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Nikon D1x

by Philip Greenspun, 2001

If you can handle the 3 lb. weight and the $5000 price, the Nikon D1x is the best handheld digital camera on the market. You never wait for this camera. Switch the camera on, press the shutter release, and you've got your photo. This entire process takes less than one second, which is about 9 seconds shorter than, say, on a Nikon 775 point-and-shoot digital. If the camera is already switched on but asleep, the wake-up time is about 0.2 seconds. If the camera is switched on and you've already focussed, the shutter lag is probably down near the 0.050 second mark of a standard film SLR, i.e., just enough time for the mirror to flip up.

Digital photo titled hull-interior Digital photo titled walker-evans

The D1x uses its on-board memory intelligently. Suppose that you've just taken a portrait. The 6 megapixels (1960x3008) have been captured by the camera but not written out to the flash card or Microdrive. Your subject's expression changes subtly. You press the shutter release again. Instantly the Nikon records another images and adds it to the in-camera memory buffer. You can keep doing this up to 9 times and only then will you have to wait for the camera to finish writing some images to the flash card.

This review is illustrated primarily with some images of a boat deck and hull being mated in Eliot, Maine:

Digital photo titled deck-being-lifted Digital photo titled deck-coming-over-hanging-on Digital photo titled deck-coming-over-two-guys Digital photo titled holding-the-deck-level


The Nikon D1x is built to accept the complete line of Nikon F-mount lenses. It was built from an F100 body but has the weight and bulk of the Nikon F5. The camera's 15.6x23.7mm CCD image sensor is smaller than the standard 24x36mm frame of a 35mm camera. Thus the image that you see in the viewfinder and on the flash card is magnified 1.5X, i.e., a 50mm normal lens becomes an 75mm short portrait lens, the popular Nikon 17-35/2.8L zoom becomes 25-52mm, and a 300/2.8 supertelephoto becomes a 450mm lens.

The viewfinder is wonderful for an eyeglass wearer, with a lot of eye relief in the Nikon "high-eyepoint" tradition. You'll be able to see the entire image and the LCD display just underneath. The rear LCD is anti-reflection coated and reasonably readable in bright light (though you should just throw out the protective translucent cover that Nikon provides; if you really want a cover get a "Hoodman").

Sensor speeds from ISO 125 to 3200 are available, but sadly ISO 1600 and ISO 3200 cannot be selected with the "ISO" switch and main dial. You will need to wade through the custom function menus in order to enable what Nikon calls "ISO boost". If Nikon wanted to warn photographers about the extra noise entailed at these high speeds, they should have done it with a "warning: noise" note in the rear LCD, not a painful user interface.

The images are 8 bits deep when producing standard JPEGs (2.8 MB each), 12 bits deep when storing RAW images (around 4 MB each). Image quality is superb; it is easy to make high quality 16x24 prints.

With standard 8-bit JPEGs, the contrast range isn't large enough to record detail in both a black and white dog, even on a cloudy day with flat light:

Digital photo titled polarlys-and-alex-on-bench Digital photo titled polarlys-and-alex-standing

Using RAW mode and some PhotoShop manipulation, one can do a bit better, but it still isn't very good. This is a difficult process because most PhotoShop operations only work with 8-bit files. The program is advertised to handle 16-bit TIFFs but mostly all you can do with these files is bash them down to 8 bits. Here are a couple of photos that started as RAW:

Digital photo titled tug-of-war-2-from-raw Digital photo titled tug-of-war-from-raw

User Interface

Digital photo titled sliding-out-trailer-rails The Nikon D1x is a "two-dial" camera, fundamentally. To my taste, these are not positioned as well as on the Canon EOS bodies, but it is still much better than a "one-dial" user interface. One dial is on the top front of the camera, just underneath the shutter release. The other is on the top rear of the body, just behind the top-deck LCD. Even photographers who use the Nikon system daily complain about the location of these dials.

With a custom function, you can set the dials to operate as on a Canon EOS. In aperture-priority exposure mode, for example, one dial will adjust the lens aperture and the other will add or subtract exposure compensation.

Digital photo titled hull-on-trailer-in-driveway An additional four-way paddle switch on the rear of the body, more or less where Canon's second dial is positioned, is used for picking an autofocus sensor or navigating the menus.

A final control option is available with a custom function: the lens aperture ring. If you prefer to use your left hand to set the aperture, you can have disable the camera dial control and simply use the aperture rings provided on most Nikon lenses.

Digital photo titled trailer-support-detail The D1x need not be modal. The camera has a dreaded "playback" setting but you don't have to use it to review your photos. Press the "monitor" button and you can view your most recent creations, cycle among your photos, cycle among histogram versus info text versus straight viewing, etc, all by using the rear paddle. If a great photo opportunity presents itself while you're reviewing, simply press the shutter release and 0.050 seconds later, you've got your photo. You never wait for this camera.

Setting custom functions is easy. All 36 are presented in plain English (or French or German or Japanese) text on the rear LCD. You will not need to carry around the owner's manual or a crib sheet. There are four banks of custom settings so you could use one for "indoor sports" (ISO boost to 1600), one for "tripod landscapes" (self-timer delay down to 2 seconds, mirror pre-release), etc. One very welcome custom function is disables the shutter if there is no flash card in place. I once watched a friend spend 20 minutes taking pictures of his kid at the beach with a Canon D30. He exposed about 30 images before realizing that the flash card was in his pocket rather than in the camera. You can't screw yourself in this way with the Nikon D1x.

A dedicated depth-of-field preview button to the right of the lensmount is convenient but makes the Mother of All Clicking Noises when engaged.

The battery compartment contains a second shutter release for vertical photography, a duplicate main control dial just underneath, and a duplicate AF-ON button. It is easy and natural to shift between horizontal and vertical photography.

Bottom line: the user interface is complex but logical and not more complex than necessary given all the power of the camera.

Digital photo titled mating-dance-begins Digital photo titled mating-nearly-complete


The Nikon D1x has five autofocus sensors. The photographer chooses or the sensor or the camera can be set to pick the sensor over the closest object. This works well for carefully composed pictures or a portrait session. But if you've been spoiled by the massive AF sensor grid of a Canon EOS-3 or EOS-1V, you won't be very happy with the 5-point Nikon system. That said, autofocus is fast and precise with both AF-S and older Nikon lenses.

The D1x facilitates simultaneous use of manual and auto focus with AF-S lenses. Using Custom Function 4, you can shift autofocus from the shutter release to the AF-ON button on the rear of the body, which falls very naturally underneath your right thumb. If you have a lens with a "silent wave" motor (Nikon's answer to Canon USM), you can leave the lens in AF mode for AF or MF. When you want to focus, turn the ring on the lens or push the button under your thumb. You make a conscious decision. If your subject stays at the same distance and you don't feel the need to refocus, you need not. If CF 4 is set, the camera will never run off wildly and unexpectedly to hunt for focus.

Flash Photography

Unlike competitors such as the Canon EOS D30, the Nikon D1x does not include an on-camera flash. If you're creating 8-bits-per-color (24-bit total) JPEG images it is very easy to exceed the contrast range of any digital camera. So you should probably take advantage of the brilliantly successful Nikon balanced fill-flash system and an SB-28X speedlight.

The full range of Nikon off-camera flash cords and flash control systems work with the D1x. Sadly, you don't get even basic through-the-lens flash exposure metering with older flashes because the D1x cannot measure flash exposure "off-the-film". With the newest flashes such as the SB-28X the camera judges flash exposure with a pre-flash the instant before exposure.


The Nikon D1x has a single CompactFlash card slot that accepts IBM Microdrives or standard flash memory cards. The ideal companion for this camera is a Lexar 512 MB card. This will hold roughly 180 full-resolution high-quality JPEGs or 128 RAW images. Lexar cards tend to offer among the very fastest writing speeds of any CompactFlash devices.


Nikon supplies a custom 7.2V NiMH battery pack. This is prodigiously heavy and prodigiously powerful, good for a full day of photography. It would be nicer if the camera were powered by a Lith-ion battery like a modern laptop or Canon digital camera. The charger is monstrously bulky and yet the battery does not sit in the charger when charging. You set the charger up on a table top, pull the battery from the camera, and plug a cable from the charger into the battery, which also sits on the table top.

Power for the clock is supplied by a separate internal lithium battery, good for ten years.

Nikon Capture

Available separately for around $200, the Nikon Capture software lets you control and operate the D1x from any personal computer equipped with an IEEE-1394 FireWire interface. You can see and set all the custom functions with three dialog boxes. You can verify the voltage level in the main and clock batteries. You can set the camera's exposure mode, exposure compensation, and take a single photo or request a time-lapse sequence. This is the ultimate tool for a studio photographer using the D1x on a boom and the ultimate toy for photographers who love to sit in front of their computers.

The bundled software story is not an entirely happy one. In order to transfer images from the flash card to your computer, you need to use a separate application: Nikon View. In order to view thumbnails or rotate vertically-exposed images into correct orientation, you'll need to find and use yet a third program (Nikon does not supply anything to do this; I find Canon Zoom Browser EX, bundled with Canon digital cameras, to be the fastest way of correctly orienting images).


Digital photo titled polarlys-the-newf-no-exposure-comp The most serious problem with the D1x is that it lacks a sensor to tell when it is being held vertically. This means that all of your vertical images will come out as incorrectly oriented image files and you'll have to manually reorient them on a computer.

You'll eventually get dust on the sensor, as with any interchangeable lens digital SLR. But you won't be able to lock up the mirror for cleaning unless you have purchased and are carrying an EH-4 AC adapter ($100 if you can find one; often out of stock).

Image at right: this uncompensated (and overexposed) photograph of a Newfoundland dog shows that the Nikon D1x's 1000-element color matrix meter is not equal to the task of handling black objects. There is no substitute for a thinking photographer!

The Competition

Canon has been showing its EOS-1D body in Japan. This offers lower resolution than the D1x, only 4.5 megapixels (1662x2496 pixels). With this professional camera, Canon has abandoned the CMOS sensor of its consumer D30 body. The EOS-1D sensor is a standard CCD. Canon says that it did this to achieve an 8 frames-per-second capture rate. One nice thing about the sensor is that it is huge, implying a lens focal length multiplier of only 1.3 as opposed to 1.5 or 1.6 for most other digital SLRs. Considering that this camera comes about six months later than the D1x, Canon's achievement can only be described as "lame". The primary group of people who will be happier with the EOS-1D over the D1x are sports photographers. The Canon body has 45 autofocus sensors (compare to 5 on the D1x and D1H). The Canon body has that 8 fps capture rate (compare to 3 fps on the D1x and 5 fps on the D1H). The Canon body may also be superior for wide angle enthusiasts, since the 1.3 magnification rate means that the 17mm end of a 17-35 zoom is still fairly wide. Finally the Canon body, in the best Canon tradition, offers awesome environmental sealing. You can take your EOS-1D out in the rain with confidence. The D1x is well-sealed but the EOS-1D should be a lot better, especially when used with the rubber-gasketed L-series lenses.

If you have a hard time swallowing the D1x's price, don't blunder into buying a Nikon D1 unless you've read the photo.net review of the D1 and are fully prepared for the horrors of its user interface. A better choice for many Nikon lens system owners is probably the Fuji S1. If you want a digital single-lens reflex that is reasonably inexpensive and that will free you from the nightmare of dust on the sensor, consider the Olympus E10.

Sports photographers with big Nikon lens systems should look at the Nikon D1H, which has lower resolution than the D1x but higher frame rate and a large in-camera memory for continuous photography.


The images on this page were taken with the Nikon 28-70/2.8 AF-S lens and the Nikon 20-35/2.8 D lens. All of the equipment was borrowed from a friend.
Text and photos copyright 2001 Philip Greenspun.

Article created 2001

Readers' Comments

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Barrett Benton , September 27, 2001; 11:21 P.M.

Whew - I was just reading the online poop-sheet on the EOS-1D with an agency photographer I work with, both of us exclaiming "lame-o" almost in unison. I think that these cameras are principally aimed at the folks who are already out there with D1s and D-30s (hopefully some of Darron's gripes about the latter have been dealt with in the 1D; If you manage to get one, let us know), but for me, I think I'll just watch on the sidelines - the dust has yet to settle, and while digital in its current guise still doesn't grab me (I have reason to think there'll be a major shift in hardware form-factor which could render a lot of this stuff moot, but I *do* get nutty ideas sometimes), I think it's important to know what's going on. Thanks again, Philip.

Tommy Huynh , September 28, 2001; 02:41 A.M.

I'd like to see a new form factor to take advantage of it's digital nature also, something with real time image *preview* in addition to a viewfinder, and a screen that can be rotated. A pellicle mirror for this type of design would also be a good way to keep out dust for the SLR. Also a reflective LCD screen so you can see better in sunlight would be good.

Andrew Grant , September 28, 2001; 07:30 P.M.

I would have to disagree that the EOS 1D is lame! It is a much faster camera than either the D1x or the D1h which is a 2.7 MP camera. The 1D may "only" have 4.5MP but at least they are square pixels unlike the D1x's. Some of those rectangular pixels are thrown away by the Nikon interpolation software. When you take this and the much lower vertical resolution into account, the D1x uses about the same number of pixels for its images as the 1D and its framerate is only 3 frames per second. The Eos 1D will also have the fastest shutterspeed and AF system of any digital camera. That doesn't sound very lame to me, if anything I think it makes the D1x seem pretty lame.

I was as surprised as anyone else that Canon did not use a CMOS sensor. The camera is going to be too expensive for many people including myself. Eventually we will have a camera like the 1D with a full frame over 6MP sensor and sometime later we may even be able to buy it for the price of a D30.

Also, I think suggesting the Fuji S1 over a D1 is poor advice except for portrait and wedding photographers. The S1 has good image quality buty no RAW mode and it is based on the obsolete N60 body which makes a Rebel seem full featured.

Lester Chan , September 29, 2001; 06:05 A.M.

With standard 8-bit JPEGs, the contrast range isn't large enough to record detail in both a black and white dog, even on a cloudy day with flat light:

It seems that we come across the above saying quite often in photo.net. However, I think it needs some clarification.

Take 8-bit gray-scale as an example. There should be no such contrast range (difference in EV) that 8-bit cannot handle. You can always map the high value (all binary ones) to the highest EV and low value (all binary zeroes) to the lowest EV in a particular scene. The bit-depth only affects how fine the change(gradation) from one value or step to another.

For example, if the scene has 10 EV difference in contrast, mapping it to 256 steps give 10/256 or around 0.04 EV difference. (I don't know if I should use a linear scale in calculation but you should get my point.) If the scene has only 5 EV difference, then each step is 5/256 or 0.02EV which is much finer in change.

Therefore, it should be the exposure latitude or dynamic range (number of EV it can handle in one single picture) of the digital sensor which wash out the highlight or blackens the shadow instead of the number of bit in handling contrast. It should be an important specification of a sensor or digital camera in addition to how much bit the picture delivers. Also, it may only be the software of the camera which deliberately wash out those highlights/blackens the deep shadows only to preserve a finer gradation in the middle. So, even if the sensor has that capability to have high exposure latitude, it doesn't imply all the details would be there.

You may click here to read more about measuring dynamic range of digital cameras in dpreview.com.

Obviously, the higher the bit-depth, the higher the quality of the picture since it provides a smoother change in levels (provided your monitor and display card can handle it). :)

Regarding the pictures of the two dogs, I suppose it has something to do with 8-bit JPEGs which does not provide fine enough steps to shows the minute change of light levels in those black and white details. But it doesn't mean 8-bit cannot handle a scene that has too much difference in EV as if the case of a slide film.


Ellis Vener , September 30, 2001; 07:50 P.M.

I just finished shooting a book project (Cow Parade Houston 2001, Workman Publishing) with a D1x. I shot digital rathert han film due to an intense deadline and also at the client's request.

I think Philip's comments about actually usingthe D1x are right on target. I used an IBM 1GB Microdrive and I think by the end of the eight day project I had made about 12-13GB of images, mostly in the jpeg mode but about 30% in the TIFF capture mode. therewas virtually no difference between these two capture modesImage quality was excellent. The lenses I used were the 20mm f/2.8D Nikkor (more about this in a minute), a 35mm f/2D AF-Nikkor, a 28-105mm f/3.5-4.5D AF-Nikkor and an 80-200mm f/2.8D AF-Nikkor. Existing light was supplemented by a Nikon SB-28DX Speedlight.

The project required that I make the images under a wide variety of lighting conditions, from fluorescent to bright cloudless sky daylight. I did a lot of experimenting with the cameras internal color balance modes rather than wait to fool around in Adobe Photoshop when I returned to the studio. these worked quite well once I got the feel for them. The range of adjustment inside any color balance setting from (+3 to -3) didn't make a lot of intuitive sense to me, but this is probably because I'm coming from an intense working background in color. In fact it seemed downright counter intuitive!

Now about that 20mm.

One of the things that surprised the hell out of me is that using the D1x as opposed to a film camera and even the finest grained most sensitive grain film is that if your lens has any defects -- like dust on an internal element-- that defect will be revealed in startling form. in my case my assistant and i discovered a weird out of focus spot in the images that were shot with the 20mm f/2.8 I owned. Since it wasn't sharp we deduced that it could not be on the sensor itself so that left the lens. I carefully cleaned the outer surfaces of the front and rear elements and shot test frames with the camera/lens combo face down on a light box and viewed the results directly on a 17" monitor. We adjusted the brightness level on the camera to get a clean white and the spot showed up immediately, but was barely noticable at f/2.8 & f/4, slightly noticable at f/5.6 and definitely standing out by f/8 and got progressively worse thesmaller the aperture used. Time for a new lens as there was no time to send the lens off for a through dissassembly and cleaning If the other lenses If my other lenses have this internal problem they didn't exhibit it in either my tests or in the real world shooting.

Tommy Huynh , October 01, 2001; 08:24 A.M.

Ellis, I don't think dust on the lens would be any more apparent from one medium to another. Maybe the magnification of the imager would play a small role but I don't think that is it. If the D-1x has a low pass filter over the CCD like the D-30 has over the CMOS, I believe what you are seeing is dust on the LPF. It is slightly offset from the film plane (between the imager and the shutter) and that is why the resolution of the dust is aperture dependant.

Andrew Grant , October 01, 2001; 10:15 P.M.

Tommy, If the problem had been with the low pass filter, he would have seen it with other lenses.

Jason Ang , October 02, 2001; 05:08 P.M.

"Using RAW mode and some PhotoShop manipulation, one can do a bit better, but it still isn't very good."

There's another program out there by the USC guys which allows you to manipulate high dynamic range images provided you're willing to convert to their file format or 16-bit TIFF. Check out HDRShop at http://www.debevec.org/HDRShop/. Its also free.

Stewart Loving-Gibbard , October 04, 2001; 06:57 P.M.

Is anyone else seeing the weird fringing on Alex's coat (white dog) in the second tug-of-war image? I'm looking at the half-sized image. Please tell me it doesn't look this way straight from the camera..

Specifically: http://www.photo.net/philg/digiphotos/200109-nikon-d1x/tug-of-war-from-raw.half.jpg

David Manzi , October 05, 2001; 08:26 A.M.

The fringing on the white dog is very obvious in the half-size, as well as the full-size original. Really bizzare! And, if that truly is the original 6M image, then that's the way it came from the camera. What would cause that? Why is that the only place it appears?

Mark James , October 08, 2001; 02:01 P.M.

As an alternative to Nikon Capture, consider Bibble . It seems especially promising for processing raw images.

Tipsy Willows , October 09, 2001; 11:33 P.M.

I would assume that the fringing you see on the dog is from the photoshop manipulation which was performed to bring up detail in the dog (It's in the photo description).

Mike Oersigh , October 15, 2001; 02:57 P.M.

Not a bad review though the pictures look awful and I agree with the bit about the lameness of the the 1D, the squared off resolution actually give a resolution nearer 3 mps than 4+mps, at least you can get a 6 mps file out of the D1X. Oh and by the way AFS lenses are definitely enviromentally sealed with very liberal use of seals and gaskets.

To finish, I have to say I always thought digital media had a wider range of exposure limits, but here we have a burned out black dog mixing with a slightly washed out white dog in dull conditions with little contrast. Even my Pentax EI2000 can beat the D1X, but then I know better. Oh, Just one more thing, sorry, but the 1005 sensor meters for colour not black and white. It defers to the gray reference metering to balance light and shade though the whole shebang is compared to a picture database and adjusted if need be, but this is old hat. So why the overexposed black dog? well why not, the contrast range of the D1X is so low there is no way it can resolve the matter, unless the photographer could have done better. Anyway, it has nothing to do with the colour sensor as such, which is great for colour work as evidenced by scores of photographers using this chip. If Canon want to stay in the dark ages (geddit?) over metering then so be it, it's not my problem. Have fun.

Stephen Jones , November 02, 2001; 10:40 A.M.

Nikon users:

I don't understand what all of this hostility toward's Canon is. I am a Canon user. The system works fine. I have a friend who is a Nikon user. He likes his system, too. I've traded with him and he with me, and neither of us had any valid complaints against either system. To sit here and call Canon's professional digital body 'lame' is childish. I think it is a fine entry into the pro digital world on Canon's part, especially since it is aimed at Sports photographers who have been looking for a good digital body to stick on their L lenses for a long time. I, for one, am perfectly happy with my EOS-3. But I'd be just as happy with a Nikon F-100, especially because of how easy it is to manually focus a Nikon (as well as the flash thing). The same thing goes for a D1X or a 1D. Both are great digital bodies with strengths and weaknesses, none of which really inhibit a good photographer. Please stop insulting Canon users just because they use something with a different name. They take just as beautiful images as Nikon users. If you don't believe me, I'll gladly email some of my images.


James O'Shea , November 04, 2001; 02:00 A.M.

Apropos of Phil's text indicating that, because of the smaller size of the imaging array, the images in a D1X are 'magnified 1.5x': Actually there's no magnification going on - what users experience is the same focal length but the field of view is *cropped* - this has the net effect of changing the lens field of view to that of a lens which is, roughly, 1.5x longer in focal length.

Thus if lens A has a field of view of 90 degrees on a conventional 35mm film camera, it will *not* have a 90 degree field of view on a D1X....the FOV will be narrower, just as if you put a matte around a 35mm frame and cropped out the outer edges of the image.

So a 17mm lens on a D1x has the same apparent field of view as a ~26mm lens on a conventional 35mm camera. But the objects within that field of view are not 'magnified'.

The size of a quarter viewed through a 300mm lens on the array will be the same as the size of a quarter on a 35mm negative; there will just be less stuff *around* the quarter on a D1X (or any other digicam) image.

Thom Hogan notes that the image area on a D1 class camera is effectively a 25mm(diagonal) centered crop of a 35mm negative.

Some D1X shots with a Nikkor AFS 17-35 (and other lenses) can be see on my photo.net portfolio page.

George Feucht , November 19, 2001; 12:31 A.M.

I don't know how the Eos 1D can be thought of as "lame". It is designed to best the D1h for sports and photojournalistic applications. It is faster, has almost double the resolution, and incredible environmental sealing. What I will agree with is that Canon should have released the rumored 6mp CMOS camera to complement the 1D and compete with the camera reviewed here... the D1x. It should have been introduced like the Nikon D1x and D1h at the same time; each for its own application.

As far as resolution goes, the D1x beats the EOS 1D. Every other feature seems to favor the 1D. (Well.. we haven't seen street price yet.) And for sports, news and nature (bird) shooting, it seems that the 1D will be the obvious choice over the D1h. Unless, of course, you have $10k in Nikon lenses. It just seems to me that calling Canon lame for the 1D is jumping the gun: Both the Nikon and Canon digital flagships will have thier own (different) pluses and minuses.

Umit D , November 27, 2001; 05:03 A.M.

>And for sports, news and nature (bird) shooting, it seems that the 1D will be the obvious choice over the D1h.<

Are you sure? at these, lower (1.3) multiplication factor of 1D will be a disadvantage. D1H also has more memory buffer, allowing 40 consecutive shots. Environmental sealing is totally a marketing buff, every major mafucarturer does it to some extent but not advertise so much. Would you ever take this camera (probably will sell for at least $5000 and full of electronics) to a shower?

Though it is lame to call this beast lame, without doubt a smart piece of machinery.

Tristan A , November 29, 2001; 11:41 A.M.

It's the lenses!

The new 16-35L and 70-200IS are enough reasons to make the switch. The Canon 24 f1.4 and 35 f1.4 are also wonderful lenses which are lacking in the Nikon line-up.

Andrew Moore , December 05, 2001; 10:58 A.M.

The review states that the "raw" image size is 4 MB, but in fact it is 12 MB. Calculations for how many raw images are stored on the Lexar 512 MB card (etc.) need to be adjusted accordingly.

.TIF images take up about 17 MB. Raw images are smaller because the raw format is literally a dump of the CCD without interpolation as in the TIF mode.


Andrew Moore , December 05, 2001; 11:01 A.M.

Regarding cleaning the CCD: you don't have to use the AC adapter. Just put the camera on "bulb" setting and press the shutter release button. Not as convenient because you need to hold the button down while you clean the CCD, but it works.


John Haugaard , December 06, 2001; 09:37 A.M.

There is another downside to CCD cleaning using the Bulb setting rather than the AC adapter. When using the Bulb setting the camera is "taking a picture" and the CCD is charged. It may be attracting dust while you are furiously attempting to remove dust.

Jason Butler , December 28, 2001; 03:02 A.M.

The D1x does support a RAW file at around 4meg. The D1x has a compressed NEF format that is lossless and produces a file of 4-5meg. This was not an option with the D1. It is worth noting that in order to use the compressed NEF format you must have Nikon Capture 2. The post-processing power of an NEF with Capture 2 is amazing!

Jimmy Rhyne , May 11, 2002; 02:25 P.M.

Overall a pretty fair review. The D1x is not perfect but then no perfect camera exists. I do disagree with Phil's comment below:

The Nikon D1x is a "two-dial" camera, fundamentally. To my taste, these are not positioned as well as on the Canon EOS bodies, but it is still much better than a "one-dial" user interface. One dial is on the top front of the camera, just underneath the shutter release. The other is on the top rear of the body, just behind the top-deck LCD. Even photographers who use the Nikon system daily complain about the location of these dials.

I am a Nikon user and I have never heard of Nikon users complaining about placement or location of these dials. I have a PPA Certified Pro who is still using his Nikon F4s and he never complains when he borrows my F5. In fact, he and many others simply state that Nikon controls are logical and consistent.

I have included a link by Thom Hogan. He has a pretty extensive Nikon site and his review of the D1x is excellent. You can see the review at http://www.bythom.com/d1x.htm

Jared Gisin , December 24, 2002; 09:04 P.M.

The article mentions an SB-28X... there is no such flash. It is an SB-28DX, which has since been discontinued in favor of the SB-80DX which is virtually identical to the SB-28/DX with one major modification being a metal mounting foot instead of the plastic one found on the SB-28DX. Although the two flashes are about the same, I merely want to point out the age of this article, and how quickly things change, and the seemingly typhographical error that appears on the article.

Randall Paul , July 22, 2004; 08:30 P.M.

Well I am not convinced as of yet about digital applications. I think that future product development has a long way to go. So I guess I will sit in the dark ages and continue shooting film. I convinced a client this last week to shoot film when they were all hyped up about the ease and economy of shooting digital. So I did a test with a borrowed D1x and my F5. They agreed that the image quality was far superior although more expensive to produce. I love the concept of Digital and am waiting as I would love to shoot less significant situations and experiment with ideas using digital from a cost perspective. But for now I think it would waist my time. Come on Nikon lets gets some burst into your digital images.

Manuel Rincon , September 17, 2004; 10:37 A.M.

Most people agree that this is a good camera with great quality pictures. Why cant I find best rated pictures done with a D1X? Small number of them in the market? Difficult to postprocess? Why?

Ilkka Nissila , September 27, 2004; 07:47 A.M.

A D1X is overkill for small web images. As you can see from the gallery pages, people use a great variety of equipment to do their work. Few people can afford a D1X so few images in the gallery are taken with it. Also at present the 80% cheaper D70 takes better quality images unless the subject moves. Most people wait for the digital high end to get more affordable before investing in it.

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