Nikon V1 verses Canon Powershot G1X

by MatthewBamberg

As the camera companies put more attention to the future they look to the new models with much bigger sensors than any of the point-and-shoots of the past, anywhere from 5-7 times the size of most point-and-shoot models. To be sure this isn’t a totally new thing. Leica has always made these cameras, but they use a different focusing system (Rangefinder), are handmade and cost a fortune. This is good news for photographers of all levels on a lot of fronts. The camera companies had to do something to compete against the exponential expansion cell phone camera use.

It took awhile for the big companies to come around to the trend, a couple of years. In my last article about mirrorless cameras I reported that Panasonic, Olympus, Sony and Samsung were the only companies that made the beasts. Now that Nikon and Canon have jumped on board the trend has solidified. The real question is will this turn out to be a new technology revolution that causes the slow demise of the dSLR.

At last, Canon enters the a new point-and-shoot camera to the market and they’re doing with a bang, introducing the Canon Powershot G1X with a large sensor (13.2mm x 8.8mm) that is bigger than the one on the Nikon V1/J1. In the sensor size category, this gives Canon a one-up on Nikon’s. Caveat of this camera: no interchangeable lenses, making the in-camera lens it does have worth an extra look.

Canon, however is left behind, releasing this camera instead of a mirrorless one like other companies have. Technically as far as I can see a mirrorless camera has to have interchangeable lenses something that Canon’s model does not have and Nikon’s does, therefore the new big-sensored Canon is not of the mirrorless variety. Nikon wins the interchagable lens option round by a big margin.

Both cameras have good lenses with image stabilization. The assortment of lenses for the Nikon V1/J1 (Nikon V1 is pricer) include: 10 mm f/2.8 (27mm equivalent), 10-30mm (27-81mm 35mm equivalent) f/3.5-5.6, 30-110mm (27-81mm 35mm equivalent) f/3.8-f/5, and 10-100mm(27-270mm equivalent) f/4.5-5.5 “power zoom” lens.

The Canon G1X in-camera lens is 15mmX60mm or 28mm – 112mm 35 mm equivalent and f/2.8 to f/5.8 aperture, not a great lens for wide-angle architecture shots, but just fine according to Canon’s press release about it: “Utilizing Ultra high refractive index Aspherical (UA) elements and precision glass moulding technology, the lens achieves both a compact size and pin-sharp clarity for the most discerning of photographers.” (All they’re saying there is that the lens is specially made to reduce spherical and other aberrations.)

Both cameras can produce Raw files, making editing details less comprising for the photo, but have different aspect ratio (the proportions of the size of the image). The Nikon produces a 3:2 ratio, the same as most dSLR cameras. The Nikon, a 4:3 aspect ratio the same as most point and shoots and micro-four-thirds cameras (another type of mirrorless).

There’s a big difference in resolution, too. The Nikon has 10.1 MP and the Canon a 14.3 MP sensor. In terms of picture quality, this leaves the Nikon at a moderate disadvantage. If you weigh its smaller sensor size, which is significantly important for a sharp image at 100 % resolution and its lower resolution, it is a double-whammy signal of a lesser quality picture. The Canon’s bigger sensor and higher resolution is the winner overall. If it only had interchangeable lenses it’d be perfect!

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Sony NEX-5N review

Sony Alpha NEX-5N review

The Sony Alpha NEX-5N is one of three new NEX models announced by Sony in August 2011. The NEX mirrorless ILC range is built around a large 'APS-C' sensor (the same in many DSLRs) which allowed the original NEX-3 and NEX-5 establish a reputation for quality and superb low noise performance.

The NEX-5N builds on that reputation with a new 16.1 Megapixel CMOS sensor providing a number of enhancements including 10 frames per second continuous shooting and a sensitivity range that goes all the way up to ISO 25600. It supports 1080p60 video with fully manual exposure control and focus can be set with your finger on the 3 inch LCD display - the 5N is the first NEX model with a touch-screen.

Like earlier NEX models the NEX-5N has an accessory port for the supplied screw-on flash accessory, but unlike earlier models it's also compatible with the new optional FDA-EV1S OLED viewfinder. Fit the new LA-EA2 adaptor and you can also take advantage of any full-sized Alpha A-mount lenses with the addition of phase-detect auto focus.

All of this will undoubtedly make the NEX-5N a much more attractive proposition to photo enthusiasts than the earlier NEX-3 and NEX-5, but it retains the ease-of-use features - Intelligent Auto exposure mode, Photo Creativity, Picture effects, Smile shutter and Sweep panorama - that made those earlier models a compelling choice for compact upgraders. Find out if this is the ILC for you in my full review!


Sony Alpha NEX-5N Design and controls


At first glance, there's little to tell the Sony NEX-5N from it's predecessor, the NEX-5: measuring 111 x 59 x 38mm it has exactly the same dimensions and weighs a little less at 269g with the battery. The top panel is slightly angled and the playback and movie record buttons are positioned on the back half of it. The on/off switch, now with a silver surround, is positioned on the top and the shutter release is on the sloping front section of the generous hand grip. It doesn't feel radically different to the NEX-5, which is to say, solid and comfortable.

On the back there's the same uncluttered control layout with a four-way control wheel with a central button flanked top and bottom by two further buttons. One of these activates the menu system, the other is programmable but in the default setting accesses the help system. The NEX-5N has two other programmable buttons - the centre and right buttons on the four-way controller. The other three are disp, to toggle the various display overlays, self-timer and drive modes, and exposure compensation.

To the right of the control wheel, most of the rear panel is occupied by the 3 inch 921k pixel touch-screen. The screen has a 16:9 aspect ratio which is ideal for shooting HD movies though less so for 4:3 stills which have a black bar to the right overlayed with touch icons and labels for the physical buttons. The screen flips up 90 degrees so you can easily compose at low angles and also flips down by about 45 degrees so you can get a decent view at high angles.

The big news about the screen of course is that it's touch sensitive. Sony has taken quite a subtle approach to touch functions, one that focuses on augmentation rather than replacement of physical controls. So you can use the touch-screen to navigate menus, control playback functions and for some focusing activities. I'll talk more about that later.

In day-to-day use the the screen is very practical and I found the ability to flip it made it much easier to shoot from all angles not to mention helping keep it out of the sun. The view is bright and contrasty from most angles as well as straight-on, if a little on the cool side. If you prefer to use an eye-level viewfinder the NEX-5N is compatible with Sony's new FDA-EV1S electronic viewfinder (EVF). This is a great new accessory, although puts the 5N in line with the Olympus E-P3 and Panasonic GX1.

The NEX-5N is supplied with a small add-on flash unit which, rather awkwardly, screws into the accessory port on the top panel directly above the lens mount. The supplied unit has a guide number of 10 at 200 ISO which gives it a maximum range of 2.85 metres with the 18-55mm kit lens at its wide angle setting and maximum aperture. Sony produces a more powerful external flash for NEX models with a guide number of 20, however, you can use any external flash in the standard hotshoes of the Olympus E-P3 and Panasonic GX1, whereas the Sony port is proprietary and can only take one accessory, so you can't use the flash and optional viewfinder, or shotgun mic at the same time. The flash flips up to activate and has Auto, Fill, Slow-Sync, Rear-Sync and Off modes, the last being a little superfluous as all you need do is flip it back down. As you can see if you take a look at the interior flash shot on the gallery page, the voluminous dimensions of the 18-55mm kit lens plus the lens hood can cause a shadow.

The NEX-5N has mini HDMI and USB ports under hinged plastic flaps on the left side of the camera body. The battery/card compartment is in the grip section, accessed from a door on the base which remains accessible when the camera is mounted on a tripod. The supplied info Lithium battery provides enough power for a very respectable 410 shots and the remaining battery power is shown as a percentage on the screen.

Sony NEX-5N lens and stabilisation


The NEX-5N is available as a body only, or with the 18-55mm f3.5-5.6 kit zoom. There are two additional options which add either the 16mm f2.8 pancake prime or the 55-210mm f4.5-6.3 zoom. You can also use A mount lenses with the LA-EA1 and LA-EA2 adaptors, the latter effectively turning the NEX-5N into an SLT camera with 15-point phase detect AF. When comparing ILC body sizes, it's important to take the lenses into account. The NEX-5N body may be smaller than most rivals, but thanks to its larger sensor, the native E-mount lenses are correspondingly broader, and so far Sony has resisted producing a collapsing kit zoom.

SONY Alpha NEX-5N Ceverage Wide

SONY Alpha NEX-5N Coverage Tele

I tested the NEX-5N with the 18-55mm zoom which, with the APS-C crop factor of 1.5 has an effective focal length range of 27 - 82mm. Though Optical Steady Shot (OSS) stabilisation is built into the lens and not the body you can turn it on and off from the NEX-5N's setup menu, though, disappointingly, you can't assign it to a custom menu. To test the stabilisation performance of the 18-55 kit zoom with the NEX-5N I zoomed it to its maximum 55mm (83mm equivalent) telephoto position and took a series of hand-held shots at a range of shutter speeds with OSS enabled and turned off.

SONY Alpha NEX-5N 18-55mm f3.5-5.6 OSS Off/On

With the NEX-5N to shutter priority mode I took a series of exposures at progressively slower shutter speeds with OSS turned off and on. As you can see from the crops above, OSS can produce blur-free shots down to 1/5th of a second, the equivalent of four stops better than conventional wisdom dictates is advisable without stabilisation.

Sony Alpha NEX-5N shooting modes


In Intelligent Auto mode the NEX-5N uses compact-style scene recognition for enhanced exposure and Autofocus. It of course features PASM exposure modes and it also includes the recently enhanced high resolution Sweep panorama modes that feature on Sony's compact models. There are a number of composite modes that take several shots and combine them to produce a single composite image; Anti-motion Blur appears on the shooting mode dial (a virtual dial which you can rotate with the control wheel or using your finger on the touch screen) and Handheld Twilight mode appears on the scene mode menu. Then, tucked away on the Brightness/colour menu along with the Dynamic Range Optimiser settings is Auto HDR mode which takes three bracketed exposures and combines them into a single HDR image.

SONY Alpha NEX-5N Program Auto

SONY Alpha NEX-5N Auto HDR

The NEX-5N does a pretty good job of implementing features that make the most of its technology whether you're shooting in Intelligent Auto or the PASM modes. Photo Creativity is the term Sony uses to describe a set of results-based controls that are activated by pressing the centre button on the control wheel in Intelligent Auto mode. They include Background defocus, Brightness, Colour (white balance) and Vividness. In each case the respective control is set using the wheel (or screen) to adjust a radial slider between the two extremes which are represented by icons - orange and blue squares for colour, a rainbow and grey square for vividness and so on.

Sony Alpha NEX-5N  HDR Painting High  

Picture effect modes are an additional option on the Photo Creativity screen with the same modes as the NEX-C3 - Pop-Color, Retro Photo, Posterization, Toy Camera, High-Key and several partial colour modes which desaturate the image leaving only a single colour. But there's a very important difference which is that the NEX-5N offers Picture effects in the PASM modes as well. But in PASM modes not only are there more of them, many have options allowing more creative choice.

First, lets look at the new additions. There are four: Soft Focus, HDR painting, Rich Tone Mono and Miniature. HDR painting has three settings: Low, Mid and High and produces an HDR composite from three shots taken in quick succession. It differs from Auto HDR in that the results are aggressively tone mapped to produce an HDR painting effect that will be familiar to users of Photomatix and similar applications. You can see an example opposite.

It's not new, but Sony's implementation of the faux tilt-shift miniature mode has a clever twist. You can set the focus zone to a horizontal or vertical band in the middle or at the frame edges, but the really clever part is the Auto mode which uses the autofocus areas to decide which parts of the image to blur. With the exception of Soft Focus, HDR Painting, Rich-tone Mono and miniature, picture effects can also be used during video recording. Few will mourn the lack of the first three, but not being able to use the miniature mode for movies is a real shame, as well as a disadvantage compared with the latest Olympus and Panasonic models.

Sony Alpha NEX-5N movie modes


With a best quality video mode of 1080p50/60 (depending on region) the NEX-5N is a big step up from earlier NEX models and twice the progressive frame rate available on any DSLR. The NEX-5N goes further in other ways, like full exposure control - you can shoot video in any of the PASM modes altering exposure during recording if necessary and use some of the Picture Effects (but again not Miniature).

1080p50/60 HD footage is encoded using AVCHD version 2 at 28Mbps with two 25/30p and two 25/30i recording options at 24Mbps and 17Mbps respectively. Switch to MP4 recording and you have 1440x1080 at 24/25 fps and 30fps VGA (640 x 480).

Sony hasn't published any information on maximum continuous recording times for the NEX-5N, but I inserted a new Lexar Professional 16GB 133x SDHC card with a class 10 speed rating, set 1080p50 mode and pressed the record button. The NEX-5N stopped recording after 29 minutes and 10 seconds though this was most likely due to a restriction imposed on European models to comply with tax regulations.

The large zoom ring on the 18-55mm kit lens makes it possible to zoom reasonably smoothly during video recording and the stereo mics work as well as any inbuilt mics with the added benefit of a digital wind noise filter. There's no standard microphone input but you can connect the optional accessory ECM-SST1 microphone.

Sony NEX-5N handling


With minimal physical controls and touch screen the NEX-5N will undoubtedly appeal to anyone moving up from a compact, but anyone used to handling a DSLR might need a bit more of a settling-in period. Sony has done an excellent job of integrating the touch screen, in most circumstances you can use it as an alternative to the control wheel and, though it lacks a touch shutter, the touch focus feature, particularly for movies, makes a big difference. And if the touch screen doesn't appeal, you can turn it off and get by perfectly well without it.

The NEX-5N provides plenty of opportunities for customisation. The central button of the control wheel can be assigned to a custom menu to which you can add your choice of functions from a list that includes Drive mode, AF/MF, AF mode, AF area, ISO, White balance, Metering mode and Picture Effects. The disadvantage of assigning the centre button to the Custom menu is that it no longer fulfils its default function of selecting the shooting mode. To do that you'd subsequently need to select the shooting mode menu via the main menu. Alternatively you can assign the shooting mode to one of the other soft keys or customisable control wheel buttons, but then, of course, you'll have to sacrifice whatever custom function you might have otherwise wanted to use it for - it's a bit like custom button musical chairs. The other drawback is that in non-PASM modes the shooting mode menu reverts to the centre button.

The menu structure can at times be a bit daunting. The NEX-5N has nothing like the Live Control and Super Control panels on the Olympus PENs and, even when you know where they are, getting to menu options can take a fair bit of clicking and scrolling. That makes the Custom button setup something you can't afford to ignore, it really pays to make the effort to customise the controls and work at familiarising yourself with the location of the more frequently used settings.

The NEX-5N is ready to shoot in about a second and a half after you switch it on. In good light the contrast detect AF works very well and it has face detect AF as well as the face recognition features common on Sony compacts. In poor light the area AF is less sure of itself, bit with the touch screen providing Flexible Spot and Object Tracking there are plenty of alternatives.

The NEX-5N has three continuous shoting modes; Bracket Continuous shoots three bracketed exposures, Continuous shoots at approximately 4fps with focus and metering for each frame and Speed Priority Continuous shoots at 10fps with focus and exposure locked from the first frame. I tested the NEX-5N's in Speed Priority Continuous mode with a freshly formatted Lexar Professional 16GB SDHC card with a class 10 speed rating. The image quality was set to Large Fine JPEG and the exposure mode was set to Shutter priority with a speed of 1/500. The NEX-5N fired of a burst of 10 frames in just under a second and then slowed to a rate of around 2fps. In RAW+JPG mode the NEX-5N managed a 5 frame burst before slowing to less than 1fps.

The NEX-5N has a 16.1 Megapixel CMOS sensor with a sensitivity range of 100 - 25600 ISO. Images can be saved as RAW files in Sony's ARW raw format or as JPEGs using one of two compression settings, Fine and Standard. There's also a RAW+JPEG mode which saves a fine quality JPEG in addition to the RAW file. Fine quality JPEG compressed files are around 3 to 5MB in size. The shutter speed range is 1/4000 to 30 seconds plus Bulb.

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Nikon D4

The New 16.2 Megapixel Nikon D4 Wields a Formidable Fusion of Swift Performance, Battle-Tested Technologies and Innovative New Features to Create High Caliber Photo and HD Multimedia Content

Jan. 6, 2012 – PRNewswire: The new Nikon D4 digital SLR builds upon the legacy of the proven Nikon flagship D-SLRs before it, engineered to give today’s professional multimedia photographers a new apex of speed and accuracy with unparalleled image quality, low-light capability and Full HD video. The Nikon D4 hosts a multitude of advanced new features and useful functions that deliver speedy performance and amazing image quality for when missing the shot is not an option.

Nikon presents their new flagship DSLR: The D4

Every aspect of the new Nikon D4 D-SLR has been designed to emphasize rapid response and seamless operation to help professional photographers consistently capture incredible content. Nikon’s proven 51-point AF System has been further enhanced for maximum speed in a variety of challenging shooting situations, even at 10 frames per second (fps). Considered the new Nikon flagship, the D4 renders supreme image quality, a feat accomplished with a new 16.2-megapixel FX-format CMOS sensor, coupled with the latest generation of Nikon’s EXPEED 3 image processing engine to help produce images and videos with stunning clarity and color.

Photographers are also able to shoot in even the most challenging environments and lighting conditions with the assistance of Nikon’s new 91,000-pixel 3D color matrix meter and a broad ISO range from 100 to a staggering 204,800 for low-light capture like never before. The Nikon D4 is engineered for the modern professional and incorporates never before seen HD-SLR video features for those who also need to capture multimedia content from the field.

“Speed without accuracy is irrelevant,” said Bo Kajiwara, director of marketing, Nikon Inc. “The status of a Nikon flagship camera is not given lightly; this next generation of Nikon’s most professional body exceeds the needs of a wide variety of both still and multimedia professionals that rely on Nikon to make their living. Besides overall performance and burst speed, the D4 provides Nikon’s most advanced AF system to date, as well as enhanced workflow speed to give professionals the edge in the field.”

Velocity Meets Versatility:

Speed is a necessity for today’s multimedia photographer as milliseconds matter when the action commences. Whether an assignment relies on fast processing power, burst rate, write speed, enhanced workflow or even streamlined camera controls, the D4 is the epitome of professional-caliber photographic horsepower. Ready to shoot in approximately 0.012 seconds, the new Nikon D4 can capture full resolution JPEG or RAW files at up to 10 fps with full AF / AE or up to 11 fps with AF / AE locked. Immediately before image capture, the camera interprets data from the AF sensor, including subject color as detected on the 91,000-pixel RGB sensor, to deliver consistently tack-sharp focus frame after frame. Whether a photographer is shooting a full-court fast break under gymnasium lighting or the downhill slalom in the bright sun and frigid temperatures, the D4 will instill the confidence with consistently great results.

The Advanced Multi-Cam 3500 AF autofocus system is the next generation of Nikon’s proven 51-point AF system. The fully customizable system offers users the ability to capture fast moving subjects and track focus with precision or select a single AF point with pinpoint accuracy. The Nikon D4 D-SLR aligns 15 cross-type sensors in the center to detect contrast data in both vertical and horizontal planes. In addition to detecting each AF-NIKKOR lens with an aperture of f/5.6 or lower, the camera also utilizes nine cross-type sensors that are fully functional when using compatible NIKKOR lenses and TC14E or TC17E teleconverters or a single cross-type sensor when using compatible NIKKOR lenses and the TC20E teleconverter with an aperture value up to f/8, which is a great advantage to those shooting sports and wildlife. For maximum versatility in situations such as photographing nature from afar or competition from the sidelines, photographers are also able to select multiple AF modes, including normal, wide area, face tracking and subject tracking, to best suit the scene.

The Nikon D4 D-SLR also employs a new 91,000-pixel RGB 3D Color Matrix metering system that meticulously analyzes each scene and recognizes factors such as color and brightness with unprecedented precision. This data is then interpreted and compared against D4's on-board database to implement various settings, resulting in vibrant images with faithful color reproduction and balanced exposure. In addition, this new AF sensor now has the ability to detect up to 16 human faces with startling accuracy, even when shooting through the optical viewfinder, allowing for correct exposure even when the subject is backlit. Additionally, to capture every brief moment from a bouquet toss to a photo finish under nearly any condition, the 51 focus points deliver fast and accurate detection down to a -2 EV with every AF-NIKKOR lens.

All of this image data is funneled through a 16 bit pipeline and are written to dual card slots which have been optimized for the latest UDMA-7 Compact Flash™ cards, as well as the new XQD™ memory card. The D4 is the first professional camera to harness the capabilities of this new durable and compact format, which offers blazing fast write times and extended capacity essential for multimedia professionals shooting stills and video.

Image Quality That Hits The Mark:


The heart of the new D4 is the Nikon-developed 16.2-megapixel FX-format (36 x 23.9mm) CMOS sensor that provides amazing image quality, brilliant dynamic range and vivid colors in nearly any lighting condition. By achieving the optimal balance of resolution and sensor size, professional photographers will realize exceptionally sharp, clean and well saturated images throughout the entire ISO range.

Like the D3 and D3s before it, the Nikon D4 retains Nikon’s status as the sovereign of low-light capture ability, with a native ISO range from 100 to 12,800 ISO, expandable from 50 (Lo-1) to an incredible yet usable 204,800 (Hi-4). From a candlelit first dance to nocturnal wildlife, the large 7.3 micron pixel size absorbs the maximum amount of light to excel in any situation. Additionally, the sensor’s construction features a gapless micro-lens structure and anti-reflective coating which further contributes to images that retain natural depth and tones with smooth color gradation. For ultimate versatility, photographers can also take advantage of the camera’s extreme high ISO ability while recording video.

Another factor contributing to the camera’s rapid performance and stellar image quality is Nikon’s new EXPEED 3 image processing engine that helps professionals create images with amazing resolution, color and dynamic range in both still images and video. From image processing to transfer, the new engine is capable of processing massive amounts of data, exacting optimal color, perfect tonality and minimized noise throughout the frame.

There are also a variety of shooting options available to help capture the highest quality images and video. In addition to standard NEF (RAW) files, the D4 is also capable of shooting smaller compressed RAW files to ease storage and speed up workflow. Users are also able to capture even more dynamic range with the in-camera High Dynamic Range (HDR) function that merges consecutive exposures. For deep contrast and further tonality, Active D-Lighting can also be activated during shooting for balanced exposures even in backlit scenes. Additionally, the camera features a dedicated button for quick access to Nikon’s Picture Controls, allowing users to quickly select one of six presets.

Professional Multimedia Features:

The Nikon D4 D-SLR is engineered with innovative new features for the multimedia professional that needs the small form factor, low-light ability and NIKKOR lens versatility that only an HD-SLR can offer. The new features add functionality for those professionals looking for the best possible experience to capture a moment in Full HD 1080p video at various frame rates, providing footage that is more than suitable for broadcast.

Full HD video recording – Users have the choice of various resolutions and frame rates, including 1080p 30/24fps and 60 fps at 720p. By utilizing the B-Frame data compression method, users can record H.264 / MPEG-4 AVC format video with unmatched integrity for up to 20 minutes per clip. This format also allows for more accurate video data to be transferred requiring less memory capacity. The sensor reads image data at astoundingly fast rates, which results in less instances of rolling shutter distortion.


Full manual control of exposure – Shutter speed, aperture and ISO can be changed while recording to adapt to lighting and alter depth of field for professional cinematic results that help realize a creative vision.


Uncompressed output: simultaneous Live View – By using the camera’s HDMI port instead of the CF or XQD card, users can stream an uncompressed full HD signal directly out of the camera. This footage can be ported into an LCD display or appropriate external recording device or routed through a monitor and then to the recording device, eliminating the need for multiple connections.


Audio recording for professionals – The Nikon D4 features a stereo headphone jack for accurate monitoring of audio levels while recording. Output can be adjusted in up to 30 steps for precise audio adjustment. The D4 offers high-fidelity audio recording control with audio levels that can be set and monitored on the camera’s LCD screen. The microphone connected via the stereo mic jack can also be adjusted with up to 20 steps of sensitivity for accurate sound reproduction.


Multi-area Mode Full HD Video: FX/DX, and 2.7x crop mode at 1080p video modes – Whether shooting for depth of field in FX format mode, or looking for the extra 1.5X telephoto benefits of DX mode, the high resolution sensor of the D4 allows videographers to retain full 1080P HD resolution no matter what mode they choose. With the 2.7x crop, users can experience ultra-telephoto benefits in full HD resolution all at 16:9 aspect ratio.


Simultaneous live view output without display / simultaneous monitor – Shooters have the option to send the display signal directly to an attached monitor via the HDMI port. This signal can be viewed on the camera’s LCD screen and external monitor simultaneously. Additionally, the image data display can be cleared from the screen, to remove distracting data or when feeding a live signal.


Full-time AF – In addition to manual focus, four modes are available, including normal, wide area, face detection and subject tracking, which uses fast contrast detect AF to accurately focus while recording video and in live view.


New LCD screen – The large high resolution 3.2-inch LCD screen is 921K dots, and includes auto brightness adjustment. Users can also zoom in up to 46x to check critical HD focus.


Time lapse shooting – This new feature combines a selected frame rate and “shooting interval” in a dedicated time lapse photography menu. Playback can be achieved with a wide variety of speeds from 24x to 36,000x while producing a fully finished movie file output for faster multimedia workflows.


Remote shutter operation – Using dedicated Movie Custom Settings, recording can be set to be engaged by the shutter release button -users can now use a variety of remote accessories to trigger video recording.


NIKKOR lens compatibility – The highest caliber optics are vital to creating HD images and Nikon is the world leader in optics manufacturing with a legacy spanning more than 75 years. Nikon has a vast NIKKOR lens system, with more than 50 lenses with a variety of focal lengths and features, including VR II vibration reduction.

Professional Construction, Superior Operability:

 The reputation and respect bestowed upon a Nikon D-Series flagship camera is earned from those who use it; therefore the chassis of the Nikon D4 is machined from magnesium alloy for maximum durability and reliability. The body of the camera is sealed and gasketed for resistance to dirt and moisture, as well as electromagnetic interference. Photographers are able to easily compose through the bright optical viewfinder, which offers 100% frame coverage. The shutter has been tested to withstand 400,000 cycles for maximum durability, while sensor cleaning is employed by vibrating the OLPF. The self diagnostic shutter unit also encompasses a mirror balancer to minimize the residual “bounce” to enhance AF and extend viewing time. What’s more, the viewfinder is coated with a new thermal shield finish which works to resist overheating during prolonged use, enhancing overall reliability. Users can easily compose on the camera’s wide, bright and scratch resistant 921,000-dot high resolution 3.2-inch LCD screen.

The overall controls and operability of the camera has also been engineered with a renewed emphasis on speed and functionality. During critical moments, users will appreciate refined button layouts with renewed ergonomics, such as a quick AF mode selector placed near the lens mount for fast access on the fly. A new joystick style sub-selector is also placed on the camera’s rear for AF point and option selection, while vertical controls have been enhanced for improved operability. Finally, to continue the D4's moniker of the best tool for just about any condition, key control buttons on the back of the camera can all be illuminated, making the camera simple to operate in complete darkness.

Nikon has also made enhancements to overall workflow, adding options to streamline the process and maximize shooting time. Users are now able to automatically generate IPTC data for their images and image sets, making organizing and chronicling images easier for both the photographers and their editors. A wired Ethernet port is also utilized so that a user can shoot tethered and transfer images easily and quickly to clients. Nikon has also introduced the new WT-5A wireless file transmitter, to transmit via FTP server or computer. The device can be set to transfer either automatically or manually selected images. This device also allows for remote operation of the camera using Nikon’s Camera Control Pro 2 software. A mobile application is also in development to control the camera using this accessory, which will include the ability to trigger the shutter and record video, making this a must-have remote accessory for many professionals.

Price and Availability:

The Nikon D4 will be available in late February 2012 for the suggested retail price of $5999.95.

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