Nikon D800 Review
June 2012: This review has been significantly expanded to include detailed analysis of the performance of the D800 alongside its closely-related stablemate the D800E. We have also added samples and analysis of the D800/E's uncompressed video feature. Except where specifically noted, any comments in the body of this review which reference the 'Nikon D800' actually refer to both models.
When the Nikon D800 and D800E were announced, the specification that got everyone's attention was - and to a large degree still is - the massive pixel count of their 36.3MP CMOS sensor. When a moderately-sized full-frame DSLR body aspires to go toe-to-toe with medium format cameras and backs at a fraction of their price, other attributes can seem secondary. But don't be misled. Coming as a successor to the now 3 1/2 year old D700, Nikon has updated much more than just the resolution. The D800 has a significantly more advanced feature set than its predecessor, particularly in terms of its video capabilities that make it, on paper at least, a viable and tempting option for professionals.
At the heart of the D800 is a brand new Nikon-developed sensor that boasts 36.8 million pixels in total, with a maximum effective output of 36.3MP. Its ISO span is 100-6400 natively, expandable to a range of 50 ('Lo1') to 25,600 ('Hi2') equivalent. Nikon's highest resolution DSLR to date, the D800/E more than doubles the pixel count of the flagship D4. The D800 is potentially very attractive to studio and landscape professionals, but should pique the interest of a great many enthusiast Nikon users too - many of whom may have been 'stuck' at 12MP for years, with a D300, D300s or D700.
Of course, the D800 faces a competitive field that has made significant gains as well. Arch-rival Canon has recently updated its best-selling full-frame model to the 22.3MP EOS 5D Mark III. That the D800 has to prove itself a compelling upgrade for current Nikon shooters is a given. Yet a glance at the specifications indicates that Nikon has clearly been paying attention to the success of the Canon EOS 5D Mark II, and its video performance in particular. The hope among the Nikon faithful is that the D800 matches or exceeds the impressive high ISO performance of recent Nikon DSLRs while providing the resolution benefits of a much higher pixel count.
Apart from their sensors, the D800 and D4 share many identical specifications. Although the D800 offers a much slower maximum frame rate at full resolution (4fps, compared to 11fps in the D4) and lacks some of the pro-oriented 'frills' like built-in Ethernet connectivity, it shares the same revamped 51-point AF system which is effective down to -2EV, the same processing engine and almost exactly the same highly advanced video mode.
Whereas the D4 is intended as a specialist tool for professionals that need to capture images quickly in all types of weather and light conditions, the D800 has been designed to appeal to a much broader user base. For most of us, D4-only features such as ultra-high ISO shooting, very fast frame rates, QXD card compatibility, 2000+ image battery life and built-in Ethernet, are simply not that high on the list of must-haves. The same goes for many pros who earn their livings with their camera.
Wedding, event and studio photographers, for example are likely to be far more concerned with resolution at low ISO sensitivities than shooting at 11 fps at ISO 204,000. To them, a camera with the D800's feature set, priced at less than half the cost of a D4 is an exciting prospect indeed.
And let's not forget videographers. The D4 is Nikon's most advanced video-enabled DSLR. And the D800 offers almost exactly the same video specification in a smaller, lighter, and significantly less expensive body, making it potentially much more attractive as either a primary or 'B' video camera on a low-budget shoot.
Compared to D700: Specification highlights
- 36.3MP CMOS sensor (compared to 12.1MP)
- 15.3MP DX-format capture mode (compared to 5MP)
- 25MP 1.2x Crop mode
- 51-point AF system with 15 cross-type sensors, rated to -2EV* (compared to -1EV)
- ISO 100-6400 extendable to ISO 25,600 equiv (same as D700)
- 1080p video at 30, 25 or 24 frames per second, up to 24Mbps, with uncompressed HDMI output and audio monitoring options*
- 3.2", 921,000 dot LCD with anti-fog layer* (compared to 3in, 921k-dot)
- Maximum 4fps continuous shooting in FX mode** (compared to 8fps in FX mode)
- Advanced Scene Recognition System with 91,000 pixel metering sensor* (compared to 1005-pixel)
- 'Expeed 3' Image Processing*
- Dual-axis Virtual Horizon (on LCD screen/viewfinder)* (compared to single-axis)
* Same or almost identical to Nikon D4
** Maximum frame rate in DX mode is dependant on power source
Compared to the Nikon D700
The D800 shares basically the same form factor as its predecessor the D700. Both models have a built-in flash and lack the integrated vertical grip of Nikon's top-end DSLRs, which is available instead via an accessory battery grip. There are differences though - some minor, some major.
The most obvious differences from the perspective of core functionality are a massive increase in resolution - from 12 to 36MP - which comes with a significant boost in processing power, and the addition of video mode. The D800's video mode is lifted almost completely from the professional D4 and boasts 1080p30 resolution with the option to output uncompressed footage via HDMI.
The ergonomic changes that have resulted from the inclusion of video are the addition of a video/stills live view mode control on the rear, plus a direct movie shooting button on the top plate. Among other refinements, a D7000/D4-style integrated AF mode/function control can be found on the front of the camera, and the door covering the ports on the side of the D800 is now hinged, and stays open when opened rather than flapping annoyingly against your fingers when you try to plug in accessories. The D800's LCD screen is slightly larger than the D700's, at 3.2 inches, but resolution remains unchanged. A Picture Control button now sits on the D800's rear plate.
Compared to the Canon EOS 5D Mark III
One of the few obvious physical differences between the D800 and the Canon EOS 5D Mark III is that the D800 has a built-in flash whereas the 5D Mark III doesn't. Both cameras share very similar proportions and the D800 weighs only 50 grams less. Both have 3.2 inch rear LCDs, with the 5D Mark III boasting a higher screen resolution of 1.04 million versus 921,000 pixels in the D800.
Under the hood of course is where the most notable difference lies. The D800's 36.3MP sensor surpasses the pixel count of the 22.3MP 5D Mark III, as well as every other 35mm-format DSLR currently on the market. The D800 also offers a useful DX (APS-C) crop mode which captures 15.3MP stills. While the D800 inherits the 51-point AF system of the D4 with 15 cross-type points, the 5D Mark III sports a 61-point AF system shared with the EOS-1D X, in which 41 of these are cross-type points. The D800 has an edge in flexibility, however, when it comes to the aperture required for these cross-type points to function. While the 5D Mark III requires a minimum aperture of f/4, the D800 can utilize 9 of its center cross-type points at an aperture as narrow as f/8.
- 1 Introduction
- 2 Specifications
- 3 D800E
- 4 Body & Design
- 5 Body Elements
- 6 Viewfinder
- 7 Operation & Controls
- 8 Displays
- 9 Live View
- 10 Menus: Playback & Shooting
- 11 Menus: Custom Settings
- 12 Menus: Setup, Retouch & 'My'
- 13 Handling
- 14 Performance (Speed)
- 15 Performance (Autofocus)
- 16 Features
- 17 ADL & HDR modes
- 18 Noise & Noise Reduction
- 19 Dynamic Range
- 20 Resolution (D800)
- 21 Resolution (D800E)
- 22 Raw Resolution (D800 v D800E)
- 23 Raw Mode
- 24 High ISO noise comparisons
- 25 Image Quality Tests
- 26 Image Quality Tests
- 27 Image Quality Tests (D800 v D800E)
- 28 Image Quality Tests (D800 v D800E)
- 29 Image Quality Tests (D800 v D800E)
- 30 Movie Mode
- 31 Image Q. Compared (JPEG)
- 32 Image Q. Compared (Hi ISO)
- 33 Image Q. Compared (RAW)
- 34 Conclusion
- 35 Samples Galleries
|Japanese Schoolgirls (Kyoto) by Litho|
from In their uniform
|Lonesome Decay by Domenick Creaco|
from -Rain and the Empty Space: Wet Landscape- (in Full Colours Only)
New firmware for three Tamron zoom models makes the lenses work with Nikon's new Z mirrorless models and FTZ adapter.
Gentlemen Coders has released an update to RAW Power, its macOS and iOS photo-editing app.
Gimbal manufacturer Zhiyun-Tech has introduced zoom control as well as focus control for its new flagship model, the Crane 3 Lab.
We spoke to wildfire photographer Stuart Palley about his experiences shooting the recent Woolsey fire, why the Nikon Z7 isn't quite ready to take a permanent spot in his gear bag, and 'that' Tweet from Donald Trump.
Cinematographer Martin Lisius has shared the video and detailed the work it took to create his 16K HDR video titled "Prairie Wind."
The Z7 presented Nikon with a stiff challenge: how to build a mirrorless camera that measures up to its own DSLRs and can deliver a familiar experience to Nikon users. Chris and Jordan tell us whether they think Nikon succeeded.
National Geographic has shared a collection of entries hand-selected from editors showing off some of the best entries so far.
Rhino has launched a Kickstarter campaign for its new Arc II 4-axis robotic camera system.
Skylum Software will be supporting 10 artists on the EyeEm platform with $10,000 to help them focus on their photography.
Researchers have been able to exploit an iOS vulnerability in order to access photos stored in the Photo app's Recently Deleted folder.
Nikon's D3500 may be an inexpensive DSLR, but the company didn't cut corners when it comes to image quality. See how it handled fall colors and tropical seas in our sample gallery.
Nikon has released firmware version 1.02 that resolves a flickering issue when scrolling through images, an ISO limitation problem, and an occasional crash that could occur when displaying certain Raw files.
500px has announced an update to its Home Feed that's aimed at getting more photographers more exposure.
DxO announces the latest update to Nik Collection (version 1.1) that brings better compatibility, fewer bugs to the plugin suite it acquired from Google a year ago
The Nikon Z6's oversampled 4K video impresses in both our studio scene and real world shooting. See for yourself.
Bailey Richardson, one of the original 13 employees at Instagram, has deleted the app, saying it's lost its identity.
Fujifilm says firmware updates for its GFX 50S, X-T3, and X-H1 cameras are around the corner, with plenty of new features and functionality to boot.
NASA has shared satellite imagery of the wildfire that's been confirmed as the deadliest in California history.
Google has published a post, explaining the technologies behind its new Night Sight feature in detail, on the company's Research blog.
The new Lume Cube Air is a small, lightweight and affordable portable light source aimed at vloggers, casual photographers and other content creators.
Nikon USA has announced that its Z6 full-frame mirrorless camera will be shipping Friday, November 16th at a price of $1999 body-only and $2599 with the Nikkor Z 24-70 F4 S lens.
The Insta360 One X is the company's latest consumer 360-degree camera, supporting 5.7K video, including excellent image stabilization, as well as 18MP photos. And, in our experience, it's a really fun camera to use.
The New York Times has opened up applications for its 7th annual portfolio review. Applications are due December 10, 2018, less than a month from now.
Picfair has announced Picfair Plus, a paid version of its service that adds custom domains, template options, and more to its Picfair Store platform.
ON1 Photo RAW 2019 brings an updated interface, more powerful Lightroom migration, better camera/lens support, and more to ON1's flagship editing program.
We've just started shooting with version two of Tamron's SP-series 15-30mm F2.8 – take a look at how we're getting along with it so far.
Gear Offer is an online marketplace for selling and buying used camera gear with fees lower than both Amazon and eBay.
Experiencing life through the lens of a camera might mean you miss out on special moments, warns Casey Cavanaugh as he shoots a short film through the viewfinder of his Hasselblad 500CM
The New York Times has teamed up with Google to start the process of digitizing more than five million photos stored in a vault nicknamed "the morgue."