Space Station (ISS). The equipment will be transported to the space station by the Soyuz TMA-19 spacecraft, to be launched from the Baikonur Cosmodrome on June 16, 2010. The cameras subject to the order are one Nikon D3S and two Nikon D3X DSLRs. The lenses include the AF-S Nikkor 400mm f/2.8G ED VR supertelephoto lens.
The D3S, released in late 2009, has a newly designed full-frame, 12 megapixel sensor that features extraordinary low light performance up to 102,400 ISO, continuous shooting of up to nine frames per second and high definition video. The D3S was reviewed by DCR this past April and awarded 4 ½ stars out of 5, with our reviewer stating that it is "probably among the most capable pro DSLRs on the market today." The D3X, released in late 2008, has a full-frame 24 megapixel sensor. We also had the chance to review it earlier this year. DCR contributor Theano Nikitas stated that "the D3x's image quality is stunning." The AF-S Nikkor 400mm f/2.8G ED VR, released in 2007, is constructed with extra-low dispersion glass elements that minimize chromatic aberration, producing high quality images, an extra-low refractive index coating and a meniscus protective glass element.
The new equipment will be used along with other Nikon SLR cameras and lenses already being used by Russian cosmonauts in the Russian portion of the space station.
The United States also makes use of Nikon equipment in space. In 2009, NASA ordered eleven D3S cameras and seven AF-S Nikkor 14-24mm f/2.8G ED lenses for use in recording activities aboard the space shuttle and the International Space Station.
For additional information, see Nikon's press release.
The Nikon S8000 is a very capable and very slim camera. The 10x optical zoom range offers great flexibility, though auto-only shooting may disappoint advanced shooters.
After schlepping around a 35mm kit with two Nikon camera bodies, several lenses, and a full sized Bogen tripod for many years, I've come to appreciate small, easily pocketable cameras like the Nikon Coolpix S8000. When our test unit arrived, I was immediately impressed and after two weeks of carrying the camera with me just about everywhere I went, my initial impressions haven't changed. The little black S8000 (the camera is also available in silver, red and brown) is about the size of an Altoids tin and provides a nice balance of usability, simplicity and snappy performance.
The tiny low-profile S8000 is a first-rate picture maker that's capable of capturing super images indoors and outdoors. The S8000's collapsible 10x zoom is like carrying a 30-300mm lens around in your shirt pocket. It's also quick enough to capture the decisive moment. Here's my bottom line (at the top of the review): if you want a compact digicam that gives up the biggest bang for your camera buck and you don't need some level of manual exposure capability - you really can't do a whole lot better than the S8000 at this point in time.
BUILD AND DESIGN
At first glance the diminutive auto-exposure only S8000 looks pretty much like every other ultra-compact digicam out there. On closer inspection this little unit seems rather elegant. It's unobtrusive, understated (at least the black version) and eminently pocketable. The S8000 is truly compact, measuring 2.3x4.1x1.1 inches and weighing in (with battery and memory media) at just 6.5 ounces.
The robustly built metal-alloy/polycarbonate body has good dust/weather/moisture seals and feels comfortingly solid. Even though the S8000 is very thin and has smooth surfaces, it is fairly stable in the hands thanks to the nicely placed wrist strap and contoured thumb rest.
Not only does the Coolpix S8000 slip easily into a standard shirt pocket or a small purse, but it carries nicely when gripped loosely in the palm of the hand with the wrist strap looped around the right hand. Areas vulnerable to loss/breakage include the plastic cover of the battery and memory media compartment (which must be locked/unlocked via a tiny slider by the user) and the soft plastic flap over the USB port.
Ergonomics and Controls
The S8000's user interface is uncomplicated and straightforward. The control layout is quite basic and sufficiently similar to other current digicams in the compact ultrazoom class to provide most users with a comforting sense of déjà vu. Buttons are logically placed and come easily to hand for right-handed shooters, but they are all rather small. The super tiny on/off button sometimes requires an extra push or two to power the camera up or down.
The S8000's user interface is logical and uncomplicated; all buttons are fairly small, but they are clearly marked, sensibly placed and easily accessed. Operation is very basic and all exposure options are minor variations on the auto exposure theme. There is no mode dial because shooters only have four options - Auto mode, Scene mode, Smart Portrait, and Movie mode. In place of the standard compass switch, the S8000 features what is essentially a rotary jog dial (which Nikon calls the rotary multi-controller) for super fast menu scrolling and back and forth saved image comparison.
The central portion of the rotary multi-controller functions in the familiar compass switch control configuration - up/down (flash/macro), left/right (self timer/exposure compensation), and center "OK" button. Unfortunately there is no direct access method, like Canon's "func" button for adjusting ISO and White Balance or other often changed settings; any adjustments must be accomplished via menu. There's also a dedicated "one-touch" button for starting and stopping video capture. Menus and Modes
The S8000's two tab menu system is consistently simple, user-friendly, logical and easily navigated. The large 3.0-inch LCD and reasonable font size make reading the menus easy.
Here's a breakdown of the S8000's shooting modes:
Auto: Point-and-shoot mode with limited user input. In Auto mode (which is actually closer to Program mode) the camera selects the aperture and shutter speed, but allows users to control sensitivity (ISO), white balance, color/saturation, and exposure compensation.
Scene mode: Scene Auto Selector (which automatically selects the most appropriate Scene mode for the shooting situation), Portrait, Landscape, Night Portrait, Party/Indoor, Beach/Snow, Sunset, Dusk/Dawn, Night Landscape, Close-Up, Food, Museum, Fireworks Show, Copy, Backlight, and Panorama Assist.
Smart Portrait mode: Specialized portrait mode that automatically turns on the Skin Softening function to smooth out skin texture and minimize blemishes. The Smart Portrait mode also activates the Smile timer (tripping the shutter when the priority subject smiles), Nikon's Blink Proof function which automatically captures two sequential exposures and then saves the one in which the subject's eyes are open, and Subject Tracking in which the camera locks focus on and automatically tracks the movement of the primary subject to assure sharp focus and rapid response when the "decisive moment" occurs. Subject Tracking continues to function even if the subject briefly exits the frame.
Movie: The camera records HD video at a maximum resolution of 1280x720 at 30 fps) with stereo sound.
Display/Viewfinder
Like most currently available digicams the S8000 doesn't provide an optical viewfinder so the LCD must be used for all framing and composition, image review and menu access chores. The S8000 may lack an optical viewfinder, but makes up for this omission by adding a large screen with what amounts to four times the 230k resolution of some of its competition. The S8000's wide-viewing angle Clear Color 3.0-inch TFT LCD is super sharp (920,000 pixels), bright, hue accurate and fluid.
The info display provides all the information the camera's target audience is likely to need, but in review mode this information remains on the screen for approximately five seconds before allowing the image to be seen without the info overlay - defeating the nifty rotary jog dial's ability to compare saved images by jogging back and forth between them. The LCD gains up (automatically increases brightness) in dim lighting and can be adjusted to the individual shooter's preferences. Some earlier "S" models featured LCDs that were so shiny that they behaved like mirrors, making them essentially useless in bright outdoor lighting - the S8000 shows marked improvement over its predecessors with a very good anti-glare/anti-reflection coating.
Comparing spec sheets, we knew that the Nikon D300S wouldn't be a major overhaul of the pro photographer's favorite workhorse, the D300. The D300S most notably adds HD video to the existing model, perhaps making it more of an attractive upgrade to D90 owners than current D300 users. There's plenty of good news here for anyone considering Nikon's newest pro DSLR, and it's all detailed in our full review. Full Story
In the old days, before digital cameras, Nikon was the film camera of choice for photojournalists, the only camera ever mentioned in the lyrics of a number one hit song, and one of the imaging tools NASA astronauts took to the moon. At the dawn of the digital age competition was vicious and Nikon wasn't as quick to see the writing on the wall as Canon and Sony.
Nikon's pro, semi-pro, and amateur DSLRs have always been well received, but their earliest digicams looked like something out of a Star Trek movie. The first Coolpix (the CP 900) was an innovative split-bodied design that allowed the zoom lens to move independently from the camera's LCD screen. The different look of the original Coolpix digicams didn't catch on as well with the public as Canon's more traditional looking cameras. Nikon's newest digicam, the "S" for style Nikon Coolpix S620, looks pretty much like every other ultracompact digital out there.
The S620 provides about the same balance of dependably good pictures requiring little user input and dead simple ease of use that distinguish many of today's popular consumer digicams, but it's smaller, lighter, and cheaper than many of them and sports a true wide-angle zoom. The camera design mavens at Nikon clearly don't believe the megapixel wars are over – so the S620 generates gargantuan 12 megapixel images, but it's small enough (2.1x 3.5 x 0.9 inches) to drop in a shirt pocket.
The auto exposure only Coolpix S620 is the little brother to Nikon's S630, but the differences are minimal and many users will likely opt for the S620's more versatile 4x wide-angle zoom over the S630's longer 7x zoom. The S620 is available in Silver, Black, Purple and Pink (my test unit was pink). Experienced shooters won't even need to check the manual before using the camera.
BUILD AND DESIGN The S620 is an auto exposure only digital camera with no manual exposure capability. In Auto mode the camera selects the aperture and shutter speed, but allows users to control sensitivity (ISO), white balance, color/saturation, and exposure compensation.
Nikon's nifty D-Lighting function automatically enhances underexposed images by subtly lightening darker areas without affecting properly exposed areas. Nikon's BSS (Best Shot Selector) function automatically captures 10 sequential frames and then saves the one with the sharpest focus.
The Coolpix S620 supports SD and SDHC memory cards and provides 44MB of built-in memory – enough for seven full resolution images.
Ergonomics and Controls The S620 is tiny, but it is fairly stable in hand (although it lacks any sort of serious handgrip) and it is dependably easy to use. Dedicated controls are minimal. All are logically placed and come easily to hand for right-handed shooters.
I really liked the S620's eminently logical rotary jog dial. The S620's compass switch features the familiar control configuration (up/down, left/right, and center button). In addition, Nikon incorporates a nifty rotary collar around its periphery for super fast menu scrolling and back and forth saved image browsing/comparison.
Menus and Modes The S620's menu system is user friendly, logical, and easily navigated – the relatively large 2.7 inch LCD screen and reasonable print size make reading the minimal menus easy. Unlike comparable digicams from other manufacturers, the S620 doesn't provide direct access (via a "func" button or "Quick Menu") to the most commonly changed/adjusted camera settings and functions like white balance, sensitivity, image size etc.
Here's a breakdown of the S620's shooting modes:
Auto: Point-and-shoot mode with limited user input – the camera automatically selects aperture and shutter speed users can select sensitivity, white balance, exposure compensation, etc.
Scene: Scene Auto Selector (which automatically selects the most appropriate Scene mode for the situation), Portrait, Landscape, Sports, Night Portrait, Party/Indoor, Beach/Snow, Sunset, Dusk/Dawn, Night Landscape, Close-Up, Food, Museum, Fireworks Show, Copy, Backlight, Panorama Assist, and Voice Recording.
Smile: Automatically trips the shutter when the priority subject smiles – plus Nikon's new Blink function that automatically captures two sequential exposures and then saves the one in which the subject's eyes are open.
Subject Tracking: The camera locks focus on and automatically tracks the movement of the primary subject to assure sharp focus and rapid response when the "decisive moment" occurs. Subject Tracking continues to function even if the subject briefly exits the frame.
Movie: AVI Motion JPEG movie clips at 640x480/30fps (with monaural audio). Video clip duration is limited by the amount of available memory (up to 25 minutes).
Display/Viewfinder Like many current digicams, the S620 doesn't provide an optical viewfinder so the 2.7 inch LCD must manage all framing/compositional, image review, and menu access chores. The S620's LCD is sharp (230,000 dots), bright, hue accurate, relatively fluid, and the info display provides all the data the camera's target audience is likely to need.
The display gains up (automatically increases brightness) in dim lighting. Some earlier "S" models featured LCDs that were so shiny that in bright outdoor lighting they behaved like mirrors, making them essentially useless – the S620 isn't that bad, but it would definitely benefit from some LCD glare reduction technology.
PERFORMANCE The Nikon Coolpix S620 is pretty quick – it isn't always the fastest camera in its class, but it's never the slowest. Start-up time is 0.07 seconds and shutter lag (press-to-capture – pre-focused) is also 0.07 seconds. AF Acquisition (press-to-capture – no pre-focus) is a very snappy 0.28 seconds.
The S620's continuous shooting mode (which allows users to capture several images in quick succession) is 3 frames in 1.7 seconds. Overall, the S620 comes in a bit quicker than average.
Shutter Lag (press-to-capture, pre-focused)
Camera
Time (seconds)
Sony Cyber-shot DSC-T700
0.02
Canon PowerShot SD970 IS
0.03
Pentax Optio P70
0.05
Nikon Coolpix S620
0.07
Casio Exilim EX-Z150
0.22
AF Acquisition (press-to-capture, no pre-focus)
Camera
Time (seconds)
Sony Cyber-shot DSC-T700
0.23
Nikon Coolpix S620
0.28
Canon PowerShot SD970 IS
0.47
Pentax Optio P70
0.87
Casio Exilim EX-Z150
1.15
Continuous Shooting
Camera
Frames*
Framerate*
Panasonic Lumix DMC-FX37
3
3.6 fps
Nikon Coolpix S620
3
1.7 fps
Sony Cyber-shot DSC-T700
10
1.6 fps
Casio Exilim EX-Z150
13
1.3 fps
Canon PowerShot SD970 IS
∞
1.1 fps
* Note: Continuous shooting framerates are based on the camera's fastest full-resolution JPEG continuous shooting mode, using the fastest media type available (300x CF, SDHC, etc.). "Frames" notes the number of captures recorded per burst before the camera stops/slows to clear the buffer.
With numbers like those shown above, experienced photographers shouldn't have much trouble capturing the peak moment in action shots – pre-focusing on the point where the action will occur and then tripping the shutter just before the composition comes together only works properly when shutter lag and AF lag are both fairly short. Shot to shot times were about average.
Shooting Performance Nikon's VR (vibration reduction) optical image stabilization function automatically counters the involuntary movements of the photographer and minimizes the virtually unavoidable camera shake that causes blurry images by quickly and precisely shifting lens elements in the tiny Nikkor zoom to compensate for camera movement during exposure. Motion Detection automatically boosts shutter speed and sensitivity (ISO) to compensate for subject movement.
The S620 is powered by a Nikon EN-EL12 lithium-ion battery with 3.9 Wh of juice. Nikon claims the S620 (with a fully charged battery) is good for (according to Nikon) 250 exposures. I do a lot of shoot, review, delete, and re-shoot. I rarely keep track of exposures so I can't quibble with Nikon's numbers, but 250 exposures is noticeably fewer than most of the S620's competition. The supplied rapid charger fully charges the EN-EL12 in about 150 minutes.
The S620's built-in multi mode flash provides an acceptable selection of artificial lighting options, including Auto (fires when needed), On (fill flash), Red-Eye Reduction, Slow Sync, and Off. Nikon claims the maximum flash range is about 18 feet, but that seems a little optimistic, in my humble opinion.
Lens Performance The heart of the S620 is its very good f/2.7- f5.8.6/5.0mm -20.0mm (equivalent to 28mm -112mm) 4x Nikkor zoom. When the camera is powered up, the lens automatically telescopes out of the camera body. When the camera is powered down the lens is fully retracted into the camera body and a built-in lens cover slides into place to protect the front element. Center sharpness is pretty good overall, but at the wide-angle end of the zoom corners are noticeably soft. At the telephoto end of the zoom corners are still soft but not as conspicuously so.
Wide Angle
Telephoto
The S620 is able to cram about 25 percent more real estate into the frame (at the 28mm end of the zoom) than most of its competition, but that slight edge is somewhat negated by higher than average noise levels indoors. Contrast is balanced and colors are hue accurate. Minimum focusing distance (in Macro mode) is 0.8 inches, or 2.0 centimeters. Zooming is smooth, silent, and quick.
Macro
Image Quality Like most of its competition the S620's images are optimized for the bold, bright colors, and balanced contrast that many veteran shooters refer to as consumer color – overall color is fairly accurate with most colors relatively close to neutral. Reds are a little warm, blues are a bit bright, greens are a bit too vibrant, and (like the vast majority of point-and-shoots) purples tend toward blue – but most casual shooters (the S620's target audience) probably won't be bothered much by these minor faults.
Standard Exposure
Vivid
Outdoors the S620 (like most of its competition) does a great job – image quality is dependably very good. Exposures are consistently accurate, but lots of sky in the picture will probably result in slightly overexposed images. Take a look at the "wide-angle" image – there is surprisingly little slight barrel distortion. There is some slight edge softness, but that is typical for tiny super complex digicam zooms.
Indoor image quality is also good, but as sensitivity automatically rises to overcome lower levels of ambient lighting, noise rises exponentially and color accuracy suffers a bit. Noise levels are quite reasonable up to ISO 400, but noise levels increase quickly as the sensitivity rises.
ISO 100
ISO 100, 100% crop
ISO 200
ISO 200, 100% crop
ISO 400
ISO 400, 100% crop
ISO 800
ISO 800, 100% crop
ISO 1600
ISO 1600, 100% crop
ISO 3200
ISO 3200, 100% crop
ISO 6400
ISO 6400, 100% crop
The S620's Auto White Balance setting did a pretty good job across a wide range of lighting conditions, but shoots warm under incandescent light.
Auto White Balance, 3200K Incandescent Light
Under mixed lighting (window light, fluorescent, and incandescent) in a local bike shop the S620 wobbled a bit. See the bike helmet display shots – both were taken from the same spot (with no change in camera settings) within seconds of one another.
In addition to the auto setting there are Manual, Daylight, Incandescent, Fluorescent, Cloudy, and Flash settings.
Additional Sample Images
CONCLUSIONS During the last years of his life Magnum pro Henri Cartier-Bresson replaced his venerable Leica rangefinder with an ultracompact Contax T. Like the Contax T, the ultracompact Coolpix S620 does a remarkably good job with some of the things its predecessors were famous for – plus it's tough enough to go just about anywhere.
The Nikon Coolpix S620 is a very good digital camera, but in the final analysis, the S620 ends up right in the middle of the 12 megapixel ultracompact pack. That's not necessarily a bad thing – higher-rated comparable cameras are not substantially better.
Like most of its contemporaries, the S620 is probably not a good choice for those who like to shoot indoors or in low/dim light, but unlike many of its contemporaries the S620 features a wide-angle lens and the ability to capture stunning macro images.
The S620 will appeal to beginners, casual photographers looking for a stylish "pocket" digicam and hikers/bikers/backpackers/travelers looking for a camera that packs lots of photographic potential into a small lightweight package.
On the surface, the arrival of the D5000 was only a matter of time. According to figures released from Nikon, sales of the entry-level D40, D40X, and D60 cameras account for roughly 80 percent of all Nikon DSLR sales. It's no wonder that Nikon was so eager to take the new high resolution sensor and video mode from their mid-grade D90 and put it into a lower-priced entry-level DSLR ... the new Nikon D5000.
We'll explore the D5000's video performance at length, but rest assured, if you liked the video quality from the D90 then you'll feel the same way about the D5000.
FEATURES OVERVIEW The D5000 features the same 12.9 megapixel (12.3 million effective pixels) APS-C (or DX format, in Nikon's nomenclature) sensor and Nikon's latest generation EXPEED processor found in the D90. It also inherits the 11 point AF system with color and distance tracking as well as optional viewfinder gridlines from the D90. The viewfinder magnification is slightly smaller than the one in the D40X/D60, but the extra AF points and viewfinder gridlines make for a superior user experience.
The most noteworthy feature on the D5000 is the all new tilt and swivel LCD display used for a standard status display as well as live view and image/video playback. The only other new features of note are the new higher-capacity EN-EL9a battery and the optional MC-DC2 remote cord. Overall, the total package is pretty impressive for an advanced consumer camera like the D5000.
The D5000 shares the same 200 to 3200 nominal ISO range (with ISO 100 and 6400 options available), and the ability to use "Active D-Lighting" (Nikon's proprietary feature that boosts shadow details and helps prevent overexposed highlights so you don't have to spend as much time editing your photos after you take them).
There's built-in image sensor cleaning, a continuous shooting rate of "up to" 4fps, and live-view with contrast-detection auto focus. In addition to the typical DSLR manual exposure modes, there are five advanced scene modes that can help ease the transition worries of folks coming into the camera from more fully automatic compact digitals. The D5000 also has automatic and selectable D-Lighting to provide a wider dynamic range, 3D Color Matrix Metering II with scene recognition exposure system, a built-in flash, and a shutter tested to more than 100,000 cycles.
The D5000 uses SD/SDHC memory media and Nikon includes a rechargeable li-ion battery, quick charger, eyepiece cap, rubber eyecup, USB and A/V cables, camera strap, monitor cover, body cap, accessory shoe cover, and CD-ROM of software with each camera.
There are seven primary shooting modes:
Auto: An automatic "point-and-shoot" mode with virtually all camera settings determined by the camera according to conditions; flash will fire automatically if the subject is poorly lit. The Picture Control (PC) menu, which provides a wide range of sharpening, contrast, brightness, saturation and hue adjustments, is disabled in this mode.
Program: Camera sets shutter speed and aperture for optimal exposure
Aperture Priority: User selects aperture, camera determines shutter speed
Shutter Priority: User selects shutter speed, camera determines aperture
Manual: User selects shutter speed and aperture
Scene: The D90 offers portrait, landscape, close-up, sports, and night portrait scene presets in which the camera optimizes settings according to the mode chosen
D-Movie: HD video capture is available at up to 720p (1280 x 720 pixels) and 24 fps in Motion JPEG format; we'll go into more detail about the D5000's video in the "Image Quality" section of the review
With regard to the close-up mode in the list of scene presets, this option adjusts camera settings and sets the AF point to the center of the image, but does not otherwise invest this camera with any particular close-up capability: it takes a lens to do that. Fortunately, many Nikon zoom lenses have reasonably impressive close focus capabilities, and the 18-55mm VR and 24-120mm VR lenses used during this review did a pretty impressive job ... allowing me to get close enough for some simple flower shots.
FORM, FIT, AND FEEL The design of the D5000 looks strikingly similar to the D40X/D60, but the D5000 is noticeably larger than the D40x (seen below) since the new camera has to make room for the tilt and swivel LCD. It's not as large as the D90, but if you enjoy the size and weight of the D40X/D60 then you may find the D5000 just a little too big.
Styling and Build Quality While not as physically small as the entry level D40/40X/60 models, the D5000 features similar plastic construction and is obviously less rugged than the D90 or D300.
Although I did complain about the increased size of the D5000, it's worth mentioning that the larger size of the camera makes the camera grip more comfortable to hold for people with larger hands.
Ergonomics and Interface Despite being more compact than the D90, the D5000 is packed with plenty of controls on the top and back of the body, even adding a few extra buttons compared to the D40X/D60.
The button layout is extremely similar to what was used on the D40X/D60, so anyone familiar with those cameras should have a relatively easy time learning the control interface on the D5000. Live view (using the monitor to compose/capture still images or movies) can be accessed quickly via the live view button.
The deep handgrip provides a firm hold while at the same time maintaining acceptable clearance from the lens barrel, the thumb rest at the rear of the body is a little small for cradling the thumb, but it gives you a place to keep your thumb near the controls. The index finger falls naturally onto the shutter button.
Display/Viewfinder The D5000 features a 2.7 inch, 230,000 dot monitor with the first tilt and swivel mount used on a Nikon SLR. The monitor offers 100 percent frame coverage and is adjustable via internal menu for seven levels of brightness.
The screen is a pleasure to use for image review in good lighting conditions, and the adjustable brightness settings help when using the monitor for composition outdoors in direct sunlight. Live view can be used for still image capture and must be used for movie capture, but if the monitor had a higher resolution it would be easier to confirm focus using the monitor.
The viewfinder is something of a disappointment on the D5000. The viewfinder offers the same 95 percent frame coverage used on the D40X and D60, but the magnification is now only 0.78x compared to 0.8x on the D40x and D60. The diopter adjustment for individual eyesight helps you see through the lens in correct focus if you're wearing glasses and shoot without them.
PERFORMANCE The D5000 is intended to replace the D60 on the consumer end of Nikon's SLR offerings. That said, the D5000 features several performance improvements over the D60 that make the D5000 closer to the mid-level D90. Is the D5000 really good enough to challenge a "prosumer" camera like the D90? In the right hands ... yes. The D5000 has most of the features seen in the D90, and if you're willing to use only AF-S lenses and can handle 4 fps burst shooting instead of 4.5 fps then the D5000 is essentially just a cheaper D90.
In fact, although the D5000 is limited to only 4 fps in continuous/burst mode, it can capture up to 63 JPEG images or 11 RAW files while the D90 is limited to just 25 JPEGs or 7 RAW files.
Timings and Shutter Lag Like most current-generation Nikon SLRs, the D5000 is ready to go as soon as you hit the power button. Likewise, shutter lag and auto focus lag aren't an issue. Here are a few figures showing the timings in our lab:
Shutter Lag (press-to-capture, pre-focused)
Camera
Time (seconds)
Nikon D5000
0.02
Canon Rebel XS
0.03
Pentax K2000
0.04
Sony Alpha DSLR-A200
0.05
Olympus E-420
0.05
AF Acquisition (press-to-capture, no pre-focus)
Camera
Time (seconds)
Sony Alpha DSLR-A200
0.17
Nikon D5000
0.19
Canon Rebel XS
0.19
Pentax K2000
0.32
Olympus E-420
0.48
Continuous Shooting
Camera
Frames*
Framerate*
Nikon D5000
30
3.9 fps
Olympus E-420
10
3.4 fps
Pentax K2000
5
3.4 fps
Canon Rebel XS
∞
3.0 fps
Sony Alpha DSLR-A200
9
2.9 fps
* Note: Continuous shooting framerates are based on the camera's fastest full-resolution JPEG continuous shooting mode, using the fastest media type available (300x CF, SDHC, etc.). "Frames" notes the number of captures recorded per burst before the camera stops/slows to clear the buffer.
We were favorably impressed in our lab testing with the D5000's continuous shooting capabilities. While it hovered just under the advertised 4 fps mark regardless of burst length, we were consistently able to exceed the stated buffer limit of 25 fine JPEG frames – getting a full 30 at all times with a fast card. It should be noted, though, that you'll have to disable the built-in Distortion Control function to get more than five frames per burst.
Overall, the performance of the D5000 seems strikingly similar to the D90 and is a reasonable step up for D60 users.
Auto Focus The D5000 uses the same version of the Nikon Multi-CAM 1000 AF Module found in the D90. Its 11 focus points include the "rule of thirds" locations in the frame for folks who practice that form of composition. Single-point AF is suggested for static subjects, dynamic-area AF for moving subjects, auto-area AF for spontaneous shooting, and 3D-tracking (11 points) AF when changing the composition after focusing on a subject. This is a huge step up from the 3-area TTL Nikon Multi-CAM530 AF module in the D60.
I found auto focus performance extremely good in bright lighting conditions, and most of the time the D5000 even managed to acquire focus rapidly under dim light. The timing numbers seen in the previous section suggest just how rapid the system is – right at the front of the pack for a non-pro camera.
The dynamic-area AF in the D5000 performs pretty well on moving subjects. Again, this is essentially identical to the D90, so holding focus on moving subjects like athletes or wild animals should be extremely easy for even novice photographers.
Lens Mount The D5000 uses the same modified Nikon F bayonet lens mount used on the D40/D40X/D60 cameras, which means about 40 million Nikon lenses dating back to 1959 will mate to the camera. Unfortunately, like those other entry-level Nikon cameras, there is no AF motor built into the body, meaning only lenses with autofocus motors (such as Nikon AF-S lenses) will AF on the D5000.
Flash The D5000 has a built-in flash that is virtually identical to the one used in the D60 and D90 with a range of about 17 feet at ISO 200. Additionally, the camera is equipped with a hot shoe to accept more powerful flash units should the user so desire. Color rendition was good, and flash recycle times were speedy – the flash was ready to go almost instantly in normal conditions and within 4 seconds after a full discharge. With flash enabled the D5000 won't let you take another photograph until the flash is fully charged.
When shooting in auto mode and some scene modes the flash will enable automatically should addition lighting be needed; manual deployment of the flash is required in all other shooting modes. Nikon cautions that lens hoods should be removed when using the built in flash.
Image Stabilization It's a Nikon, so image stabilization is built in specific lenses that carry a "VR" designation, like the 18-55mm kit lens supplied with our review D5000.
Nikon claims up to a 3 stop advantage for VR lenses (a few others, notably the VR18-200, have the VR II system for which Nikon claims up to a 4 stop advantage). VR may be disabled on the lens by the user, but the camera automatically enables VR lenses when set for D-Movie mode.
Battery The D5000 uses a revised version of the battery from the D40 and D60. It's backwards compatible and can be used in the older cameras and with the same charger. The new EN-EL9a has an increased capacity of 7.8Wh, compared to the 7.2Wh rating of the old EN-EL9.
Nikon rates the D5000's EN-EL9a lithium-ion battery for 510 shots ... which is more than what the old battery delivered in the D60, but considerably less than the D90's 850 shots using the EN-EL3e. Battery life looks to be in the CIPA ballpark based on my experience with this camera, but it's always prudent to carry a spare battery for all day shooting treks.
Nikon doesn't offer a multi power battery grip for the D5000, but if history is any indicator then various third-party manufacturers should develop a battery grip for the D5000 before the end of the year.
IMAGE QUALITY Although I use cameras and lenses from a number of different manufacturers, Nikon SLRs consistently deliver images with solid color, good white balance, and excellent metering. Since the D5000 packs essentially the same sensor as the D90 and D300, it's easy to assume you'll get similar image quality out of all these cameras.
Images made at default settings with the D5000 were pleasing to my eye in terms of accurate color reproduction, contrast, and sharpness. Granted, sharpness and brightness could have used a little boost, and I often found myself using a minimal increase in exposure compensation (+0.3EV). The only other change I made to the camera settings was to increase the saturation in some of the flower images. Overall, the Picture Control menu offers fantastic control over sharpness, contrast, brightness, saturation, and hue. The Active D-Lighting feature (which is on by default) does a fantastic job of bringing out shadow detail while preserving highlights. That said, if the Active D-Lighting feature is on, you cannot adjust contrast and brightness in the Picture Control menu.
Video Quality If you just want a quick overview of the D5000's video quality, rest assured that the video capability of this camera is quite good. If you're used to the video quality in a compact point-and-shoot camera, then the D5000 will certainly impress you in terms of color, smoothness, and detail.
The D5000, like its big brother the D90, can capture movies at 1280x720, 640x424, or 320x216 sizes, all at a 24 fps (the same speed as theatrical film). The fact that many different Nikon lenses can be used with the D5000 to shoot video means that the D5000 actually has a substantial advantage over consumer-grade video cameras. Zoom lenses can be zoomed while capturing video, fast prime lenses allow you to shoot in extreme low light, VR lenses function to reduce camera shake.
The only major limitations to using the D5000 as a video camera are that videos are limited to 5 minutes in length or a maximum file size of 2GB and you can't use auto focus. That's right. The camera won't auto focus while shooting video – you use the AF sensor to lock focus before you start recording video and you hope that the camera-to-subject distance remains constant ... otherwise your video will be out of focus. Of course, you can manually focus, but most average consumers don't enjoy using manual focus.
The other thing to keep in mind is that video has to be done via Live View mode (using the monitor). This isn't inherently good or bad. Folks who've shot video with compact digital cameras may feel right at home (at least until they have to go to manual focus). Still, it's a safe bet that at least a few seasoned SLR users will want to shoot video with this camera using the viewfinder.
The next potentially negative issue about the video performance of the D5000 is the effect of what's known as rolling shutter when capturing video. The "rolling shutter" effect essentially causes vertical objects to take on a distorted tilt when a camera is panned across a field of view, such as tracking a running subject against a stationary background.
Here are some sample movies taken during a recent trip to the Cincinnati Zoo. The second video of the polar bear shows some obvious effects of rolling shutter during the beginning of the video. Again, the video quality is pretty impressive, but the need to pre-focus or use manual focus might be a little frustrating for some users.
The D5000 can produce high quality video, assuming the camera-to-subject distance remains relatively constant (or you use manual focus) and avoid situations that give rise to the rolling shutter effect. Bottom line, if video is your primary concern, buy a video camera. If you want a still camera with a video capability, the D5000 is the most affordable Nikon solution currently on the market.
Exposure, Processing, and Color The D5000 is now the least expensive Nikon to offer the 3D Color Matrix Metering II with Scene Recognition System found on higher-priced Nikon cameras. The 420-pixel RGB 3D Color Matrix Metering II system works with the Scene Recognition System to evaluate various elements of the scene to produce a near perfect exposure. This isn't as good as the 1005-pixel RGB 3D Color Matrix Metering system found in high-end Nikons, but it's identical to what is used in the D90.
My experience with the D5000 suggests the camera is prone to slight underexposure in difficult, high contrast situations in order to preserve highlight details. This is essentially the opposite problem that the D90 had, which tended to overexpose slightly during our tests. For those photographers who don't want to use the 3D Matrix metering, center weighted and spot metering options also available.
In addition to the standard Picture Control menu options for changing the way the camera processes images, the D5000 also offers a Retouch Menu, including D-Lighting, red-eye correction, trim, monochrome, filter effects, color balance, small picture, image overlay, quick retouch, straighten, distortion control, fisheye, and NEF (Nikon Electronic Format) processing – Nikon's RAW file format. The in-camera NEF processing is particularly valuable if you're using non-Nikon software to edit your images. NEF processing allows the user to make a JPEG copy of these files in camera while retaining the original NEF files for later editing.
As previously mentioned, color reproduction is good in the D5000. The following are examples of standard, neutral, and vivid color options; each has more modifications available via sub menus.
Standard
Neutral
Vivid
White Balance Auto WB worked well under a variety of lighting conditions with the exception of incandescent, which shot quite warm.
Auto White Balance, 3200K incandescent light
The D5000 offers 12 dedicated WB settings along with auto, plus the ability to set WB according to color temperatures in a range from 2500 to 10000 degrees Kelvin or a custom WB established by the user. As if that isn't enough, the D5000 also offers WB bracketing ... a feature where the camera takes three different images set to different color temperatures in the hope of capturing the perfect white balance.
Sensitivity and Noise The studio shots from the D5000 look unsurprisingly like the D90 and D300 – low ISO noise through ISO 800 with obvious detail loss at the expense of noise at ISO 1600 and 3200. ISO 6400 is still usable when there's no other way to get the shot, but don't expect to capture much fine detail.
Lo 1 (ISO 100)
Lo 1 (ISO 100), 100% crop
ISO 200
ISO 200, 100% crop
ISO 400
ISO 400, 100% crop
ISO 800
ISO 800, 100% crop
ISO 1600
ISO 1600, 100% crop
ISO 3200
ISO 3200, 100% crop
Hi 1 (ISO 6400)
Hi 1 (ISO 6400), 100% crop
Overall, the D5000 does pretty well in the ISO department. Current D60 users may notice some improvement, but the signal-to-noise ratio seems largely identical to the D90 and D300.
Additional Sample Images
CONCLUSIONS When Nikon released the D90 consumers quickly fell in love with the video capability built into a full-featured DSLR. Unfortunately, the largest market interested in shooting video with a DSLR is the entry-level consumer market ... and the D90 is just a little too large and expensive for entry-level enthusiasts. Considering that entry-level DSLRs make up about 80 percent of Nikon's DSLR sales, the D5000 is an obvious evolution. That said, the minor size, weight, and price increase over the D60 might be enough to prevent potential D5000 owners from making a purchase.
The vast majority of entry-level DSLR owners use their DSLR like an advanced point-and-shoot camera with only one or two lenses, so making a larger, heavier, and more expensive camera probably isn't ideal for the entry-level market. That said, the D5000 is essentially a cheaper version of the D90 ... so if you can live with using only AF-S lenses and a smaller viewfinder then the D5000 is a great low-cost alternative to the D90.
In the end, the biggest complaint I have with the D5000 isn't related to performance or features – it's all a matter of positioning. The D5000 should be a direct (though slightly improved) replacement for the D60, but in reality it fits better in the Nikon line up between the D60 and the D90. If the D5000 was $100 cheaper I'd have an easier time accepting it as a replacement for the D60. As it stands now, the D5000 is a great camera that isn't quite sure if it's an entry-level camera or a "prosumer" camera.
