Nikon D3 User manual

W TERRITORY

How do you define professional photography? What epitomizes true performance? Find out with the industry-

changing Nikon D3. More than just another new camera, it's an innovative way of approaching photography,

with new systems, processes and rule-breaking features that shatter old limitations and give you the

freedom to redefine what is possible. Imagine taking images at ISO 6400 that are as clean and noise-free as

those taken by lesser cameras at ISO 800. Imagine being able to work at ISO 25600, yet keep all the natural

tonal gradation you need in the low-sensitivity range, as well. The D3 tackles real-world shooting scenarios

like nothing that’s come before – choose from a selection of capture formats, such as the new FX format

for shooting at 9 fps, or the ultra-versatile DX format at up to 11 fps (5.1 megapixels), with consistent frame-advance

speed at every aperture setting. The new 51-point AF system incorporates 15 cross-type sensors that work with

every AF NIKKOR lens of f/5.6 and faster. And both the AF system and imaging engine recognize your subject

even before you fire. All of this, plus a new high-definition LCD monitor, brighter viewfinder and the world’s most

intuitive digital SLR platform. Nikon’s new 12.1-megapixel flagship FX-format D-SLR is designed for versatility

and smooth, natural high-speed operation. Imagine a single camera that gives you all these capabilities and

more. Imagine capturing what was once considered impossible. It’s time to discover the new D3.

DISCOVER NE

Studio work, street photography at night ,

theater, track and field athletics, lo cation

shooting in both a field of sunflowers and the

desert under glaring sunlight.

I think o ne of the h eadli nes in this

brochure deﬁnes my experience with the

Nikon D3. It represents new territory. As

a shooter, I am always looking for ways

to expand and express my imagination.

This ca mera opens doors and pushes

limits I could not have even guessed at

when I started shooting digital a few

short years ago. While the camera looks

and feels like past Nikon models, there is

definitely a new engine under the hood.

This technology accelerates and enlarges

digital picture making. One of the photo

maxims I have always heard is "If I can

see it I can shoot it." That has not always

necessarily been true. Now, ﬁnally, it is.

Clients inc lude: Time Magazine, Nati onal

Geographic, Newsweek, ESPN Magazine and

The New York Times Magazine.

1110

Dave Black –

Sports Photographer (USA)

Used the D3 to shoot ice hockey, ﬁgure skating,

wakeboarding, basketball, gymnastics, and a

nighttime car race.

I believe the Nikon D3 Digital SLR Camera

will encourage photographers to think in

new and creative ways. There are many

new advances in this camera that will

help me produce better sports pictures,

including the shooting rate of nine frames

per second, increased dynamic range

and the FX sensor. But it is the extremely

clean high sensitivity level of ISO 6400

that is, in my o pini on, an in dustr y-

changing development. I will now be able

to capture fast action sports images in

low-light conditions and poorly lit indoor

venues with wonderful clarity and detail

suitable for the cover of any magazine.

Nikon’s D3 makes a seemingly impossible

situation achievable.

Clients in clude: Sports Il lustrate d, Ti me

Magazine, Newsweek, ESPN, The Wall Street

Journal, Reebok, Coca Cola and Visa.

Joe McNally –

Photojournalist (USA)

Captured Iceland's natural beauty while testing

the camera's durability and picture quality under

extreme conditions.

Wor k i n g for Nationa l Geogra phic i s

insp i ring, but v ery deman d ing. The

technical demands are always high, but

I believe that camera technology should

never stand in the way of my creative

process. That’s why my trial run with the

D3 was such a great experience. From

small ergonomic details to revolutionary

changes in speed, dynamics and handling,

the D3 performed incredibly. Features

like its larg e , h i g h - r e s o lution LCD

monitor, its greater dynamic range and

color r eproduction and its low-nois e

images at high ISOs are real strengths.

Furthermore, as I am frequently in far-

flung locations, repair shops are rarely

close at hand. I need my gear to work, and

the D3 was a real workhorse.

Clients include: National Geographic Magazine,

Audubon Magazine and Geo Magazine.

Mattias Klum –

Culture and Nature Photographer (Sweden)

The pursuit of new technology

Since the introduction of the ﬁrst F-series cameras, Nikon

has helped refine the art of photography while pursuing

new and powerful forms of photographic expression. The

D3 fulfils both of these missions. Nikon's newest flagship

symbolizes the evolution of photographic technology,

defying preconceived limitations while responding to the

ever-changing demands of professional photographers.

In short, the D3 represents new territory – explore it for

yourself.

The pursuit of ideal picture quality

High resolution is only one aspect of superior pictures.

The image quality that passionate photographers deserve

should also include a wide sensitivity range, faithful color

reproduction, and fast, secure data processing. Nikon offers

all this and more with the D3, giving images more depth,

detail and atmosphere than ever before. Images of this

quality were once rare, but the Nikon D3 makes them all

part of a day's work.

The pursuit of superior operability

Professional photographers frequently have cameras

in their hands for hours – or even days – at a time. In

many ways the camera becomes an extension of the

photographer's body, and should therefore act that way.

That's why Nikon has always considered comfortable

and ergonomically-sound operation to be crucial to its

camera design. It is a multi-sensory experience – a bright

view finder for the eyes, the shape and texture of the

camera's exterior for the hands, even the right shutter

sound for the ear – with each aspect of the camera's design

crafted to eliminate distractions and help the photographer

to reach new creative heights. From a short shutter-release

time-lag to controls large enough to manipulate with gloves

on, Nikon has redeﬁned operability. Again.

The pursuit of uncompromised quality

Nikon's philosophy is simple: no shortcuts. From design

through assembly to the showroom ﬂoor, uncompromising

standards me a n t hat ev ery camera produ ced is of

exceptional quality. Nikon cameras like the D3 are tested

relentlessly to ensure that they perform in any situation.

Nikon engineers punish new equipment mercilessly. They

expose cameras to extremes of cold, heat, moisture,

vibration and any other condition that may be encountered

on (and even above) the Earth. Standards like these are

rare, but for Nikon, they are essential.

The D3 is dedicated to photographers who defy limitations

and always seek to push photography forward.

• Lens: AF Nikkor 85mm f/1.4D IF • Image quality: 14-bit

RAW (NEF) • Exposure: [M] mode, 1/250 second, f/10

• White balance: Flash • Sensitivity: ISO 200 • Picture

Control: Standard

• Lens: AF-S NIKKOR 14-24mm f/2.8G ED • Image quality:

14-bit RAW (NEF) • Exposure: [M] mode, 1/1,000 second, f/4

• White balance: Direct sunlight • Sensitivity: ISO 6400

• Picture Control: Standard

• Lens: AF-S NIKKOR 14-24mm f/2.8G ED • Image quality:

14-bit RAW (NEF) • Exposure: [M] mode, 1/3,200 second,

f/4.5 • White balance: Auto •Sensitivity: ISO 320 • Picture

Control: Standard

D3: On Assignment

To prove the D3's uncompromising versatility, three of the world's top professionals

test shot with early models of the D3 on a wide array of assignments.

©Joe McNally

©Dave Black ©Mattias Klum

D3:

The Development

Concept

Discerning photographers always test the

boundaries of their equipment, pushing it as

far as they can to capture the most powerful

images possible. For over 75 years since the

introduction of NIKKOR lenses, Nikon has

dedicated itself to helping photographers

go the extra mile. Now, with the D3, Nikon

combines its new proprietary FX-format sensor

with 12.1 effective megapixels for striking

tonal gradation and detail. But we didn't stop

there. By enlarging the size of each pixel,

Nikon's new FX format captures light with

unrivaled accuracy, which in turn contributes

to a signiﬁcantly higher signal-to-noise ratio

and wider dynamic range. The rich initial data

of each image is then swiftly and carefully

routed through a 12-channel parallel readout

for 14-bit A/D conversion that serves two

professional demands – speed and precision.

Adding to its versatility, the D3 also offers

you three different formats – FX format, DX

format and 5:4 – delivering all the options

to respond to a vast range of shooting

situations.

Color and detail only begin

to explain the extraordinary

potential of Nikon's powerful

FX-format sensor. Now

photographers have an

extremely wide sensitivity

range to choose from. It's now

possible to expect exceptionally

natural tonal gradation in the

low-sensitivity range, yet shoot

with confidence in conditions

that demand high ISO settings.

From now on, capturing bold

and remarkably noise-free images from ISO

200 to 6400 will be the standard, and not

an exception to the rule. For professionals,

this dramatically changes how you shoot

indoor sports, night games at stadiums,

theaters, weddings, wildlife at dusk and

any other situation where light is limited

and Speedlights are not an option. This

new dimension of ISO sensitivity not only

delivers more winning shots, it also changes

how you take them. Imagine shooting sports

and action images at faster shutter speeds

without worrying about excessive image-

degrading noise. Simply put, the D3 redeﬁnes

how good high ISO digital images can look.

And to further expand your potential, the D3

can be extended on demand, from ISO 100 to

ISO 25600. Consider the new possibilities.

Unlike other image processing systems, the

D3's doesn't sacriﬁce spectacular saturation

for advanced noise reduction. Low-noise

performance is an integral part of the D3's

core engineering, meaning that your D3 has

been strategically designed to minimize

image noise, long before you've selected the

noise reduction function. And at ISO settings

of 2000 and above, when High ISO NR is

set to on, the noise reduction function is

automatically activated to carefully minimize

mottling, color bleeding and shadow noise.

The result is rich images with natural tones

and without the plastic, artificial look so

typical of conventional noise reduction

images.

High image quality at high ISO

FX-format CMOS imaging sensor

12-channel parallel readout

ISO 200 ISO 6400

ISO 400 ISO 800 ISO 1600 ISO 3200

Natural-looking images with an amazingly low degree of noise

even with high ISO.

Nikon's proprietary FX-format (36.0 x

23.9 mm) CMOS imaging sensor with

12.1 effective megapixels

Strikingly high image

quality at up to ISO 6400

Advanced noise reduction at high ISO

for natural-looking results

12-channel parallel data readout contributes to

the incredible speed seen in features like 9 fps

and Live View function.

• Lens: AF-S NIKKOR 24-70mm f/2.8G ED • Image quality: JPEG Fine • Exposure:

[A] mode, 1/30 second, f/2.8 • White balance: Auto • Sensitivity: ISO 6400

• Picture Control: Standard

©Joe McNally

• Lens: AF-S VR Nikkor 200mm f/2G IF-ED • Image quality: 14-bit RAW (NEF) • Exposure: [A] mode, 1/2,000 second, f/2.8 • White balance: Auto • Sensitivity: ISO 6400 • Picture Control: Standard ©Joe McNally

6400

ISO

l Proprietary FX-format (36.0 x 23.9 mm) CMOS sensor

with 12.1 effective megapixels

l Incredibly high signal-to-noise ratio, for wide dynamic

range

l Remarkably noise-free images from ISO 200-6400,

with ISO 100-25600 on demand

l A dramatically expanded range of shutter speed and

aperture options

l Freedom to shoot in almost any lighting situation

Expand your

vision with the

FX-format sensor

EXPEED image-pocessing system

Superior image processing relies on one

simple truth: no shortcuts. Nikon knows that

in order to deliver the

most practical and

versatile performance

possible, image

quality, accuracy and

speed must be treated as equal partners of

equal importance. Nikon has a name for this

uniquely comprehensive approach: EXPEED.

What started at the birth of the film camera

Nikon Iand progressed with the digital SLR

D1 has now evolved into an elite imaging

system that is far more powerful than the

present standards of any other camera maker.

This unrivaled process is extremely fast and

comprehensive, yet is extremely energy

efﬁcient giving longer battery life.

Nikon's FX-format sensor produces an

incredibly wide dynamic range, with rich

initial data that maintains its integrity through

14-bit A/D conversion. As professional

photographers demand the smoothest tonal

gradation and faithful color reproduction, no

shortcut will do. So, to maintain impeccable

accuracy, the D3 uses 16-bit data transmission

throughout the image-processing pipeline. The

resulting output reveals breathtaking details

and subtleties, putting D3 images in a class of

their own.

The D3 controls color hue with unmatched

accuracy, so specific colors that were

previously impossible to achieve together in

a particular image can now coexist in nearly

any situation. Colors are faithful throughout

the palette – skin tones are pleasingly

saturated without blowing out the reds, while

blues that were once difficult to reproduce

can now be considered standard. Expect this

throughout the spectrum, with less tone jump

than ever before.

High-megapixel sensors tend to produce

chromatic aberration in the peripheral areas.

To achieve the sharpest images throughout

the frame, the D3 uses an automatic lateral

chromatic aberration reduction function.

This means new benchmarks in minimized

aberration and maximized accuracy seen in the

images below. It's an advantage you'll gain no

matter what NIKKOR lenses you use.

The D3's dynamic range has broadened to

such an extent that you can expect finer

tonal gradation in highlight areas – even

with extremely bright subject matter, such as

skies, snowfall or white clothing shot under

harsh sunlight. And thanks to more accurate

treatment of data, tone jump that was once

likely to occur with a broadened dynamic

range is now negligible.

14-bit A/D conversion and 16-bit image-processing pipeline

-bit image processing – a new way to get the right look

-bitA/D conversion,

1416lNikon's new EXPEED image-processing system, utilizing a supremely powerful

CPU with 14-bit A/D conversion and 16-bit image-processing pipeline

lFaithful colors, pleasingly saturated throughout the palette, with smooth tonal

gradations, even in highlights

lUnprecedented ﬁnal image quality that needs little or no post-production

enhancement

14-bit A/D conversion and 16-bit data transmission throughout the process offer an incredibly high signal-to-noise ratio.

Even with a scene containing a large difference in brightness,

smooth tonal gradation is reproduced.

EXPEED: Nikon's comprehensive

approach to quality digital images

14-bit A/D conversion and 16-bit

image-processing pipeline

Lateral chromatic aberration

reduction

Pleasingly saturated, faithful colors

12-channel parallel readout 14-bit A/D conversion 16-bit image processing

• Lens: AF-S VR Micro-Nikkor 105mm f/2.8G IF-ED • Image quality: 14-bit RAW (NEF) • Exposure: [M] mode, 1/250 second, f/16 • White balance: Cloudy • Sensitivity: ISO 200 • Picture Control: Standard ©Joe McNally

Improved tonal gradation

Chromatic aberration reduction (peripheral area enlarged)

Without

Final

processing

With

Quick response

In many fields of photography, reflexes and

timing can make or break a career. That's

why Nikon's engineers set out to radically

improve speed, response time and recording

time for the D3. Indeed, this camera marks an

incredible breakthrough, with many features

that double or even quadruple the speed

and response of today's market leaders.

With a 9-frame-per-second shooting speed

in FX format (12.1 megapixels) and up to

11 fps in DX crop mode (5.1 megapixels),

the D3 gives you options to master any

shooting situation. In DX crop mode,

shooting rates of up to 11 fps increase

your opportunities of nailing the precise

moment you need. Or shoot 12.1-megapixel

FX-format, full-resolution images at up to

9 fps, giving you and your editor plenty of

room to crop winning shots that can still be

enlarged into commercial-quality prints.

And because the D3 supports high-speed

UDMA mode, recording speed gets an

extra boost, enabling you to shoot more

consecutive shots – pivotal to many

professional assignments.

Whether professionals succeed or fail

depends on their readiness and ability to

capture the perfect moment. That's why

Nikon has minimized the D3's response

times to nearly unnoticeable levels. The D3

starts up in approximately 0.12 seconds,

and shutter-release time lag is an industry-

leading 37 milliseconds.

Nikon understands that for professional

digital photography, exceptional speed means

little unless it is supported throughout the

entire process. That is why Nikon has taken

the comprehensive approach of optimizing

the speed of processing, buffer memory,

memory access, memory card recording and

Hi-Speed USB interface. With these working

together harmoniously, you can forget about

the weight of the data and concentrate on

capturing the moment.

9 fps in FX format and 11 fps in DX

format

The reﬂexes professionals demand

Lens: AF-S NIKKOR 14-24mm f/2.8G ED • Image quality:

JPEG Fine • Exposure: [M] mode, 1/25 second, f/4 • White

balance: Color Temp • Sensitivity: ISO 640 • Picture Control:

Standard

©Dave Black

In continuous shooting at 11 fps, focus is locked

on the position detected in the ﬁrst frame.

• Lens: AF-S VR Zoom-Nikkor 200-400mm f/4G IF-ED • Image quality: 14-bit RAW (NEF) • Exposure: [M] mode, 1/1,250 second, f/4.5 • White balance: Color Temp • Sensitivity: ISO 1250 • Picture Control: Standard

©Dave Black

Speed that frees you to act on impulse

9fps

More winning

shots per second

11fps

l9-frames-per-second

continuous shooting in FX

format; up to 11 fps in DX-crop

mode

lUDMA support for more

consecutive shots

lHigher speeds for data

processing, recording and

image transfer

lNewfound certainty that you'll

get the shot, however brief

the moment

Full AF/AE performance is available at 9 fps.

Autofocus system

The D3 covers the frame like never before

with the world's largest number*1of AF

detection areas. These 51 points create a

dense net of focusing strength. This means

faster focus acquisition, even with quick

and/or erratic subject movement. The 15

points that occupy the all-important center of

the frame utilize cross-type sensors, for even

more powerful detection. Most important,

all 15 cross-type sensors retain the same

outstanding level of performance with any

AF NIKKOR lens f/5.6 or faster*2– in other

words, all of your AF NIKKOR lenses can take

full advantage of cross-type accuracy.

In order to make the most of all 51 AF points,

the D3 offers three AF area modes: Single-

point AF, Dynamic-area AF, and Auto-area AF.

All three options are available using either

51 AF points or the classic 11. Single-point

AF ensures that an important element in the

composition will be sharply focused,

such as the eyes in a character portrait.

Simply select a single AF point out of the 51

available and the D3 will concentrate all its

focusing power on that spot. With Dynamic-

area AF, you can select from several focusing

options, utilizing 9, 21 or all 51 points. Just

select a single AF point as priority, and the

areas surrounding your selected point serve

as backup – a real advantage when shooting

moving subjects. For more compositional

shooting, try either the 9- or 21-point options.

For subjects with extremely fast or erratic

movement, the 51-point option will be your

choice. Plus there is 3D-Tracking mode, which

also uses 51 points. 3D-Tracking makes the

most of the Scene Recognition System's

subject-tracking information, accurately

tracking the subject by selecting a new focus

point to significantly improve your fix on

moving subjects. The Auto-area AF specializes

in focusing on people, automatically detecting

and prioritizing skin tones with all 51 points.

Professional photographers have demanded

more-refined AF accuracy. Therefore, the

D3 lets you apply the same amount of AF

compensation regardless of which AF points

or lenses you use. You can also make lens-

specific individual adjustments for up to 20

registered lens models.

51-pointAF performance – consistently sharp

15 cross-type sensors perform

with any AF NIKKOR f/5.6 or

faster lens

Nikon's classic 11 AF points

are still readily available.

Single-point AF mode

Dynamic-area AF mode using 9 points

Dynamic-area AF mode using 21 points

Dynamic-area AF mode using 51 points

Dynamic-area AF mode using

3D-Tracking

Wide area coverage with 51 AF points

Autofocus Fine Tune

is easily accessible

through the D3's menus

51 AF points – a world-ﬁrst

Versatile AF area modes

Autofocus Fine Tune

©Joe McNally

lNew Multi-CAM 3500FX AF module offers a network of 51 strategically placed AF points,

for outstanding coverage

lSelected areas work together to capture a variety of moving subjects with incredible

speed and precision

lRazor-sharp images for fast-moving subjects that were previously difﬁcult to focus

©Joe McNally

©Mattias Klum

©Dave Black

Note: In Dynamic-area AF mode, only the active focus point is displayed

in the viewﬁnder.

*1 Among digital SLRs, as of August 23, 2007.

*2 With some lenses used in combination with Nikon Teleconverters,

three points on the top and three on the bottom may function as

line sensors under certain conditions, even if maximum effective

aperture is f/5.6. For details, see Function Compatibility Chart on

page 37 (note 8).

Scene Recognition System

Prepare yourself, because photography as

you know it is about to be transformed.

Introducing Nikon's new Scene Recognition

System. Nikon engineers redesigned the most

trusted automatic exposure system in the

photo industry – the 1,005-pixel RGB sensor

component – for an unprecedented level

of detailed scene information and analysis.

The result: algorithms that recognize your

subject and shooting situation with amazing

accuracy. In other words, the D3 knows and

understands what you are about to shoot.

Milliseconds prior to shutter burst, each

scene is analyzed while autofocus, auto

exposure, i-TTL control and white balance are

optimized – all before the image is captured.

Consider the Scene Recognition System as

artiﬁcial intelligence, working in partnership

with you for more winning shots.

For the D3, Nikon engineers reassessed

everything, including autofocus operation.

The new Scene Recognition System takes

color information from the 1,005-pixel RGB

sensor and utilizes it to achieve superb Focus

Tracking. Conventional Focus Tracking systems

were only effective with subjects approaching

or moving away, but the D3's new system

works for flat lateral movement as well.

Simply select any of Dynamic-area AF mode

options including 3D-Tracking, and your main

subject is followed in sharp focus. The D3

accomplishes this by using color information

detected from a selected foucs point and

applying it to Focus Tracking. The focus point

will then automatically follow your subject's

path as long as the shutter button is pressed

halfway down. The AF and Scene Recognition

systems are in constant communication

with each other, thereby improving tracking

performance even for erratically moving

subjects and expanding your compositional

freedom. For example, now you can maintain

sharp focus on a fast-moving subject

even as you fire off shots while changing

compositions.

The D3 automatically detects people and skin

tones using color information from the Scene

Recognition System. This way it can quickly

focus on the most important element – the

human face – in Auto-area AF mode. Even

if similar colors exist both in the foreground

(human face) and background (building), the

Scene Recognition System uses distance

information from a D- or G-type AF NIKKOR

lens to determine where the main subject

is. Even under the most demanding lighting

conditions and compositional challenges,

the D3 detects the subject and optimizes just

before the actual shutter release.

SCENERECOGNITIONSYSTEM:

Focus Tracking for lateral movement

Auto-area AF for subject

identiﬁcation

Scene Recognition System

Scene Recognition System for

improved Focus Tracking

Scene Recognition System:

Unleashing the powers of Nikon's

1,005-pixel RGB sensor

Scene Recognition System for subject

identiﬁcation

Experience newfound accuracy

lNikon's 1,005-pixel RGB sensor has evolved to provide a superior level of comprehensive intelligence thanks to Nikon's new Scene

Recognition System

lClear, accurate and unprecedented color information that dramatically improves overall performance and accuracy of the AF system, 3D

Color Matrix Metering II, i-TTL, and auto white balance

lA higher level of accuracy in automatic operations for a wide range of lighting conditions and subject matter

• Lens: AF-S VR Nikkor 200mm f/2G IF-ED • Image quality: 14-bit RAW (NEF) • Exposure: [M] mode, 1/1,600 second, f/4 • White balance: Direct sunlight • Sensitivity: ISO 6400 • Picture Control: Standard ©Dave Black

©Joe McNally

©Dave Black

1005-pixel

RGB sensor

Auto exposure

and

i-TTL ﬂash control

Highlight analysis

Autofocus

Subject tracking

Subject identiﬁcation

Auto white balance

Characteristics extraction

Pattern recognition

3D-Tracking tracks the subject by selecting a new focus point

as required.

In Single-servo AF, active focus points are highlighted for

about one second.

Nikon's 3D Color Matrix Metering II has long

been praised by discerning professionals

for its accuracy. The system analyzes scene

conditions such as brightness, contrast,

selected AF area, color, subject-to-camera

distance and even the reflective quality of

a scene. Then it compares this with an in-

camera database containing information

from over 30,000 actual shots for incredible

precision. Combined with the Scene

Recognition System, 3D Color Matrix Metering

II is now even more sophisticated. The bright

areas of your image are pleasing and precise,

while intermediate tones also remain faithful

to the original scene, even when backlit,

under harsh frontal lighting or in other difﬁcult

lighting conditions. In addition to producing

the best possible exposure regardless of the

file format, this advanced metering system

gives you more satisfying results, frequently

without the need for retouch or enhancement.

Nikon's Auto White Balance systems

have been praised for their accuracy, but

professional photographers and Nikon

engineers aren't easy to satisfy. Tricky lighting

can fool the most "intelligent" of cameras

from time to time. For example, a camera

might interpret a meadow under the noonday

sun and a table under fluorescent light as

similar subject matter. But now, when Nikon's

Scene Recognition System works together

with Auto White Balance, you can expect far

more. Milliseconds before shutter release, the

D3's 1,005-pixel RGB information calculates

the characteristics extraction (see below) of

the scene, cross-referencing it with 5,000

actual shot data examples among the 20,000

images stored in the camera. So no matter

what the light source – even notoriously

difficult mercury vapor light – the D3 can

automatically detect the appropriate white

balance accurately.

Scene Recognition System:AE,AWB

Auto White Balance used for ﬂuorescent light

Auto White Balance used for natural daylight

More pleasing colors for intermediate tones

Sophisticated 3D Color Matrix

Metering II

Auto White Balance for a broader

range of lighting situations

©Joe McNally

A lower photograph:• Lens: AF-S VR Nikkor 300mm f/2.8G IF-ED • Image quality: 14-bit RAW (NEF) • Exposure: [M] mode, 1/640 second, f/2.8 • White balance: Auto • Sensitivity: ISO 6400 • Picture Control: Standard

©Dave Black

The database of 5,000 actual shots among the 20,000 images stored for Auto White Balance is utilized for characteristics extraction

The database of 30,000 actual shots redeﬁnes the concept of exposure accuracy for 3D Color Matrix Metering II and the new Scene Recognition System

An upper photograph:• Lens: AF-S NIKKOR 14-24mm f/2.8G ED • Image quality: 14-bit RAW (NEF) • Exposure: [A] mode, 1/50 second, f/5 • White balance: Auto • Sensitivity: ISO 1600 • Picture Control: Standard

©Joe McNally

Characteristics extraction using Scene Recognition System for light source identiﬁcation

Step 1.

Image characteristics

extracted

Step 2.

Patterns recognized

and compared

Step 3.

White detection areas

determined

Subject

Pre-capture

information

•Weak color-rendering light

source

•Strong color-rendering light

source

•Natural lighting

•Others

Applied to

AWB

Camera information

• Lens: AF-S NIKKOR 24-70mm f/2.8G ED • Image quality: 14-bit RAW (NEF) • Exposure: [M] mode, 1/50 second, f/8 • White balance: Cloudy • Sensitivity: ISO 200 • Picture Control: Standard ©Joe McNally

Self-diagnostic shutter monitor

Shutter speeds range from 1/8000 sec. to 30 sec., with an internal

mechanism that automatically monitors and corrects possible variances

between the designated shutter speed and the actual shutter timing

over the shutter mechanism’s life span.

Shutter durability

Nikon’s newly developed shutter mechanism achieves unprecedented

durability. For the reliability professionals demand, the D3’s shutter has

been tested for 300,000 cycles. And to ensure rigorous real-world condi-

tions, this type of testing is always performed on fully assembled cam-

eras.

lMagnesium alloy used for exterior cover, chassis and

mirror box ensures both light weight and ruggedness

lStrict sealing with O-rings at various connecting parts

effectively resists dust and moisture

lRelentless testing for proven durability

lConﬁdence that your camera will work in the toughest

conditions

Durable, ergonomic design, and

a shutter unit tested to 300,000

cycles

Reliability and operability

Mirror balancer

A sophisticated mirror balance mechanism reduces the time required

to lower the mirror. In addition to minimizing mirror bounce, the mirror

balancer extends viewing time, allowing more time for AF operation —

this is one reason the D3 can offer autofocus and Focus Tracking even for

high-speed continuous shooting.

2726

The harmony of dual perspectives: the Italian sense of style,

with Nikon designers' dedication to details

The D3's phenomenal technology demands an equally phenomenal

exterior design. Nikon believes beauty and performance go hand-

in-hand. That's why since 1980, Nikon has collaborated with

the legendary Italian industrial designer, Giorgetto Giugiaro.

His approach to the D3 design was simple, yet profound. With

sculptural themes in mind, Giugiaro created the D3's new look

with the belief that the camera should have a form and value that

anyone can recognize. Continuity was important, so the D3 was

designed to reﬂect the past as well as the future. Photographers

will feel the same comfort and control they have grown

accustomed to with Nikon cameras. The more they use it, however,

the more they will understand that what they are holding is the

future of photography. Enduring uncompromising scrutiny and test

trials from Nikon's design team, the D3 was crafted to partner

a photographers' body like never before, its shape and controls

meticulously placed to enhance concentration, not draw away from

it. See – and feel – for yourself, and you will discover the Nikon

difference in every detail.

The D3: A Work of Art

3-inch, 920,000-dot super-density, 170-degree color LCD monitor

The D3’s large, super-density color LCD monitor delivers bright, crisp

image playback, with enlargement up to 27x (Large-size images in FX

format), making on-the-spot image confirmation easier and more pre-

cise. And the 170-degree wide-angle viewing makes image review and

Live View modes even more useful in challenging conditions.

Two types of information display

Choose from black letters or white letters, according to lighting conditions, to ensure your information display is legible. The menu is formatted large and

clear for easy recognition. You can also set the camera so the color of letters switches automatically, depending on the brightness of the large, 3.0-inch

LCD monitor.

Electronic Virtual Horizon

The D3’s super-density color LCD monitor, teamed with Nikon’s innova-

tive Electronic Virtual Horizon delivers instant and accurate confirmation

of the D3’s position relative to “horizontal level.” You can also level the

D3 while looking through the viewfinder using the handy analog scale.

Twin CF card slots

Now you can use two CF cards simultaneously for a number of func-

tions: recording two full CF cards of data; recording the same data

simultaneously onto two cards for backup protection; recording RAW

and JPEG simultaneously to separate cards; transferring data from one

card to another.

Long-life battery

The D3 uses the same EN-EL4 or EN-EL4a rechargeable batteries that

have been field-proven over many years with the D2 series D-SLRs.

What’s more, because the D3’s power consumption and power manage-

ment systems have been engineered for greater operating efficiency, you

can expect even longer battery life – a welcome bonus for professionals.

Improved ergonomics

Features mean nothing if they’re difficult to access. That’s why all D3

buttons and dials have ideal sizes and clear functions. The layout shares

the same logical consistency as Nikon’s previous professional D-SLRs,

along with further improvements, such as Command Dials with a

5-degree inclination for natural rotation using your index finger.

Function button

Designate frequently used features to the Function Button. Up to 13

functions are available. You can also do the same with the Preview

Button and the AF/AE Lock Button.

Countermeasures against dust, moisture and electromagnetic

interference

The D3 goes the extra mile to protect against invasive moisture, dust

and even electromagnetic interference. A comprehensive series of

O-rings and other specialized seals, combined with additional Nikon

engineering, keeps you shooting when lesser cameras would fail.

100% frame coverage

The D3’s large prism mirror gives you the FX-format visual advantage

when you shoot. Not only is the viewfinder image brighter, but the

finder screen is also carefully designed for you to sense focus more

intuitively, be it manual or autofocus.

Magnesium alloy body

Rugged, durable and precise magnesium alloy construction protects the

D3’s incomparable technologies and its ability to perform in demanding

real-world conditions. An amazingly strong-yet-lightweight magnesium

alloy is used for the D3's body, exterior cover, chassis, and mirror box, to

assure superb, reliable performance and longer life.

Reliability and operability

2928

Image Area Options

The D3 offers three image areas to choose from:

FX format (36.0 x 23.9 mm), DX format (23.5 x

15.6 mm), and 5:4 (30.0 x 23.9 mm). DX format

uses the center of the viewfinder and allows up

to 11-frames-per-second shooting speed. When a

DX NIKKOR lens is used, DX mode is automatical-

ly selected or can be manually selected through

Custom Settings with any AF NIKKOR lens.

Multiple Exposure

Like the D2XS before it, the D3’s in-camera mul-

tiple exposure images are fast and simple. Each

image can be adjusted to prevent overexposure,

ensuring optimum exposure for the final image.

Live View

The D3’s fast image-processing capacity

and large, high-definition, wide viewing

angle LCD add up to an entirely new level

of potential for professionals. Introducing

the new Live View function. Using the LCD

as your viewfinder, Live View is extremely

useful for still life photography in a studio,

where exact focus is crucial. Live View is

also useful for outdoor and other difficult

shooting situations when you cannot physi-

cally see your subject through the viewfind-

er. The D3 offers two modes: Tripod Mode

and Handheld Mode.

Tripod Mode with precision

Contrast-detect AF

Tripod Mode is ideal for still life photography

in a studio environment. The D3’s high-preci-

sion, Contrast-detect AF gives you faster and

more accurate focusing than manual focus,

with the actual image being captured on the

imaging sensor simultaneously confirmed on

a large, high-definition LCD for newfound cer-

tainty. And because the imaging sensor itself

works for AF detection, you can use a much

wider area than the 51-point autofocus areas,

for exceptionally sharp results. You can

also control focus and shutter release

from a personal computer via Camera

Control Pro 2.

Handheld Mode

In situations where you are unable to look

through the viewfinder, Handheld Mode can

be a great help. First, select your focus point

from the 51 points available, then use the

wide, 170-degree viewing angle to compose

easily, even if you’re holding your D3 over

the heads in a crowd.

• Lens: AF Micro-Nikkor 60mm f/2.8D • Image quality: 12-bit RAW (NEF) • Exposure: [M] mode, 1/160

second, f/25 • White balance: Preset manual • Sensitivity: ISO 200 • Picture Control: Neutral

Compose and shoot without

looking through the viewﬁnder.

5:4

FX format DX format

Live View offers two

modes — Tripod Mode

and Handheld Mode —

accessible through the

LCD monitor.

• Lens: AF-S NIKKOR 24-70mm f/2.8G ED • Image quality:

JPEG Fine • Exposure: [M] mode, 1/200 second, f/8

• White balance: Cloudy • Sensitivity: ISO 200 • Picture

Control: Standard

©Joe McNally

Active D-Lighting

When shooting in high-contrast

lighting situations, the new

Active D-Lighting feature can

be a tremendous help. Once

the 1,005-pixel RGB sensor

detects large highlight areas

within the frame, the D3 first

compensates for underexpo-

sure, then exposes the image

while digitally simulating a

partial dodge effect. This way,

both shadowy and bright areas

are more pleasantly detailed

and exposed. Instead of simply broadening

the dynamic range to show shadow details,

Active D-Lighting maintains desired contrast

for more attractive images. You can apply

this function prior to shooting, with four

strength levels.

In-Camera Image Edit

Subsequent to shooting, try the image

editing effects shown in the menu display

below. Edited images are stored as a new

file, separate from the original.

Active D-lighting Off

Active D-lighting On (Normal)

Extra reach for y our photography

Experience invisible assistance

• Lens: AF-S NIKKOR 24-70mm f/2.8G ED • Image quality: JPEG Fine

• Exposure: [A] mode, 1/50 second, f/8 • White balance: Cloudy • Sensitivity:

ISO 200 • Picture Control: Standard

©Joe McNally

*Taken in Manual focus mode.

Camera Control Pro 2:

Enhanced productivity for

remote shooting

•Full control of Live View, Picture Control,

51-point AF system, and White Balance Fine-

tuning is available

•Permits remote camera control and image trans-

fer to a computer using wireless LAN, when

working with the optional WT-4/4A Wireless

Transmitter

•Immediate confirmation of the thumbnails of

captured images is available on the computer

monitor

•Deletion of unwanted images is possible prior

to actual data transfer to the computer for

improved workflow productivity

•Captured images can be displayed in ViewNX

Nikon Transfer: Easy and

efficient for organizing image

workflow

•Transfers images captured by Nikon digital SLRs

or stored in memory cards

•Add labels, ratings and IPTC at the time of

transfer for efficient sorting of images at a later

stage in the workflow

•Smooth operation: continue selecting images

while the software is transferring other images

•Supplied with the D3

ViewNX: Browser for

professional NEF shooters

Browsing, sorting and categorizing have reached

new levels of sophistication with ViewNX soft-

ware. ViewNX treats captured RAW +

JPEG files simultaneously as one file,

enabling more efficient image brows-

ing. That means you can look at the

JPEG, then check the RAW file details

with one simple click. Easy RAW

processing is also possible, and you

can categorize images by scenes via

labels and sort them by importance

through ratings for an efficient filtered

display. You can also edit XMP and

IPTC information for better control of

the captured images. Other advan-

tages of ViewNX software include:

•Fast thumbnail and preview display

•Simpler operation, sophisticated user interface

and efficient workflow

•Collaboration with Nikon Transfer and Capture

•Working with Picture Control Utility, Picture

Controls can be customized and applied to

selected images

•Printing function, e-mail transmission, and slide

show

Capture NX:

An intuitive tool for NEF

processing and Picture

Control customization

•Innovative U Point Technology enables intuitive

NEF processing

•Versatile functions such as batch processing, edit

list, vignette control, color aberration control, and

distortion control

•Capture NX Picture Control Utility allows you to

customize Picture Control on Capture NX, save it

for later use on the software, and even export it

to Nikon D-SLR cameras that support the Picture

Control System.

•Capture NX also supports many features carried

over from Nikon Capture 4 so that users can con-

tinue to put their present post-production know-

how to work

Image Authentication Software:

Protect the integrity of valuable data

•Indicates whether an actual image has been

altered

•Any change in XMP and IPTC information can

also be clarified

•Software update of version 1.0.1 is required

Thumbnail display (ViewNX)

Image viewer (ViewNX)

Picture Control: Custom-tailored tone and color

Picture Control is an intuitive, easy-to-use,

and completely new system for defining

tones of your image files. This set of tools

helps you define the look and feel of your

images, matching them to your creative

intentions by custom-tailoring the levels of

sharpness, saturation and other parameters.

It’s similar to how photographers used to

select certain types of film for specific

shooting situations. And from now on,

tones defined by the Picture Control System

will be the same with all future Nikon dig-

ital SLR cameras compatible with Picture

Control System. With the D3, four types of

Picture Control are pre-installed. You can

choose from ”Standard,” ”Neutral,” ”Vivid”

or “Monochrome,” alternating between

them to create your own signature look.

Standard is versatile for a wide range of

situations. Neutral produces less contrast,

with natural skin tone and depth. Vivid

enhances the saturation of red and green,

producing sharp contrast. Monochrome pro-

duces black and white images. You’ll also

have access to optional Picture Controls that

can be downloaded from the Nikon Website.

Picture Control can be displayed either by

list or in grid form. With the grid display, you

can intuitively confirm the degree of contrast

and saturation for each Picture Control. In

Standard and Vivid Picture Controls, you can

make quick adjustments easily. By simply

moving the sliders, you have access to five

parameters: sharpness, contrast, brightness,

saturation and hue. This level of simplicity

offers a rapid learning curve. You can also

save adjustments as Custom Picture Controls,

under your chosen name for desired shooting

scenarios.

Another aspect unique to the Picture Control

System is its collaboration with ViewNX

and Capture NX software via Picture Control

Utility. Importing and exporting Custom

Picture Control parameters between your

Nikon D-SLR and software further expands

creative flexibility. You can apply Picture

Control settings defined in the D3 to Capture

NX post-production work. Picture Control

parameters minutely defined on a personal

computer can then be applied to the D3. You

can even trade your favorite Custom Picture

Controls with colleagues for enhanced

potential and productivity.

Standard Neutral Monochrome

Vivid

Picture Control display (List) Picture Control display (Grid) Quick Adjustment display

3332

Enhanced workflow efficiency

Image processing with Capture NX

Universal tones for all Nikon

digital SLRs to come

Collaboration with Nikon’s

exclusive software

Intuitive and direct control of the

image for your desired tone

Picture Control Utility display

Wireless Transmitter WT-4/4A*1

Photographers and editors working in large, crowded venues know well the logistical nightmare of load-

ing, editing and backing up images on assignment. Now with the new WT-4/4A, which supports IEEE

802.11a as well as IEEE 802.11b/g, the reach of wireless image transmission has made radical strides

toward speed, simplicity and efficiency. To quicken the workflow, the supplied Thumbnail Selector lets

you automatically transmit thumbnails from the transmitter’s buffer memory to a remote personal com-

puter first, where an editor can select the desired images before the complete data is sent. That way,

only the full data from desired images has to go through, saving precious assignment hours. This is

especially useful for teams of photographers, as up to five cameras can be connected at one time.

Supporting wide-ranging network and security protocols, the WT-4/4A is compatible with a variety of

system environments. Image transfer using wired LAN*2

is also available via Ethernet.

Supplied case

The supplied holder case can be

attached to a belt or hung from the

neck or shoulder with a neck strap. WT-4/4A connected with the D3

WT-4/4A can also be used with the Nikon D300.

With the D3’s new Scene Recognition

System, most sophisticated digital SLR light-

ing systems become even more intelligent.

Now when you use Nikon’s Creative Lighting

System – no matter which compatible Nikon

Speedlights you use — the SB-800, SB-600

or SB-400 — you will appreciate the i-TTL

improvements, especially when using a

single Speedlight. That’s because instead

of using the conventional 5-segment Multi

Sensor to evaluate monitor pre-flashes in

i-TTL Balanced Fill-Flash, the D3 utilizes the

1,005-pixel RGB sensor for a more refined

flash metering evaluation. With this system,

overexposure is reduced to a degree never

before achieved, even with small subjects,

which tend to be overexposed. Metering

accuracy for a scene containing highly

reflective objects has also been improved.

These improvements are made possible with

the highlight analysis function of the Scene

Recognition System, which correctly calcu-

lates the brightness range to be reproduced

and determines background exposure. This

level of single-Speedlight sophistication

can be indispensable for photojournalists

or other professionals who rarely have a

second chance to make the shot. In addition,

the Creative Lighting system is compatible

with Advanced Wireless Lighting’s use of

multiple Speedlights, for comprehensive

control over scene lighting.

Flashes of brilliance

3534

i-TTL flash control

Advanced

Wireless Lighting

Flash color

temperature information

transmission

Auto FP

High-Speed Sync

FV lock

Modeling

flash output

Multiple area

active AF assist

illuminator

Nikon Creative Lighting System

• Lens: AF-S NIKKOR 24-70mm f/2.8G ED • Image quality: JPEG Fine • Exposure: [A] mode, 1/160 second, f/8

• White balance: Auto • Sensitivity: ISO 200 • Picture Control: Standard

• Lens: AF-S NIKKOR 24-70mm f/2.8G ED • Image quality: JPEG Fine • Exposure: [M] mode,

1/1.3 second, f/4.5 • White balance: Auto • Sensitivity: ISO 400 • Picture Control: Standard

• Lens: AF-S NIKKOR 14-24mm f/2.8G ED • Image quality: JPEG Fine • Exposure: [A] mode,1/13

second, f/8 • White balance: Cloudy • Sensitivity: ISO 400 • Picture Control: Standard

*1 Specifications differ depending on country or area.

*2 Pre-installation of supplied software is required.

Group units: Illumination

from the side

Group units: Illumination from the top

On-camera Master/

Commander

On-camera

Commander

How the WT-4/4A works in the ﬁeld

Scene Recognition System for

i-TTL flash control

SB-800 connected via

TTL Remote Cord was

used as a remote unit.

Five incredible new NIKKOR

lenses

Great cameras demand great lenses, so to

get the best performance out of Nikon’s new

FX-format, as well as being able to use every

existing AF NIKKOR lens, NIKKOR design-

ers developed five exceptional new lenses,

including the world’s first f/2.8 ultrawide-

angle zoom lens, with groundbreaking optical

technology to match. • New optical design maximizes Nikon FX-format

potential

• Use of ED glass and large-diameter Precision

Glass Mold (PGM) aspherical lens elements

deliver both high resolution and minimized aber-

ration

• Nano Crystal Coat further reduces ghost and

flare effects, contributing to even greater overall

image integrity

• Anti-dust and anti-moisture performance that

match D3 reliability

• Lens barrel designed with superior ergonomics

• Silent Wave Motor (SWM) for fast and quiet

autofocusing

• M/A mode equipped

• Internal focusing system

• Add AF-S VR Zoom-Nikkor 70-200mm f/2.8G

IF-ED, and you are covered from 14 to 200 mm at

f/2.8

• New optical designs maximize Nikon FX-format

potential

• VR II reduces vibration effects equivalent to

approx. 4 stops – employed for the first time in

super telephoto lenses

• New tripod mode: effectively reduces vibration

when super telephoto lenses are mounted on a

tripod

• Three ED glass elements offer high resolution

and contrast

• Light and durable magnesium alloy lens barrel

• Focus Preset function to immediately focus on a

predetermined point at the push of a button

• Nano Crystal Coat minimizes ghost and flare,

contributing to clearer images

• Meniscus protection glass to reduce ghost

effects on the imaging sensor

• Anti-dust and anti-moisture performance to

match D3 reliability

• Silent Wave Motor (SWM) for fast and quiet

autofocusing

• A/M mode is equipped as well as M/A mode

• Minimum shooting distance in autofocus: 2.9 m

(400mm), 4.0 m (500mm), and 5.0 m (600mm)

High-performance ultrawide-angle zoom and standard zoom lenses –

AF-S NIKKOR 14-24mm f/2.8G ED and AF-S NIKKOR 24-70mm f/2.8G ED

Super telephoto lenses with improved vibration reduction –

AF-S NIKKOR 400mm f/2.8G ED VR, AF-S NIKKOR 500mm f/4G ED VR, and

AF-S NIKKOR 600mm f/4G ED VR

AF-S NIKKOR 14-24mm f/2.8G ED

AF-S NIKKOR 24-70mm f/2.8G ED

AF-S NIKKOR 400mm

f/2.8G ED VR

AF-S NIKKOR 500mm f/4G ED VR

AF-S NIKKOR 600mm f/4G ED VR

• Lens: AF-S NIKKOR 14-24mm f/2.8G ED • Image quality: 14-bit RAW (NEF) • Exposure: [M] mode, 1/200

second, f/16 • White balance: Auto • Sensitivity: ISO 200 • Picture Control: Standard

36 37

1IX-Nikkor lenses cannot be used. 2Vibration Reduction (VR) supported with VR lenses.

3Spot metering meters selected focus point. 4The camera’s exposure metering and flash

control systems do not work properly when shifting and/or tilting the lens, or when an

aperture other than the maximum aperture is used. 5Electronic rangefinder cannot be used

with shifting or tilting. 6Manual exposure mode only. 7Can be used with AF-S and AF-I

lenses only. 8With maximum effective aperture of f/5.6 or faster; when TC-20E II/TC-20E is

used with AF-S VR 70-200mm f/2.8G, AF-S VR 300mm f/2.8G, AF-S 300mm f/2.8D II, AF-S VR

400mm f/2.8G or AF-S 400mm f/2.8D II, or TC-14E II/TC-14E is used with AF-S VR 200-400mm

f/4G, three top and three bottom points among 15 focus points in the center may function as

line sensors. 9When focusing at minimum focus distance with AF 80-200mm f/2.8, AF 35-

70mm f/2.8, AF 28-85mm f/3.5-4.5 <New>, or AF 28-85mm f/3.5-4.5 lens at maximum zoom,

in-focus indicator may be displayed when image on matte screen in viewfinder is not in

focus. Adjust focus manually until image in viewfinder is in focus. 10 With maximum aperture

of f/5.6 or faster. 11 Some lenses cannot be used. 12 Range of rotation for AI 80-200mm f/2.8

ED tripod mount is limited by camera body. Filters cannot be exchanged while AI 200-400mm

f/4 ED is mounted on camera. 13 If maximum aperture is specified using [Non-CPU lens data],

aperture value will be displayed in viewfinder and top control panel. 14 Can be used only if

lens focal length and maximum aperture are specified using [Non-CPU lens data]. Use spot

or center-weighted metering if desired results are not achieved. 15 For improved precision,

specify lens focal length and maximum aperture using [Non-CPU lens data]. 16 Can be used

in manual exposure modes at shutter speeds slower than 1/125 s. 17 Exposure determined by

presetting lens aperture. In aperture-priority auto exposure mode, preset aperture using lens

aperture ring before performing AE lock or shifting lens. In manual exposure mode, preset

aperture using lens aperture ring and determine exposure before shifting lens. 18 Exposure

compensation required when used with AI 28-85mm f/3.5-4.5, AI 35-105mm f/3.5-4.5, AI

35-135mm f/3.5-4.5, or AF-S 80-200mm f/2.8D. See teleconverter manual for details. 19

Requires PK-12 or PK-13 auto extension ring. PB-6D may be required depending on camera

orientation. 20 Use preset aperture. In aperture-priority auto exposure mode, set aperture

using focusing attachment before determining exposure and taking photograph.

Function Compatibility Chart

Camera setting Focus Exposure Metering

mode mode system

M (with electronic

M P A w

Lens/accessory C rangefinder) S M 3D Color e

Type G or D AF Nikkor2

AF-S, AF-I Nikkor 3 3 3 3 3 3 — 33

PC-Micro Nikkor 85mm f/2.8D

4— 35 3 — 36 3 — 33

AF-S / AF-I Teleconverter738 38 3 3 3 3 — 33

Other AF Nikkor 39 39 3 3 3 — 3 33

(except lenses for F3AF)

AI-P Nikkor — 310 3 3 3 — 3 33

AI-, AI modified Nikkor or

Nikkor Series E lenses12 — 310 3 — 313— 314 315

Medical-Nikkor 120mm f/4 — 3 3 — 316———

Reflex-Nikkor —— 3 — 313—— 315

PC-Nikkor — 35 3 — 317—— 3

AI-type Teleconverter18 — 38 3 — 313— 314 315

PB-6 Bellows Focusing

Attachment19 — 38 3 — 320—— 3

Auto extension rings

(PK-series 11A, 12, or 13; PN-11)

— 38 3 — 313—— 3

CPU lenses1

Non-CPU lenses11

: Exceptional new lenses, full coverage

Lenses

SPEEDLIGHTS

REMOTE CONTROL

ACCESSORIES

VIEWFINDER ACCESSORIES

TV ACCESSORIES

COMPUTER RELATED

ACCESSORIES

WIRELESS TRANSMITTER

AC ADAPTERS, BATTERIES AND

CHARGERS

Power Bracket Unit

SK-6/6A

High-Performance

Battery Pack SD-8A

Speedlight

SB-800

Speedlight

SB-600

Speedlight

SB-400

Speedlight

SB-800

Speedlight

SB-600

Close-up Speedlight

Commander Kit R1C1

TTL Remote Cord

SC-28, 29

Modulite Remote

Control Set ML-3

Remote Cord

MC-36

Remote Cord

MC-30

Remote Cord

MC-22

Extension Cord

MC-21

Connecting Cord

MC-23

Adapter Cord

MC-25

Ten-Pin Remote

Accessories

GPS Cable

MC-35 GPS Unit**

Remote Cord

MC-36

Remote Cord

MC-30

Remote Cord

MC-22

AV Cable EG-D2* TV Monitor**

Finder

Eyepiece

DK-17*

Eyepiece

Correction

Lens DK-17C

(-3, -2, 0,

+1, +2 m-1 )

Rubber

Eyecup

DK-19 Eyepiece

Adapter

DK-18

Eyepiece Magniﬁer

DG-2

Magnifying

Eyepiece

DK-17M

Interchangeable

Focusing Screen

Type B Clear Matte VI*

Interchangeable

Focusing Screen

Type E Clear Matte VI

Right-Angle

Viewing

Attachment

DR-5

Antifog

Finder

Eyepiece

DK-17A

PC Card Adapter**

CF Card Reader**

CompactFlashTM Card**

MicrodriveTM **

Personal Computer**

Printer**

Capture NX

Camera Control Pro 2

Image Authentication

Software

Software Suite*

AC Adapter

EH-6

Quick Charger

MH-22*

Rechargeable

Li-ion Battery

EN-EL4a*

Wireless Transmitter

WT-4/4A

USB Cable UC-E4*

Battery Chamber

Cover BL-4*

HDMI Cable**

Rechargeable

Li-ion Battery

EN-EL3e

AC Adapter

EH-6

*Supplied accessories **Non-Nikon products

3938

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{ | } *

l m n o

Rear Control Panel

Top Control Panel

Viewﬁnder Display

C: Custom Setting Bank

R: Reset Custom Settings

a: Autofocus

a1: AF-C Priority Selection

a2: AF-S Priority Selection

a3: Dynamic AF Area

a4: Focus Tracking with Lock-On

a5: AF Activation

a6: Focus Point Illumination

a7: Focus Point Wrap-Around

a8: AF Point Selection

a9: AF-ON But ton

a10: Vertical AF-ON Button

b: Metering/Exposure

b1: ISO Sensitivity Step Value

b2: EV Steps for Exposure Cntrl

b3: EV Steps for Exposure Comp

b4: Easy Exposure Compensation

b5: Center-Weighted Area

b6: Fine Tune Optimal Exposure

c: Timers/AE Lock

c1: Shutter-Release Button AE-L

c2: Auto Meter-off Delay

c3: Self-Timer Delay

c4: Monitor off Delay

d: Shooting/Display

d1: Beep

d2: Shooting Speed

d3: Max Continuous Release

d4: File Number Sequence

d5: Control Panel/Viewﬁnder

d6: Shooting Info Display

d7: LCD Illumination

d8: Exposure Delay Mode

e: Bracketing/Flash

e1: Flash Sync Speed

e2: Flash Shutter Speed

e3: Modeling Flash

e4: Auto Bracketing Set

e5: Auto Bracketing (Mode M)

e6: Bracketing Order

f: Controls

f1: Multi Selector Center Button

f2: Multi Selector

f3: Photo Info/Playback

f4: Assign FUNC Button

f5: Assign Preview Button

f6: Assign AE-L/AF-L Button

f7: Customize Command Dials

f8: Release Button to Use Dial

f9: No Memory Card?

f10: Reverse Indicators

Custom Settings menus

System Chart

1Shutter-release button for vertical

shooting

2Vertical shooting shutter-release

button lock

3Sub-command dial for vertical

shooting

4Sub-command dial

5Function button

6Depth-of-ﬁeld preview button

7Mirror

8Self-timer lamp

9Flash sync terminal cover

!Ten-pin remote terminal cover

"Lens release button

#Focus-mode selector

$Eyelet for camera strap

%Release mode dial lock release

&Bracketing button

(Accessory shoe

(for optional ﬂash unit)

)Metering selector

~Metering selector lock button

+Diopter adjustment knob

,Top control panel

-Exposure mode/Format button

.Power switch

/Shutter-release button

:Exposure compensation button

;Eyelet for camera strap

<Flash mode button

=Release mode dial

>Command lock button

?Playback button

@Delete/Format button

[Eyepiece shutter lever

\Viewﬁnder

]Viewﬁnder eyepiece

^AE/AF lock button

_AF-ON button

{Multi selector

|Focus selector lock

}Main command dial

*Memory card slot cover

aMonitor

bMenu button

cThumbnail/Playback zoom button

dProtect/Help/Info button

eOK button

fSpeaker

gRear control panel

hISO sensitivity/Two-button reset

button

iImage quality/Image size button

jWhite balance/Two-button reset

button

kMicrophone

lMicrophone button

mAF-area mode selector

nMain command dial for vertical

shooting

oAF-ON button for vertical shooting

pFocal plane mark

qUSB connector cover

rConnector cover

sBattery chamber cover latch

tBattery chamber cover

uUSB connector

vA/V connector

wDC-IN connector

xHDMI connector

Memory Card Capacity

The following table shows the approximate number of pictures that can be stored on a 2 GB SanDisk

Extreme IV (SDCFX4) card at different image quality and image size settings with FX-format image area.

Image quality Image size File size 1No. of images 1Buffer capacity 2

NEF (RAW), Lossless compressed, 12-bit — 13.3 MB 100 18

NEF (RAW), Lossless compressed, 14-bit — 16.3 MB 77 16

NEF (RAW), Compressed, 12-bit — 11.0 MB 138 20

NEF (RAW), Compressed, 14-bit — 13.8 MB 114 16

NEF (RAW), Uncompressed, 12-bit — 18.8 MB 100 17

NEF (RAW), Uncompressed, 14-bit — 24.7 MB 77 16

TIFF (RGB) L 35.9 MB 53 17

M 20.7 MB 95 19

S 10.0 MB 211 25

JPEG ﬁne 3L 5.7 MB 279 52

M 3.2 MB 496 92

S 1.4 MB 1000 96

JPEG normal 3L 2.9 MB 548 74

M 1.6 MB 976 98

S 0.7 MB 2000 100

JPEG basic 3L 1.4 MB 1000 79

M 0.8 MB 1800 100

S 0.4 MB 3900 100

1 All ﬁgures are approximate. File size varies with scene recorded.

2 Maximum number of exposures that can be stored in memory buffer. Drops if [Optimal quality] is selected for [JPEG compression], ISO sensitivity is

set to H 0.3 or higher, [High ISO NR] is on when auto ISO sensitivity control is on or ISO sensitivity is set to 2000 or higher, or long exposure noise

reduction, active D-Lighting or image authentication is on.

3 Figures assume [JPEG compression] is set to [Size priority]. Selecting [Optimal quality] increases the ﬁle size of JPEG images; number of images and

buffer capacity drop accordingly.

FX-format (36 x 24) Image Area

Speedlight

SB-400

Rechargeable

Li-ion Battery

EN-EL4

Quick Charger

MH-21

Everything you need

Extreme IV SDCFX4 8 GB

4 GB