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Studio work, street photography at night,
theater, track and ield athletics, location
shooting in both a ield o sun lowers and the
desert under glaring sunlight.
I think one o the headlines in this
brochure de nes my experience with theNikon D3. It represents new territory. Asa shooter, I am always looking or waysto expand and express my imagination.
This camera opens doors and pusheslimits I could not have even guessed atwhen I started shooting digital a ewshort years ago. While the camera looks
and eels like past Nikon models, there isde initely a new engine under the hood.This technology accelerates and enlargesdigital picture making. One o the photo
maxims I have always heard is "I I cansee it I can shoot it." That has not alwaysnecessarily been true. Now, nally, it is.
Clients include: Time Magazine, National Geographic, Newsweek, ESPN Magazine and
The New York Times Magazine.
Dave Black Sports Photographer (USA)
Used the D3 to shoot ice hockey, fgure skating,
wakeboarding, basketball, gymnastics, and a
nighttime car race.
I believe the Nikon D3 Digital SLR Camerawill encourage photographers to think innew and creative ways. There are many
new advances in this camera that willhelp me produce better sports pictures,including the shooting rate o nine ramesper second, increased dynamic range
and the FX sensor. But it is the extremelyclean high sensitivity level o ISO 6400that is , in my opinion, an industry-changing development. I will now be able
to capture ast action sports images inlow-light conditions and poorly lit indoorvenues with wonder ul clarity and detailsuitable or the cover o any magazine.
Nikons D3 makes a seemingly impossiblesituation achievable.
Clients include: Sports Illustrated, Time 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.
Working or National Geographic isinspir ing, but very demanding. Thetechnical demands are always high, but
I believe that camera technology shouldnever stand in the way o my creativeprocess. Thats why my trial run with theD3 was such a great experience. From
small ergonomic details to revolutionarychanges in speed, dynamics and handling,the D3 per ormed incredibly. Featuresl ike i ts large, high-resolut ion LCD
monitor, its greater dynamic range andcolor reproduction and its low-noiseimages at high ISOs are real strengths.Furthermore, as I am requently in ar-
lung locations, repair shops are rarelyclose at hand. I need my gear to work, andthe 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 o the rst F-series cameras, Nikon
has helped re ine the art o photography while pursuing
new and power ul orms o photographic expression. The
D3 ul ils both o these missions. Nikon's newest lagship
symbolizes the evolution o photographic technology,
de ying preconceived limitations while responding to the
ever-changing demands o pro essional photographers.
In short, the D3 represents new territory explore it or
yoursel .
The pursuit of ideal picture quality High resolution is only one aspect o superior pictures.
The image quality that passionate photographers deserve
should also include a wide sensitivity range, aith ul color
reproduction, and ast, secure data processing. Nikon o ers
all this and more with the D3, giving images more depth,
detail and atmosphere than ever be ore. Images o this
quality were once rare, but the Nikon D3 makes them all
part o a day's work.
The pursuit of superior operability
Pro essional photographers requently have cameras
in their hands or hours or even days at a time. In
many ways the camera becomes an extension o the
photographer's body, and should there ore act that way.
That's why Nikon has always considered com ortable
and ergonomically-sound operation to be crucial to its
camera design. It is a multi-sensory experience a bright
view inder or the eyes, the shape and texture o the
camera's exterior or the hands, even the right shutter
sound or the ear w ith each aspect o the camera's design
cra ted 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 rede ned operability. Again.
The pursuit of uncompromised quality
Nikon's philosophy is simple: no shortcuts. From design
through assembly to the showroom foor, uncompromising
standards mean that every camera produced is o
exceptional quality. Nikon cameras like the D3 are testedrelentlessly to ensure that they per orm in any situation.
Nikon engineers punish new equipment mercilessly. They
expose cameras to extremes o cold, heat, moisture,
vibration and any other condition that may be encountered
on (and even above) the Earth. Standards like these are
rare, but or Nikon, they are essential.
The D3 is dedicated to photographers who de y limitations
and always seek to push photography orward.
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, 1/1,00 0 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 AssignmentTo 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.
JoeMcNally DaveBlack Mattias Klu
D3:The DevelopmentConcept
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Discerning photographers always test the
boundaries o their equipment, pushing it as
ar as they can to capture the most power ul
images possible. For over 75 years since the
introduction o NIKKOR lenses, Nikon has
dedicated itsel to helping photographers
go the extra mile. Now, with the D3, Nikon
combines its new proprietary FX- ormat sensor
with 12.1 e ective megapixels or striking
tonal gradation and detail. But we didn't stop
there. By enlarging the size o each pixel,
Nikon's new FX ormat captures light with
unrivaled accuracy, which in turn contributes
to a signifcantly higher signal-to-noise ratio
and wider dynamic range. The rich initial data
o each image is then swi tly and care ully
routed through a 12-channel parallel readout
or 14-bit A/D conversion that serves two
pro essional demands speed and precision.
Adding to its versatility, the D3 also o ers
you three di erent ormats FX ormat, DX
ormat and 5:4 delivering all the options
to respond to a vast range o shooting
situations.
Color and detail only begin
to explain the extraordinary
potential o Nikon's power ul
F X - o r m a t s e n s o r. N o w
p h o t o g r a p h e r s h a v e a n
extremely wide sensitivity
range to choose rom. It's now
possible to expect exceptionally
natural tonal gradation in the
low-sensitivity range, yet shoot
with con idence in conditions
that demand high ISO settings.
From now on, capturing bold
and remarkably noise- ree images rom ISO
200 to 6400 will be the standard, and not
an exception to the rule. For pro essionals,
this dramatically changes how you shoot
indoor sports, night games at stadiums,
theaters, weddings, wildli e at dusk and
any other situation where light is limited
and Speedlights are not an option. This
new dimension o ISO sensitivity not only
delivers more winning shots, it also changes
how you take them. Imagine shooting sports
and action images at aster shutter speeds
without worrying about excessive image-
degrading noise. Simply put, the D3 redefnes
how good high ISO digital images can look.
And to urther expand your potential, the D3
can be extended on demand, rom ISO 100 to
ISO 25600. Consider the new possibilities.
Unlike other image processing systems, t
D3's doesn't sacrifce spectacular saturatio
or advanced noise reduction. Low-no
per ormance is an integral part o the D
core engineering, meaning that your D3 h
been strategically designed to minimi
image noise, long be ore you've selected
noise reduction unction. And at ISO sett
o 2000 and above, when High ISO N
set to on, the noise reduction unction
automatically activated to care ully minim
mottling, color bleeding and shadow noi
The result is rich images with natural ton
and without the plastic, arti icial look
typical o conventional noise reduct
images.
High image qual
FX- ormat 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 o noeven with high ISO.
Nikon's proprietary FX- ormat (36.0 x 23.9 mm) CMOS imaging sensor with 12.1 e ective megapixels
Strikingly high image quality at up to ISO 6400
Advanced noise reduction at high ISO or natural-looking results
12-channel parallel data readout contributes to the incredible speed seen in eatures like 9 ps and Live View unction.
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
JoeMcNally
JoeMcNally
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 JoeMcNally
6400ISO
l Proprietary FX- ormat (36.0 x 23.9 mm) CMOS sensorwith 12.1 e ective megapixels
l Incredibly high signal-to-noise ratio, or wide dynamicrange
l Remarkably noise- ree images rom ISO 200-6400,with ISO 100-25600 on demand
l A dramatically expanded range o shutter speed andaperture options
l Freedom to shoot in almost any lighting situation
Expand yourvision with theFX-format sensor
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EXPEED image-p
Superior image processing relies on one
simple truth: no shortcuts. Nikon knows that
in order to deliver the
mos t p rac t i ca l and
versatile per ormance
p o s s i b l e , i m a g e
quality, accuracy and
speed must be treated as equal partners o
equal importance. Nikon has a name or this
uniquely comprehensive approach: EXPEED.
What started at the birth o the ilm camera
NikonI and progressed with the digital SLR
D1 has now evolved into an elite imaging
system that is ar more power ul than the
present standards o any other camera maker.
This unrivaled process is extremely ast and
comprehensive, yet is extremely energy
e fcient giving longer battery li e.
Nikon's FX- ormat sensor produces an
incredibly wide dynamic range, with rich
initial data that maintains its integrity through
14-bit A/D conversion. As pro essional
photographers demand the smoothest tonal
gradation and aith ul 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 o
their own.
The D3 controls color hue with unmatched
accuracy, so speci ic colors that were
previously impossible to achieve together in
a particular image can now coexist in nearly
any situation. Colors are aith ul throughout
the palette skin tones are pleasingly
saturated without blowing out the reds, while
blues that were once di icult to reproduce
can now be considered standard. Expect this
throughout the spectrum, with less tone jump
than ever be ore.
High-megapixel sensors tend to produce
chromatic aberration in the peripheral areas.
To achieve the sharpest images throughout
the rame, the D3 uses an automatic lateral
chromatic aberration reduction unction.
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
such an extent that you can expect i
tonal gradation in highlight areas ev
with extremely bright subject matter, such
skies, snow all or white clothing shot un
harsh sunlight. And thanks to more accur
treatment o data, tone jump that was on
likely to occur with a broadened dynam
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-bit A/D conversion,
1416l
Nikon's new EXPEED image-processing system, utilizing a supremely power ulCPU with 14-bit A/D conversion and 16-bit image-processing pipelinel Faith ul colors, pleasingly saturated throughout the palette, with smooth tonal
gradations, even in highlightsl Unprecedented fnal image quality that needs little or no post-production
enhancement
14-bit A/D conversion and 16-bit data transmission throughout the process o er an incredibly high signal-to-noise rati
Even with a scene containing a large di erence in brightnsmooth 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, aith ul colors
12-channel parallel readout 14-bit A/D conversion 16-bit image processing
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 JoeMcNally
Improved tonal gradation
Chromatic aberration reduction (peripheral area enlarged) Without
Finalprocessing
With
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Quick
In many ields o photography, re lexes 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 or the D3. Indeed, this camera marks an
incredible breakthrough, with many eatures
that double or even quadruple the speed
and response o today's market leaders.
With a 9- rame-per-second shooting speed
in FX ormat (12.1 megapixels) and up to
11 ps in DX crop mode (5.1 megapixels),
the D3 gives you options to master any
shooting situation. In DX crop mode,
shooting rates o up to 11 ps increase
your opportunities o nailing the precise
moment you need. Or shoot 12.1-megapixel
FX- ormat, ull-resolution images at up to
9 ps, giving you and your editor plenty o
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
pro essional assignments.
Whether pro essionals succeed or ail
depends on their readiness and ability to
capture the per ect 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 or pro essional
digital photography, exceptional speed means
little unless it is supported throughout the
entire process. That is why Nikon has tak
the comprehensive approach o optimiz
the speed o processing, bu er mem
memory access, memory card recording a
Hi-Speed USB inter ace. With these work
together harmoniously, you can orget ab
the weight o the data and concentrate
capturing the moment.
9 ps in FX ormat and 11 ps in DX ormat
The refexes pro essionals 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 DaveBlack
In continuous shooting at 11 ps, ocon the position detected in the fr
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 DaveBlack
Speed that rees you to act on impulse
9fpsore winning
ots per second
11fpsames-per-secondinuous shooting in FX
mat; up to 11 ps in DX-crope
MA support or moreecutive shotser speeds or dataessing, recording and
ge trans eround certainty that you'll
he shot, however briemoment
Full AF/AE per ormance is availa
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Autofoc
The D3 covers the frame like never before
with the world's largest number*1 of 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 portra
Simply select a single AF point out of the
available and the D3 will concentrate all
focusing power on that spot. With Dynam
area AF, you can select from several focus
options, utilizing 9, 21 or all 51 points. J
select a single AF point as priority, and
areas surrounding your selected point ser
as backup a real advantage when shootin
moving subjects. For more compositio
shooting, try either the 9- or 21-point optio
For subjects with extremely fast or erra
movement, the 51-point option will be y
choice. Plus there is 3D-Tracking mode, w
also uses 51 points. 3D-Tracking makes
most of the Scene Recognition System
subject-tracking information, accurat
tracking the subject by selecting a new foc
point to significantly improve your fix
moving subjects. The Auto-area AF special
in focusing on people, automatically detect
and prioritizing skin tones with all 51 point
Professional photographers have demand
more-refined AF accuracy. Therefore,
D3 lets you apply the same amount of
compensation regardless of which AF po
or lenses you use. You can also make len
specific individual adjustments for up to
registered lens models.
51-point AF performance consistently sharp
15 cross-type sensors per orm with any AF NIKKOR /5.6 or
aster 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
Auto ocus Fine Tune is easily accessible through the D3's menus
51 AF points a world-frst
Versatile AF area modes
Auto ocus Fine Tune
Joe McNally
l New Multi-CAM 3500FX AF module o ers a network o 51 strategically placed AF points,or outstanding coverage
l Selected areas work together to capture a variety o moving subjects with incrediblespeed and precision
l Razor-sharp images or ast-moving subjects that were previously di fcult to ocus
Joe McNally
Joe McNally
Mattias Klum
DaveBlack
Note: In Dynamic-area AF mode, only the active ocus point is displayed in the viewfnder.
*1 Among digital SLRs, as o August 23, 2007.*2 With some lenses used in combination with Nikon Teleconverters,
three points on the top and three on the bottom may unction as line sensors under certain conditions, even i maximum e ective aperture is /5.6. For details, see Function Compatibility Chart on page 37 (note 8).
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Scene Recogn
Prepare yoursel , because photography as
you know it is about to be trans ormed.
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 or an unprecedented level
o detailed scene in ormation 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 auto ocus, auto
exposure, i-TTL control and white balance are
optimized all be ore the image is captured.
Consider the Scene Recognition System as
artifcial intelligence, working in partnership
with you or more winning shots.
For the D3, Nikon engineers reassessed
everything, including auto ocus operation.
The new Scene Recognition System takes
color in ormation rom the 1,005-pixel RGB
sensor and utilizes it to achieve superb Focus
Tracking. Conventional Focus Tracking systems
were only e ective with subjects approaching
or moving away, but the D3's new system
works or lat lateral movement as well.
Simply select any o Dynamic-area AF mode
options including 3D-Tracking, and your main
subject is ollowed in sharp ocus. The D3
accomplishes this by using color in ormation
detected rom a selected oucs point and
applying it to Focus Tracking. The ocus point
will then automatically ollow your subject's
path as long as the shutter button is pressed
hal way down. The AF and Scene Recognition
systems are in constant communication
with each other, thereby improving tracking
per ormance even or erratically moving
subjects and expanding your compositional
reedom. For example, now you can maintain
sharp ocus on a ast-moving subject
even as you ire o shots while changing
compositions.
The D3 automatically detects people and s
tones using color in ormation rom the S
Recognition System. This way it can qui
ocus on the most important element
human ace in Auto-area AF mode. E
i similar colors exist both in the oregr
(human ace) and background (building)
Scene Recognition System uses distan
in ormation rom a D- or G-type AF N
lens to determine where the main subje
is. Even under the most demanding light
conditions and compositional challeng
the D3 detects the subject and optimizes ju
be ore the actual shutter release.
CENE RECOGNITION SYSTEM:Focus Tracking or lateral movement
Auto-area AF or suidenti cation
Scene Recognition System
Scene Recognition System or improved Focus Tracking
Scene Recognition System: Unleashing the powers o Nikon's 1,005-pixel RGB sensor
Scene Recognition System or subject
identifcation
Experience newfound accuracyn's 1,005-pixel RGB sensor has evolved to provide a superior level o comprehensive intelligence thanks to Nikon's new Scene
ognition Systemr, accurate and unprecedented color in ormation that dramatically improves overall per ormance and accuracy o the AF system, 3Dr Matrix Metering II, i-TTL, and auto white balance
gher level o accuracy in automatic operations or a wide range o lighting conditions and subject matter
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 DaveBlack
JoeMcNally
DaveBlack
1005-pixelRGB sensorAuto exposure
andi-TTL fash control
Highlight analysis
Auto ocusSubject tracking
Subject identifcation
Auto white balanceCharacteristics extraction
Pattern recognition
3D-Tracking tracks the subject by selecting a new ocus point as required.
In Single-servo AF, active ocus points are highlighted oabout one second.
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Nikon's 3D Color Matrix Metering II has long
been praised by discerning pro essionals
or its accuracy. The system analyzes scene
conditions such as brightness, contrast,
selected AF area, color, subject-to-camera
distance and even the re lective quality o
a scene. Then it compares this with an in-
camera database containing in ormation
rom over 30,000 actual shots or incredible
p rec i s ion . Combined wi th the Scene
Recognition System, 3D Color Matrix Metering
II is now even more sophisticated. The bright
areas o your image are pleasing and precise,
while intermediate tones also remain aith ulto the original scene, even when backlit,
under harsh rontal lighting or in other di fcult
lighting conditions. In addition to producing
the best possible exposure regardless o the
ile ormat, this advanced metering system
gives you more satis ying results, requently
without the need or retouch or enhancement.
Nikon's Auto White Balance systems
have been praised or their accuracy, but
pro essional photographers and Nikon
engineers aren't easy to satis y. Tricky lighting
can ool the most "intelligent" o cameras
rom time to time. For example, a camera
might interpret a meadow under the noonday
sun and a table under luorescent light as
similar subject matter. But now, when Nikon's
Scene Recognition System works together
with Auto White Balance, you can expect ar
more. Milliseconds be ore shutter release, the
D3's 1,005-pixel RGB in ormation calculates
the characteristics extraction (see below) o
the scene, cross-re erencing it with 5,0
actual shot data examples among the 20,00
images stored in the camera. So no matt
what the light source even notorious
di icult mercury vapor light the D3
automatically detect the appropriate whi
balance accurately.
Scene Recognition S
Auto White Balance used or fuorescent light
Auto White Balance used or natural daylight
More pleasing colors or intermediate tones
Sophisticated 3D Color Matrix Metering II
Auto White Balance or a broader range o lighting situations
JoeMcNal
JoeMcNal
JoeMcNally
ograph : 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 DaveBlack
The database o 5,000 actual shots among the 20,000 images stored or Auto White Balance is utilized or characteristics extraction
database o 30,000 actual shots redefnes the concept o exposure accuracy or 3D Color Matrix Metering II and the new Scene Recognition System
tograph : 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 JoeMcNally
Characteristics extraction using Scene Recognition System or light source identifcation
Step 1.Image characteristicsextracted
Step 2.Patterns recognizedand compared
Step 3.White detection areasdetermined
Subject
Pre-capturein ormation
Weakcolor-rendering lightsource
Strongcolor-rendering lightsource
NaturallightingOthers
Applied toAWB
Camera in ormation
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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 J
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Sel -diagnostic shutter monitorShutter speeds range rom 1/8000 sec. to 30 sec., with an internalmechanism that automatically monitors and corrects possible variancesbetween the designated shutter speed and the actual shutter timingover the shutter mechanisms li e span.
Shutter durabilityNikons newly developed shutter mechanism achieves unprecedenteddurability. For the reliability pro essionals demand, the D3s shutter hasbeen tested or 300,000 cycles. And to ensure rigorous real-world condi-tions, this type o testing is always per ormed on ully assembled cameras.
l Magnesium alloy used or exterior cover, chassis andmirror box ensures both light weight and ruggedness
l Strict sealing with O-rings at various connecting partse ectively resists dust and moisture
l Relentless testing or proven durabilityl Confdence that your camera will work in the toughest
conditions
Durable, ergonomic design, anda shutter unit tested to 300,000cycles
Reliability an
Mirror balancerA sophisticated mirror balance mechanism reduces the time requiredto lower the mirror. In addition to minimizing mirror bounce, the mirrobalancer extends viewing time, allowing more time or AF operation this is one reason the D3 can o er auto ocus and Focus Tracking even high-speed continuous shooting.
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 per ormance 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 pro ound. With
sculptural themes in mind, Giugiaro created the D3's new look
with the belie that the camera should have a orm and value that
anyone can recognize. Continuity was important, so the D3 was
designed to refect the past as well as the uture. Photographers will eel the same com ort 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
uture o photography. Enduring uncompromising scrutiny and test
trials rom Nikon's design team, the D3 was cra ted to partner
a photographers' body like never be ore, its shape and controlsmeticulously placed to enhance concentration, not draw away rom
it. See and eel or yoursel , and you will discover the Nikon
di erence in every detail.
The D3: A Work of Art
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3-inch, 920,000-dot super-density, 170-degree color LCD monitorThe D3s large, super-density color LCD monitor delivers bright, crispimage playback, with enlargement up to 27x (Large-size images in FX
ormat), making on-the-spot image con irmation easier and more pre-cise. And the 170-degree wide-angle viewing makes image review andLive View modes even more use ul in challenging conditions.
Two types o in ormation displayChoose rom black letters or white letters, according to lighting conditions, to ensure your in ormation display is legible. The menu is ormatted largeclear or easy recognition. You can also set the camera so the color o letters switches automatically, depending on the brightness o the large, 3.0-incLCD monitor.
Electronic Virtual HorizonThe D3s super-density color LCD monitor, teamed with Nikons innovtive Electronic Virtual Horizon delivers instant and accurate con irmatioo the D3s position relative to horizontal level. You can also level thD3 while looking through the view inder using the handy analog scale.
Twin CF card slotsNow you can use two CF cards simultaneously or a number o unc-tions: recording two ull CF cards o data; recording the same datasimultaneously onto two cards or backup protection; recording RAWand JPEG simultaneously to separate cards; trans erring data rom onecard to another.
Long-li e batteryThe D3 uses the same EN-EL4 or EN-EL4a rechargeable batteries thahave been ield-proven over many years with the D2 series D-SLRWhats more, because the D3s power consumption and power manage-ment systems have been engineered or greater operating e iciency, yocan expect even longer battery li e a welcome bonus or pro essionals
Improved ergonomicsFeatures mean nothing i theyre di icult to access. Thats why all D3buttons and dials have ideal sizes and clear unctions. The layout sharesthe same logical consistency as Nikons previous pro essional D-SLRs,along with urther improvements, such as Command Dials with a5-degree inclination or natural rotation using your index inger.
Function buttonDesignate requently used eatures to the Function Button. Up to 13
unctions are available. You can also do the same with the PreviewButton and the AF/AE Lock Button.
Countermeasures against dust, moisture and electromagneticinter erenceThe D3 goes the extra mile to protect against invasive moisture, dustand even electromagnetic inter erence. A comprehensive series oO-rings and other specialized seals, combined with additional Nikonengineering, keeps you shooting when lesser cameras would ail.
100% rame coverageThe D3s large prism mirror gives you the FX- ormat visual advantagewhen you shoot. Not only is the view inder image brighter, but the
inder screen is also care ully designed or you to sense ocus moreintuitively, be it manual or auto ocus.
Magnesium alloy bodyRugged, durable and precise magnesium alloy construction protects theD3s incomparable technologies and its ability to per orm in demandingreal-world conditions. An amazingly strong-yet-lightweight magnesiumalloy is used or the D3's body, exterior cover, chassis, and mirror box, toassure superb, reliable per ormance and longer li e.
Reliability an
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Image Area OptionsThe D3 offers three image areas to choose from:FX format (36.0 x 23.9 mm), DX format (23.5 x15.6 mm), and 5:4 (30.0 x 23.9 mm). DX formatuses the center of the viewfinder and allows up
to 11-frames-per-second shooting speed. When aDX NIKKOR lens is used, DX mode is automatical-ly selected or can be manually selected throughCustom Settings with any AF NIKKOR lens.
Multiple ExposureLike the D2XS before it, the D3s in-camera mul-tiple exposure images are fast and simple. Eachimage can be adjusted to prevent overexposure,ensuring optimum exposure for the final image.
Live ViewThe D3s 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 precisionContrast-detect AFTripod Mode is ideal for still life photography
in a studio environment. The D3s 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 releasefrom a personal computer via Camera
Control Pro 2.
Handheld ModeIn 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 youre 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 viewfnder.
5:4 FX ormat DX ormat
Live View o ers 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
JoeMcNally
Active D-LightingWhen 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 EditSubsequent 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 O
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
JoeMcNally
*Taken in Manual ocus mode.
Noriyuki Yuasa
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Camera Control Pro 2:Enhanced productivity forremote 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, whenworking with the optional WT-4/4A WirelessTransmitter
Immediate confirmation of the thumbnails ofcaptured images is available on the computermonitor
Deletion of unwanted images is possible priorto actual data transfer to the computer forimproved workflow productivity
Captured images can be displayed in ViewNX
Nikon Transfer: Easy andefficient for organizing imageworkflow
Transfers images captured by Nikon digital SLRsor stored in memory cards
Add labels, ratings and IPTC at the time oftransfer for efficient sorting of images at a laterstage in the workflow
Smooth operation: continue selecting imageswhile the software is transferring other images
Supplied with the D3
ViewNX: Browser forprofessional NEF shooters
Browsing, sorting and categorizing have reachednew 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 theJPEG, then check the RAW file detailswith one simple click. Easy RAWprocessing is also possible, and youcan categorize images by scenes vialabels and sort them by importancethrough ratings for an efficient filtereddisplay. You can also edit XMP andIPTC information for better control ofthe captured images. Other advan-tages of ViewNX software include:Fast thumbnail and preview displaySimpler operation, sophisticated user interface
and efficient workflowCollaboration with Nikon Transfer and Capture
NXWorking with Picture Control Utility, Picture
Controls can be customized and applied toselected images
Printing function, e-mail transmission, and slideshow
Capture NX:An intuitive tool for NEFprocessing and PictureControl customization
Innovative U Point Technology enables intuitiveNEF processing
Versatile functions such as batch processing, editlist, vignette control, color aberration control, anddistortion control
Capture NX Picture Control Utility allows you tcustomize Picture Control on Capture NX, save for later use on the software, and even export itto Nikon D-SLR cameras that support the PicturControl System.
Capture NX also supports many features carriedover 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 dataIndicates whether an actual image has been
alteredAny change in XMP and IPTC information ca
also be clarifiedSoftware 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.
Its 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. Youll 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
P ic tu re Co nt ro l d is pl ay (L is t) P ic tu re Co nt ro l d is pl ay (G ri d) Q ui ck Ad ju st me nt di sp la y
Enhanced workflow efficiency
Image processing with Captu
Universal tones for all Nikondigital SLRs to come
Collaboration with Nikonsexclusive software
Intuitive and direct control of theimage for your desired tone
Picture Control Utility display
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Wireless Transmitter WT-4/4A *1
Photographers and editors working in large, crowded venues know well the logistical nightmare o load-ing, editing and backing up images on assignment. Now with the new WT-4/4A, which supports IEEE802.11a as well as IEEE 802.11b/g, the reach o wireless image transmission has made radical stridestoward speed, simplicity and e iciency. To quicken the work low, the supplied Thumbnail Selector letsyou automatically transmit thumbnails rom the transmitters bu er memory to a remote personal com-puter irst, where an editor can select the desired images be ore the complete data is sent. That way,only the ull data rom desired images has to go through, saving precious assignment hours. This isespecially use ul or teams o photographers, as up to ive cameras can be connected at one time.Supporting wide-ranging network and security protocols, the WT-4/4A is compatible with a variety o
system environments. Image trans er 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 D3s new Scene Recognition
System, most sophisticated digital SLR light-
ing systems become even more intelligent.
Now when you use Nikons 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. Thats because instead
o using the conventional 5-segment Multi
Sensor to evaluate monitor pre- lashes in
i-TTL Balanced Fill-Flash, the D3 utilizes the
1,005-pixel RGB sensor or a more re ined
lash metering evaluation. With this system,
overexposure is reduced to a degree never
be ore achieved, even with small subjects,
which tend to be overexposed. Metering
accuracy or a scene containing highly
re lective objects has also been improved.
These improvements are made possible with
the highlight analysis unction o the Scene
Recognition System, which correctly calcu-
lates the brightness range to be reproduced
and determines background exposure. This
level o single-Speedlight sophisticationcan be indispensable or photojournalists
or other pro essionals who rarely have a
second chance to make the shot. In addition,
the Creative Lighting system is compatibl
with Advanced Wireless Lightings use o
multiple Speedlights, or comprehensiv
control over scene lighting.
Flashes of brilliance
i-TTL flash controlAdvanced
Wireless Lighting
Flash colortemperature information
transmission
Auto FPHigh-Speed Sync
FV lock
Modelingflash outputMultiple area
active AF assistilluminator
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
AF-S NIKKOR 24-70mm f/2.8G ED Image quality: JPEG Fine Exposure: [M] mode,cond, f/4.5 White balance: Auto Sensitivity: ISO 400 Picture Control: Standard
AF-S NIKKOR 14-24mm f/2.8G ED Image quality: JPEG Fine Exposure: [A] mode,1/13 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.
Groupunits: Illuminationrom the sideGroup units: Illumination rom the top
On-camera Master/Commander
On-cameraCommander
How the WT-4/4A works in the feld
Scene Recognition System ori-TTL lash control
SB-800 connected viaTTL Remote Cord wasused as a remote unit.
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Five incredible new NIKKORenses
Great cameras demand great lenses, so to
get the best per ormance out o Nikons new
FX- ormat, as well as being able to use every
xisting AF NIKKOR lens, NIKKOR design-
rs developed ive exceptional new lenses,
ncluding the worlds irst /2.8 ultrawide-
ngle zoom lens, with groundbreaking optical
echnology to match. New optical design maximizes Nikon FX- ormatpotential
Use o ED glass and large-diameter PrecisionGlass Mold (PGM) aspherical lens elementsdeliver both high resolution and minimized aber-ration
Nano Crystal Coat urther reduces ghost andlare e ects, contributing to even greater overall
image integrity
Anti-dust and anti-moisture per ormance thatmatch D3 reliability
Lens barrel designed with superior ergonomics Silent Wave Motor (SWM) or ast and quiet
auto ocusing M/A mode equipped Internal ocusing system Add AF-S VR Zoom-Nikkor 70-200mm /2.8G
IF-ED, and you are covered rom 14 to 200 mm at/2.8
New optical designs maximize Nikon FX- ormatpotential
VR II reduces vibration e ects equivalent toapprox. 4 stops employed or the irst time insuper telephoto lenses
New tripod mode: e ectively reduces vibrationwhen super telephoto lenses are mounted on atripod
Three ED glass elements o er high resolutionand contrast
Light and durable magnesium alloy lens barrel Focus Preset unction to immediately ocus on a
predetermined point at the push o a button
Nano Crystal Coat minimizes ghost and lare,contributing to clearer images
Meniscus protection glass to reduce ghoste ects on the imaging sensor
Anti-dust and anti-moisture per ormance tomatch D3 reliability
Silent Wave Motor (SWM) or ast and quietauto ocusing
A/M mode is equipped as well as M/A mode Minimum shooting distance in auto ocus: 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
q
1 IX-Nikkor lenses cannot be used.2 Vibration Reduction (VR) supported with VR 3 Spot metering meters selected ocus point.4 The cameras exposure metering and control systems do not work properly when shi ting and/or tilting the lens, or waperture other than the maximum aperture is used.5 Electronic range inder cannot bewith shi ting or tilting.6 Manual exposure mode only.7 Can be used with AF-S and lenses only.8 With maximum e ective aperture o /5.6 or aster; when TC-20E IIused with AF-S VR 70-200mm /2.8G, AF-S VR 300mm /2.8G, AF-S 300mm /2.8
400mm /2.8G or AF-S400mm /2.8D II, orTC-14EII/TC-14Eis usedwithAF-SVR/4G, three top and three bottom points among 15 ocus points in the center may u
line sensors.9 When ocusing at minimum ocus distance with AF 80-200mm /2.70mm /2.8, AF 28-85mm /3.5-4.5 , or AF 28-85mm /3.5-4.5 lens at maximin- ocus indicator may be displayed when image on matte screen in view inder
ocus. Adjust ocus manually until image in view inder is in ocus.10 With maximum aperto /5.6 or aster.11 Some lenses cannot be used.12 Range o rotation or AI 80-200mmED tripod mount is limited by camera body. Filters cannot be exchanged while AI 200
/4 ED is mounted on camera.13 I maximum aperture is speci ied using [Non-CPU leaperture value will be displayed in view inder and top control panel.14 Can be used onlylens ocal length and maximum aperture are speci ied using [Non-CPU lens data]. or center-weighted metering i desired results are not achieved.15 For improved precisspeci y lens ocal length and maximum aperture using [Non-CPU lens data].16 Can be usin manual exposure modes at shutter speeds slower than 1/125 s.17 Exposure determinedpresetting lens aperture. In aperture-priority auto exposure mode, preset aperture usiaperture ring be ore per orming AE lock or shi ting lens. In manual exposure maperture using lens aperture ring and determine exposure be ore shi ting lens.18 Exposucompensation required when used with AI 28-85mm /3.5-4.5, AI 35-105mm /335-135mm /3.5-4.5, or AF-S 80-200mm /2.8D. See teleconverter manual or dRequires PK-12 or PK-13 auto extension ring. PB-6D may be required depending oorientation. 20 Use preset aperture. In aperture-priority auto exposure mode, set apusing ocusing attachment be ore determining exposure and taking photograph.
Function Compatibility Chart
Camera setting Focus Exposure Meteringmode mode system
S M(withelectronic M P A w Lens/accessory C range inder) S M 3D Color e
Type G or D AF Nikkor2
AF-S, AF-I Nikkor3 3 3 3 3 3 3
3
PC-Micro Nikkor 85mm f/2.8D4
35
3 36
3 33
AF-S / AF-I Teleconverter7 3
8 3
8 3 3 3 3 3
3
Other AF Nikkor3
9 3
9 3 3 3 3 3
3 (except lenses or F3AF)
AI-P Nikkor 310
3 3 3 3 33
AI-, AI modi ied Nikkor orNikkor Series E lenses
12
310
3 313
314
315
Medical-Nikkor 120mm /4 3 3 316
Re lex-Nikkor 3 313
315
PC-Nikkor 35
3 317
3
AI-type Teleconverter18
38
3 313
314
315
PB-6 Bellows FocusingAttachment
19
38
3 320
3
Auto extension rings(PK-series11A, 12, or13; PN-11)
38
3 313
3
C P U
l e n s e s
1
N o n - C
P U
l e n s e s
1 1
: Exceptional new lenses, full coverage
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Lenses
SPEEDLIGHTS
REMOTE CONTROLACCESSORIES
VIEWFINDER ACCESSORIES
TV ACCESSORIES
COMPUTER RELATEDACCESSORIES
WIRELESS TRANSMITTER
AC ADAPTERS, BATTERIES ANDCHARGERS
PowerBracketUnitSK-6/6A
High-Per ormanceBattery Pack SD-8A
SpeedlightSB-800
SpeedlightSB-600
SpeedlightSB-400
SpeedlightSB-800
SpeedlightSB-600
Close-upSpeedlightCommanderKit R1C1
TTL RemoteCordSC-28, 29
ModuliteRemoteControl SetML-3
RemoteCordMC-36
RemoteCordMC-30
RemoteCordMC-22
ExtensionCordMC-21
ConnectingCordMC-23
AdapterCordMC-25
Ten-PinRemoteAccessories
GPS CableMC-35
GPS Unit**
RemoteCordMC-36
RemoteCordMC-30
RemoteCordMC-22
AV CableEG-D2* TV Monitor**
FinderEyepieceDK-17*
EyepieceCorrection
Lens DK-17C(-3, -2, 0,
+1, +2m-1 )
RubberEyecupDK-19
EyepieceAdapterDK-18
EyepieceMagni e rDG-2
Magni yingEyepieceDK-17M
InterchangeableFocusingScreenTypeB ClearMatteVI*
InterchangeableFocusingScreenTypeEClearMatteVI
Right-AngleViewing
AttachmentDR-5
Anti ogFinder
EyepieceDK-17A
PC CardAdapter**
CF CardReader**
CompactFlashTM Card**
MicrodriveTM **
Personal Computer**
Printer**
CaptureNX
CameraControl Pro 2
ImageAuthenticationSo tware
So twareSuite*
AC AdapterEH-6
Quick ChargerMH-22*
RechargeableLi-ionBattery
EN-EL4a*
Wireless TransmitterWT-4/4A
USB CableUC-E4*
Battery ChamberCoverBL-4*
HDMI Cable**
RechargeableLi-ionBattery
EN-EL3e
AC AdapterEH-6
*Supplieda ccessories **Non-Nikonpro ducts
73 !54 #6 98 "
)&% ( ~ + - , ./ : ;
< >=
? @ ] ^ _[ \
d
c
e
g
f
h i j k
{ | }*
a
b
l m n o
wx
p
q
r
st
u
v
Rear Control Panel
Top Control PanelView nder Display
C: Custom Setting BankR: Reset Custom Settings
a: Auto ocusa1: AF-C Priority Selectiona2: AF-S Priority Selectiona3: Dynamic AF Areaa4: Focus Tracking with Lock-Ona5: AF Activationa6: Focus Point Illuminationa7: Focus Point Wrap-Arounda8: AF Point Selectiona9: AF-ON Buttona10: Vertical AF-ON Button
b: Metering/Exposureb1: ISO Sensitivity Step Valueb2: EV Steps or Exposure Cntrlb3: EV Steps or Exposure Compb4: Easy Exposure Compensationb5: Center-Weighted Areab6: Fine Tune Optimal Exposure
c: Timers/AE Lockc1: Shutter-Release Button AE-Lc2: Auto Meter-o Delayc3: Sel -Timer Delayc4: Monitor o Delay
d: Shooting/Displayd1: Beepd2: Shooting Speedd3: Max Continuous Released4: File Number Sequenced5: Control Panel/View nderd6: Shooting In o Displayd7: LCD Illuminationd8: Exposure Delay Mode
e: Bracketing/Flashe1: Flash Sync Speede2: Flash Shutter Speede3: Modeling Flashe4: Auto Bracketing Sete5: Auto Bracketing (Mode M)e6: Bracketing Order
: Controls1: Multi Selector Center Button2: Multi Selector3: Photo In o/Playback4: Assign FUNC Button5: Assign Preview Button6: Assign AE-L/AF-L Button7: Customize Command Dials8: Release Button to Use Dial9: No Memory Card?10: Reverse Indicators
Custom Settings menus System Chart
1 Shutter-release button or verticalshooting
2 Vertical shooting shutter-releasebutton lock
3 Sub-command dial or verticalshooting
4 Sub-command dial
5 Function button
6 Depth-o - eld preview button
7 Mirror
8 Sel -timer lamp
9 Flash sync terminal cover
! Ten-pin remote terminal cover
" Lens release button
# Focus-mode selector
$ Eyelet or camera strap
% Release mode dial lock release
& Bracketing button
( Accessory shoe( or optional fash 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 or camera strap
< Flash mode button
= Release mode dial
> Command lock button
? Playback button
@ Delete/Format button
[ Eyepiece shutter lever
\ View nder
] View nder eyepiece
^ AE/AF lock button
_ AF-ON button
{ Multi selector
| Focus selector lock
} Main command dial* Memory card slot cover
a Monitor
b Menu button
c Thumbnail/Playback zoom button
d Protect/Help/In o button
e OK button
f Speaker
g Rear control panel
h ISO sensitivity/Two-button resetbutton
i Image quality/Image size button
j White balance/Two-button resetbutton
k Microphone
l Microphone button
m AF-area mode selector
n Main command dial or verticalshooting
o AF-ON button or vertical shooting
p Focal plane markq USB connector coverr Connector covers Battery chamber cover latcht Battery chamber coveru USB connectorv A/V connectorw DC-IN connectorx HDMI connector
Memory Card Capacity The ollowing table shows the approximate number o pictures that can be stored on a 2 GB SanDiskExtreme IV (SDCFX4) card at di erent image quality and image size settings with FX- ormat image area.
Image quality Image size File size 1 No. o images1 Bu ercapacity2
NEF(RAW), Losslesscompressed, 12-bit 13.3 MB 100 18NEF(RAW), Losslesscompressed, 14-bit 16.3 MB 77 16NEF(RAW), Compressed, 12-bit 11.0 MB 138 20NEF(RAW), Compressed, 14-bit 13.8 MB 114 16NEF(RAW), Uncompressed, 12-bit 18.8 MB 100 17NEF(RAW), Uncompressed, 14-bit 24.7 MB 77 16TIFF(RGB) L 35.9 MB 53 17
M 20.7 MB 95 19S 10.0 MB 211 25
JPEG ne 3 L 5.7 MB 279 52M 3.2 MB 496 92S 1.4 MB 1000 96
JPEGnormal 3 L 2.9 MB 548 74M 1.6 MB 976 98S 0.7 MB 2000 100
JPEGbasic 3 L 1.4 MB 1000 79M 0.8 MB 1800 100S 0.4 MB 3900 100
1 All gures areapproximate. Filesizevaries withscenerecorded.2 Maximum numbero exposures thatcanbe storedinmemory bu er. Drops i [Optimal quality] is selected or[JPEG compression], ISO sensitivity is
setto H 0.3or higher, [HighISO NR] is onwhenautoISO sensitivity control is onorISO sensitivity is setto 2000or higher, orlong exposurenoisereduction, activeD-Lightingorimage authenticationis on.
3 Figures assume[JPEG compression] is setto [Sizepriority]. Selecting[Optimal quality] increases the lesizeo JPEG images; numbero images andbu ercapacity dropaccordingly.
FX- ormat (36 x 24) Image Area
SpeedlightSB-400
RechargeableLi-ionBattery
EN-EL4
Quick ChargerMH-21
Everything you need
E xtr eme IV SDCFX4 8 GB4GB2GB
E xtr eme II I SDCFX3 8 GB4GB2GB1GB
Ultra II SDCFH 8 GB4GB2GB1GB
Standard SDCFB 4 GB2GB1GB
Pro essional
UDMA
300x 8 GB4GB2GB
Platinum II 80x 2 GB1GB
512MB60x 4 GB
P ro e ss io na l 13 3x W A 8 GB4GB2GB1GB
80x Lt 2 GB512MB
SanDisk Lexar Media
The ollowing cards have been tested and approved or use in the D3.Approved Memory Cards
D SC M- 11 00 0 1 G B
3K4-2 2 GB
3K4-4 4 GB
3K6 6 GB
Microdrive
Othercards havenotbeentested. Formoredetails on theabovecards, pleasecontactthemanu acturer.
8/14/2019 Discover Ne w Territory
21/21
Nikon Digital SLR Camera D3 Speci ications
CompactFlash and Extreme are registered trademarks o SanDisk Corporation. HDMI, the HDMI logo and HDe nition Multimedia Inter ace are trademarks or registered trademarks o HDMI Licensing LLC. Products andnames are trademarks or registered trademarks o their respective companies. Images in view nders, on LCDs amonitors shown in this brochure are simulated.
Image area L M SFX ormat (36 x 24) 4,256 x 2,832 3,184 x 2,120 2,128 x 1,416
DX ormat (24 x 16) 2,784 x 1,848 2,080 x 1,384 1,392 x 9205:4 (30 x 24) 3,552 x 2,832 2,656 x 2,120 1,776 x 1,416
TypeType Single-lens refex digital cameraLens Mount Nikon F mount with AF coupling and AF contact sPicture Angle Equivalen t to angle produce d by lens ocal length (1.5 times when DX ormat is selecte d)
E ective PixelsE ecti ve Pixels 12.1 million
Image SensorImage Sensor CMOS sensor, 36.0 x 23.9 mm; Nikon FX ormatTotal Pixels 12.87 million
StorageImage Size (pixels)
File Format 1) NEF (RAW): 12 or 14 bit, lossless compres sed, compres sed, or uncompr essed2) TIFF (RGB)3) JPEG: JPEG-Baseline compliant with ne (approx. 1:4), normal (approx. 1:8), or basic
(approx. 1:16) compression ([Size priority]); [Optimal quality] compression available4) NEF (RAW) + JPEG: Single photograph recorded in both NEF (RAW) and JPEG ormats
Picture Control System Four setting options: Standard, Neutral, Vivid, Monochrome; each option can be adjustedStorage Media Compact Flash (Type I/II, compliant with UDMA); Microdrive sDouble Slot Slot 2 can be used or overfo w or backup storage or or separate storage o NEF (RAW)
and JPEG imagesFile System Compliant with DCF 2.0, DPOF and Exi 2.21
View inderView nder SLR-type with xed eye-level pentaprismDiopter adjustmen t -3 to +1 m-1Eyepoint 18 mm (-1.0 m-1)Focusing Screen Type B BriteView Clear Matte VI screenFrame Coverage Approx. 100% (vertical/horizontal)Magnifcation Approx. 0.7x (50mm /1.4 lens at in nity; -1.0 m-1)
Refex Mirror Quick-return typeDepth-o - eld Preview When CPU lens is attached, lens aperture can be stopped down to value selected by user
(A and M modes) or value selected by camera (P and S modes)Lens Aperture Instant-return type, with depth-o - eld preview button
LensCompatib le Lenses Re er to page 37.
ShutterType Electronically controlled vertical-travel ocal-plane shutterSpeed 1/8,000 to 30 s in steps o 1/3, 1/2 or 1 EV; BulbFlash Sync Speed X = 1/250 s; fash synchroni zation at up to 1/250 s
ReleaseRelease Modes 1) Single- rame [S] mode, 2) Continuous Low-speed [CL] mode: 1-9 rames per second*,
3) Continuous High-speed [CH] mode: 9 ps (9-11 ps with DX ormat)*, 4) Live View [LV]mode, 5) Sel -timer [ ] mode, 6) Mirror-up [Mup] mode
*With Continuous-servo AF, S or M exposure mode, shutter speed 1/250 s or aster; other settings are setat De ault.
Sel -timer Electroni cally controlle d timer with duration o 2, 3, 10 or 20 s
ExposureMetering TTL ull-aperture exposure metering using 1,005-pixel RGB sensor
Metering System 1) 3D Color Matrix Metering II (type G and D lenses); Color Matrix Metering II (other CPUlenses); Color Matrix Metering (non-CPU lenses i user provides lens data)
2) Center-Weighted: Weight o 75% given to 8-, 12-, 15- or 20-mm circle in center orame, or weighting based on average o entire rame
3) Spot: Meters 4-mm circle (about 1.5% o rame) centered on selected ocus point (oncenter ocus point when non-CPU lens is used)
Metering Range 1) 0 to 20 EV (Matrix or Center-Weighte d Metering), 2) 2 to 20 EV (Spot Metering) (ISO 100equivalent, /1.4 lens, at 20C/68F)
Exposure Meter Coupling Combin ed CPU a nd AIExposure Modes 1) Programmed Auto (P) with fexible program, 2) Shutter-Priority Auto (S), 3) Aperture-
Priority Auto (A), 4) Manual (M)Exposure Compensation 5 EV in incremen ts o 1/3, 1/2 or 1 EVExposure Lock Exposure locked at detected value with AE-L/AF-L buttonExposu re Bracketing Exposu re and/or fash bracketing (2 to 9 exposure s in increments o 1/3, 1/2, 2/3 or 1 EV)Sensitivit y ISO 200 to 6400 in steps o 1/3, 1/2, or 1 EV; can be set to approx. 0.3, 0.5, 0.7, or 1 (ISO
100 equivalent) EV below ISO 200, or to approx. 0.3, 0.5, 0.7, 1 (ISO 12800 equivalent), or2 (ISO 25600 equivalent) EV over ISO 6400
Active D-Light ing Can be selected rom [High], [Normal, or [Low]
FocusAuto o cus TTL phase-d etectio n AF, 51 ocus points (15 cross-sens ors) by Nikon Multi-CAM 3
auto ocus module; Detection: -1 to +19 EV (ISO 100 at 20C/68F); AF ne adjustpossible
Lens Servo 1) Auto o cus: Single-ser vo AF (S); Continuou s-servo AF (C); Focus Tracking automactivated according to subject status, 2) Manual ocus (M) with electronic range nde
Focus Point Single AF point can be selected rom 51 or 11 ocus pointsAF-Area Mode 1) Single-point AF, 2) Dynamic-area AF [number o AF points: 9, 21, 51, 51(3D-Tra
3) Auto-area AFFocus Lock Focus can be locked by pressing AE-L/AF-L button or by pressing shutter-release bu
hal way (Single-point AF in AF-S)
FlashFlash Control 1) TTL fash control with 1,005-pixel RGB sensor; i-TTL balanced ll-fash and stan
i-TTL ll-fash available with SB-800, 600 or 4 002) Auto aperture (AA): Available with SB-800 and CPU lens3) Non-TTL auto (A): Available with SB-800, 28, 27 or 22s4) Range-priority manual (GN): Available with SB-800
Flash Sync Modes 1) Front-curtain sync (normal), 2) Slow sync, 3) Rear-curtain sync, 4) Red-eye redu5) Red-eye reduction with slow sync
Flash-ready Indicator Lights when Speedlight such as SB-800, SB-600, SB-400, SB-80DX, SB-28DX, 50DX is ully charged; blinks a ter fash is red at ull output
Accessory Shoe Standard ISO 518 hot-shoe contact with sa ety lockSync Terminal ISO 519 standar d terminalNikon Creative Lighting With Speedlights such as SB-800, SB-600, SB-R200, SU-8 00 (commander only),System supports Advanced Wireless Lighting, Auto FP High-Speed Sync, Flash Color In orm
Communication, modeling fash and FV lock
White BalanceWhite Balance Auto (TTL white balance with main image sensor and 1,005-pixel RGB sensor);
Seven manual modes can be preset with ne-tuning; color temperature setting; whitebalance bracketing: 2 to 9 exposures in increments o 1, 2 or 3
Live ViewModes Handheld mode: TTL phase-detection AF with 51 ocus areas (15 cross-type sensors)
Tripod mode: Contrast-detect AF on a desired point within a speci c area
MonitorLCD Monitor 3-in., approx. 920,000-dot (VGA), 170-degree wide-viewing-angle, 100% rame cov
low-temperature polysilicon TFT LCD with brightness adjustment
PlaybackPlayback Function Full- rame and thumbna il (4 or 9 images) playback with playback zoom, slide
histogram display, highlight display, auto image rotation, image comment (up to 3characters), and voice memo input and playback
Inter aceUSB Hi-Speed USBVideo Output NTSC or PAL; simultane ous playba ck rom both the video output and on the LCD m
availableHDMI Output Type A connector is provided as HDMI output terminal; simultaneous playback rom
the HDMI output terminal and on the LCD monitor not available10-pin Terminal 1) GPS: NMEA 0183 (Ver. 2.01 and 3.01) inter ace standard supported with 9-pin D
cable and GPS Cable MC-35 (optional)2) Remote control: via 10-pin terminal
Supported LanguagesSupported Languages Chinese (Simpli ied and Traditional), Dutch, English, Finnish, French, German, I
Japanese, Korean, Polish, Portuguese, Russian, Spanish, Swedish
Power SourceBattery One Rechargeable Li-ion Battery EN-EL4a/EL4, Quick Charger MH-22/MH-21AC Adapter AC Adapter EH-6 (optional)
Tripod SocketTripod Socket 1/4 in. (ISO 1222)
Dimensions/WeightDimensions (W x H x D) Approx . 159.5 x 157 x 87.5 mm (6.3 x 6.2 x 3.4 in.)Weight Approx . 1,240 g (2.7 lb.) withou t batte ry, memory card, body cap or accessor y shoe cov
Operating EnvironmentTemperature 0-40C/32-104FHumidity Under 85% (no condensation)
AccessoriesSupplied Accessories* Rechargeable Li-ion Batter y EN-EL4a, Quick Charger MH-22, USB Cable UC-E4
Video Cable EG-D2, Camera Strap AN-D3, Body Cap BF-1A, Accessory Shoe CoverEyepiece DK-17, Battery Chamber Cover BL-4, USB Cable Clip, So tware Suite CD-RO
*Supplied accessories may di er depending on country or areaMain Optional Wireless Transmitte r WT-4/4A, Magni yin g Eyepiece DK-17M, AC Adapte r EH-6, CaAccessories NX So tware, Camera Control Pro 2 So tware, Image Authentication So tware