Tips Panduan Membeli DSLR

Di sini bukan aku punya kandungan dan aku hanya berperanan untuk mengatakan penulis ini ada teori yang tersendiri. Dan bukan juga aku nak menokok tambah segala apa yang penulis cerita namun si penulis pandai di dalam pemilihan itulah yang paling penting. 

Untuk keterangan lanjut boleh melayari blog penulis ini

Tarmizi Shukri

Know Your Camera

COMPACT VS. DIGITAL SLR CAMERAS

Choosing between a compact (or "point and shoot") and a digital SLR camera is often the first big purchasing decision when starting out with photography. Not only is it potentially a big financial decision, but it may also determine what kinds of shots you'll be capable of capturing. This tutorial cuts through all the marketing hype in order to highlight only the most important differences between each camera type — thereby helping you to decide which one is best for you and your shooting style.

What exactly does it mean for a camera to be a compact (or point and shoot) versus an SLR? Strictly speaking, SLR cameras just have viewfinders that see the same light as the camera's sensor (more on this later), but in practice this isn't the only distinction. While the line between each continues to blur, these three differences usually* still apply:

 OVERVIEW

1. Viewfinder Mechanism
2. Fixed vs. Interchangeable Lenses
3. Camera Sensor Size

There's also a range of more minor differences (which vary depending on the camera brand or model), the above three are often what most impact one's photography. The next several sections will focus on what these three differences actually mean in practice, and how your photography style will be impacted. At the end, we'll also discuss some of the other more minor differences between the two camera types.

*Notable Exceptions: The "Micro Four Thirds" or 4/3 standard has interchangeable lenses, but doesn't use the standard SLR viewfinder mechanism (Olympus/Panasonic cameras). Some budget SLR cameras may also have fixed lenses, and some high-end compact style cameras can have sensors that are nearly as large as an SLR — but each is the exception rather than the rule.

However, this deserves mentioning up-front: SLR cameras are usually MUCH more expensive than compact cameras — mostly as a consequence of the above three differences (we'll discuss why later). Also, unlike with compact cameras, purchasing an SLR camera is only part of the cost; you may have to buy additional lenses, an external flash and other accessories. These can even end up costing more than the camera itself.

1. VIEWFINDER MECHANISM

Unlike compact cameras, with an SLR camera what you're seeing through the viewfinder is the same light that will reach your camera's sensor when you press the shutter button:

Compact Camera

SLR Camera:

Mirror Down

Mirror Up

With an SLR, when you press the shutter button, the mirror flips up and the light that was formerly being re-routed to your eye instead gets sent straight to the camera sensor. Move your mouse over the buttons above to see how this works. The flipping up of the mirror is also what makes the characteristic clicking or snapping sound that we've come to associate with SLR cameras.

With a compact camera, the viewfinder mechanism instead just tries to estimate what light will reach the sensor, so it's potentially less accurate. Compact cameras may also use what's called an electronic viewfinder (EVF), which attempts to re-create what an SLR viewfinder would see — but by instead using the electronic image from the sensor.

Note: The above behavior is in fact why they're called "Single Lens Reflex" (SLR) cameras — because the same lens is used to produce the image in the viewfinder as is used to capture that image at the sensor, and the mirror reflects light to the viewfinder ("reflex" referred to the reflection in German). However, this terminology can be a little confusing, because SLR cameras are the type of camera that can use more than just a "single lens" — not compact cameras.

The need for a prism/mirror is one of the reasons why SLR cameras cost more (other than sensor size), and can make a big difference for a camera designer/manufacturer. However, in practice the sensor size and ability to change lenses will likely make more of a difference to your photography. This is especially true since many camera owners choose to use the rear LCD screen instead of the viewfinder.

On the other hand, if your work requires seeing exactly the light that will be captured, then you should certainly opt for an SLR. Otherwise, you can usually still see exactly how that light will be captured using either a compact or an SLR camera — by looking at the rear LCD in "live view" mode, and by using a live histogram.

2. FIXED vs. INTERCHANGEABLE LENSES

The fact that SLR cameras can change out their lenses is likely the first difference that one notices, or knows ahead of time. Yes, many compact cameras can use lens adaptors (especially the high-end variety), but the original lens still remains on the camera.

photo courtesy of scott bourne

Why would a camera need more than one lens? It is difficult if not impossible to design a single lens that can capture scenes using the wide range of styles commonly used by photographers — all without noticeably sacrificing quality and portability. Each style is therefore far better suited by a single, special purpose lens.

In practice, being able to use different lenses usually means that:

• You'll be able to use wider lens apertures (lower f/stops), which will enable a shallowerdepth of field and/or better low-light performance.
• You'll be able to use specialized lenses, such as ultra-wide angle lenses, fish-eye lenses and extreme telephoto lenses, which will give you more creative options.
• You'll have the potential to achieve better image quality, primarily because your lens will likely have been more specifically designed for the task at hand.

For example, with portraits one could use a wide aperture (such as f/2.0 or less) in order to create a smooth out of focus background and isolate their subject. Alternatively, with architecture one could use an ultra-wide angle lens that's been designed to also minimize distortion (causing otherwise straight lines to appear curved). Neither of these scenarios would be possible with the vast majority of compact cameras.

photo on left courtesy of eliya

However, using more than one lens also means that:

• You need to carry more lenses with you if you plan on shooting a range of different styles and subjects. This decreases the portability of your camera system.
• You need to change lenses every time you wish to change shooting styles. This can interrupt your shooting rhythm.
• You might introduce dust onto your camera's sensor each time you have to change lenses. This can reduce image quality and be difficult to remove. See the tutorial on camera sensor cleaning for more on this topic.

Of course, to negate any potential inconvenience, you could always choose your favorite all-around lens for your SLR and just stick with that. In addition, the built-in lens on a high-end compact camera can sometimes produce higher quality images than a stock or budget SLR lens, and is often also a lot more versatile. However, once you start spending a lot more, compact camera lenses rarely hold their own against high-end SLR lenses.

3. CAMERA SENSOR SIZE

In general, compact cameras have much smaller camera sensors than SLR cameras. This is a less commonly known "under the hood" difference between SLR and compact cameras, but is likely one that will make the most noticeable impact on image quality.

What does this mean in practice?

• Cost. Larger sensors are much more expensive to make, and usually require correspondingly more expensive lenses. This is the biggest reason why SLR cameras cost so much more than compact cameras.
• Weight & Size. Larger sensors require much heavier and larger camera lenses and camera bodies, because the lens needs to capture and project light over a larger sensor area. Other than reducing portability, this can also be a disadvantage because it makes one look more conspicuous with their large SLR camera/lens (thereby making candid people shots more difficult).
• Depth of Field. Larger sensors create a shallower depth of field at the same aperture setting. For example, a lens at f/4.0 on a compact camera likely won't create a blurred background in a portrait, whereas f/4.0 on an SLR camera will likely create a smooth, creamy background (depending on subject distance). This can be an advantage for portraits, but a disadvantage for landscapes.
• Image Noise. For the same number of megapixels, larger sensors have much larger photosites/pixels* (as shown above). This increased light-gathering area means that these pixels will be more sensitive to tiny amounts of light — resulting in less image noise. This means that an SLR camera can usually get away with a much higher ISO setting than a compact camera without appearing noisier.
• Dynamic Range. Another consequence of having physically larger pixels is that SLR cameras can usually capture a greater range of light to dark without having this become solid white or black, respectively (a higher "dynamic range"). This reduces the chance of blown highlights in the sky or other bright objects, and can preserve more details in the deep shadows.

*Technical Note: strictly speaking, a photosite isn't the same as a pixel, since a pixel is usually created based on several photosites, but we'll use the more familiar word "pixel" here even though we really mean "photosite." See the tutorial on digital camera sensors for more on this.

photo on right courtesy of coltfan909

The key here is that a different sensor size is just a trade-off; one size isn't necessarily all-around better than another, so you need to consider how the pros/cons of each will fit into your intended shooting style. For much more on this topic, also see the tutorial on digital camera sensor sizes.

OTHER COMMON DIFFERENCES

In addition to what's already been discussed, each camera type may also have other advantages, depending on the specific brand or model. These include:

Compact Camera Advantages

• Live view rear LCD (although most newer SLR's have this feature)
• Greater range of pre-programmed creative modes
• No mirror/shutter mechanism that can fail after ~10-100K shots

SLR Camera Advantages

• Faster camera autofocus
• Much less shutter lag (delay between pressing the shutter and starting the exposure)
• Higher maximum frame rate
• RAW file format support (although most high-end compact cameras have this)
• Ability to take exposures longer than 15-30 seconds (using manual or bulb mode)
• Offers complete manual exposure control
• Ability to use an external flash unit (but many high-end compact cameras have this)
• Manual zoom control (by twisting the lens as opposed to using an electronic button)
• Greater range of ISO speed settings
• Ability to upgrade just the camera body and keep all of one's lenses

However, many of the above differences follow from the fact that one often spends a lot more on an SLR than a compact camera, and aren't necessarily inherent to each type. If one spends enough on a prosumer/high-end compact camera, they can often attain many of the above features typically found with SLR cameras.

SUMMARY: COMPACT vs. DIGITAL SLR

The preference between each camera type really comes down to one of (a) flexibility and the potential for higher image quality versus (b) portability and simplicity. This choice often isn't a matter of which is right for a given person, but which is better for a given shooting environment and intended photo use.

Compact cameras are much smaller, lighter, less expensive and less conspicuous, but SLR cameras allow for a shallower depth of field, a greater range of subject styles and the potential for higher image quality. Compact cameras are probably better for learning photography, since they cost less, simplify the shooting process and are a good all-around option for capturing many types of scenes out of the box. SLR cameras are much better suited to specific applications, and when size and weight aren't important.

Costs aside, many prefer to own both types of cameras. That way they can take their compact camera to parties and long hikes, but have an SLR available when they need to capture indoor subjects in low-light, or when they're going somewhere specifically for photography (such as for landscapes or events).

(Resources from : http://www.cambridgeincolour.com/tutorials/compact-vs-digital-slr-cameras.htm)

Dramatic Black & White By Rick Sammon [kopipesediseng]

Dramatic Black & White

By Rick SammonPublished in Quick Fix

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FINAL

Making beautiful black-and-white images is easier than ever before, thanks to powerful adjustments in Lightroom and Photoshop, as well as specialized conversion software like Google's Nik Silver Efex Pro, Perfect B&W from onOne Software, Tonality Pro from Macphun and B&W Effects from Topaz Labs.

You can play around with the sliders in these programs and in plug-ins, and you may wind up with good results. However, with a deeper understanding of black-and-white imaging, you can create a more powerful, more dramatic and more artistic image. I'll cover the basics in this column, showing just some of the endless possibilities that await you in black-and-white processing.

ORIGINAL
Here's the file (cropped from my RAW file) from which I created the iceberg image.

Before we get going, however, here are some important factors to think about as you're shooting when your goal is to create a great black-and-white image.

SEE VALUES

You need to see in values rather than seeing colors. You also need to envision how shadows and highlights will "play" in your black-and-white images. As you shoot, envision how the scene will look without color, which can be enamoring, as well as distracting (in a good way). With practice, you'll start to see in black-and-white.

SEE THE LIGHT

Dramatic lighting leads to a dramatic black-and-white image. In other words, strong shadows are very important in black-and-white photography. In fact, the expression "Shadows are the soul of the photograph" is especially important when it comes to black-and-white photography. 

Lightroom—which I used to create this image of an iceberg in a glacier lagoon in Iceland—offers awesome black-and-white capabilities, even when you don't use a plug-in. This screenshot of the Lightroom Develop module shows my enhancements to my original color file. First, I selected the B&W Contrast High preset. To add more impact to the image, I boosted the Contrast and Blacks, and then reduced the Highlights.

SEEK OUT TEXTURES

Textures are also very important in black-and-white photography. Textures are emphasized by shadows, usually created by side lighting.

FIND SHAPES, FORMS AND PATTERNS

When you combine shapes, forms, patterns and textures with dramatic lighting, you're on your way to creating a dramatic black-and-white image. 

Technically, here's something else to consider when it comes to black-and-white photography: Color files can have up to 16 million different colors, whereas a grayscale image has only 256 shades of gray. This is why considering and adjusting contrast—the difference between shadows and highlights—becomes more critical in black-and-white photography.

LEARN ABOUT COLOR FILTERS

Understanding the effect of color filters is very, very important in creating the black-and-white effect you desire. Basically, here are the effects of digital color filters on an image: 

Red: Darkens a blue sky for a more dramatic image.

Orange: Darkens the sky slightly more than a red filter. Like a red filter, it can also reduce atmospheric haze.

Yellow: Darkens the sky less than a red filter, which can be beneficial, depending on the desired effect.

Blue: Honestly, I've never found a use for a blue filter in black-and-white photography. In landscape photography, it often lightens the sky too much.

Green: Lightens foliage and slightly darkens the sky. 

Infrared: Simulates, somewhat, the effect of black-and-white infrared photography. 

Experiment with the effects of applying filters in your processing software. You may be surprised to see how an image changes as you switch between filters.

CONSIDER CONTRAST

My iceberg image has strong contrast—one of the elements, as I mentioned, that contributes to strong black-and-white photographs. Strong contrast is often desired, which is one reason to shoot in the early morning or late afternoon (as I did here) when strong shadows add contrast to a scene.

Enjoy your exploration of black-and-white photography. In doing so, think about black-and-white photographer Ansel Adams' philosophy: A picture is never really done. Go back again and again, and try different changes—even subtle ones.

Also keep in mind what another great black-and-white photographer, Ruth Bernhard, said, "There is no such thing as taking too much time, because your soul is in that picture."

Rick Sammon is a longtime friend of this magazine. See more of his work at ricksammon.com.

Karier Jurugambar (photographer)

Assalamualaikum,

Kepada semua pengunjung setia dan juga pembaca blog bandar palma ini, ingin aku mengupas serta menanyakan pendapat awok2 semua di ruang siber itu untuk perihal seperti ini.

Aku nak kata lama berkecimpung didalam fotografi ini, tak la lama tapi bermula dari bangku sekolah lagi iaitu sekolah menengah dan tak silap tingkatan satu atapun dua. Sejarah yang lama, di mana abah ku seorang hobi tegar nya mengambil gambar menggunakan SLR (single-lens reflex) yang menggunakan filem (negatif) sebagai medium nya, bukan seperti sekarang ini macam2 ada dengan wujudnya DSLR (digital single-lens reflex), compact, mirrorless dan sebagainya.

Nak kata aku ni hebat ermm tak gak lah, dan nak kata aku ni berpelajaran di dalam ilmu fotografi tak juga lah. So aku ni kategori yang macam mana? boleh lah korang anggap aku ni sebagai self-literate(self-though) photographer. Kira pengalaman aku hanya berpandukan buku dan juga daripada orang2 yang lain sebagai contoh abah aku lah. Jadi sekarang ini aku bukan nya nak berleter ataupun bercerita pasal sejarah fotografi ku tetapi nak tahu karier jurufoto gambar sekarang ini.

Kita semua sedia maklum zaman sekarang ini memang sudah canggih, dengan pelbagai teknologi dan gajet yang terjual mudah, tak kiralah di talian (online) ataupun kedai fizikal. Ini bukanlah satu kejutan yang menjadi kejutan apabila barangan ini mudah di jual, maka ramailah yang membeli dan apabila ramai yang membeli makin ramai lah yang menggunakan; simple kan?

So apabila ramai yang menggunakan nya apakah yang akan mereka gunakan? maksudnya jika awok2 beli DSLR D90 (nikon) lah kan dengan berharga RM2000++ complete kit. So apa yang akan awok2 gunakan DSLR itu? Adakah anda akan menggunakan nya sekadar hobi? alasan anda mampu daripada terdaya? anda memang nak beli DSLR? ataupun bagaimana? Sukar untuk aku perjelaskan situasi yang mungkin tak ramai dan mampu lihat. Ok katalah seorang jurugambar professional yang sedia membeli sebuah DSLR high-end yang berharga sekitar RM10K ke atas kemungkinan (besar) akan menggunakan mengikut bisnes yang dia akan terajui. Jadi saya rasa bertepatan dengan apa yang di jiwai oleh beliau. 

So sekiranya anda dan awok2 di luar sana yang mempunyai DSLR tak kira lah harga nya berapa, apakah keputusan anda untuk menjawab soalan aku ni? soalan nya :-

APAKAH YANG AWOK LAKUKAN PADA DSLR TU?

Cuma nak di jadi kan cerita, aku pernah membeli sebuah DSLR yang lengkap. Di mana boleh lah di anggap sekadar hobi dan masa itu aku mampu membeli DLSR itu kerana harga nya yang berpatutan. Aku menggunakan DSLR itu selama 2 tahun dan penggunaan nya seperti sepupu aku kahwin aku amik, dan kemudian lanskap di kuantan (bandar palma) pun telah aku sematkan di Flickr tu. Kira selama mana aku gunakan DSLR tu aku berpuas hati. Jadi sesiapa yang boleh menjawab soalan ku itu, boleh membalas nya di ruangan / kolum di komentar di bawah ini ye. Sekian dan harap maklum.

Sedikit imej / gambar daripada Flickr ku :-

Pejabat Pos Kuantan (Besar)

Nikon D3S

Conclusion - Pros

• Unmatched image quality at high ISO settings. Incredibly efficient sensor. A new benchmark.
• Excellent AF and metering performance
• Compatible with virtually all Nikon AF lenses, and most MF lenses (up to 9 AI spec or later manual focus lenses can be programmed for use with the D3S)
• Highly customizable user interface including versatile shooting banks
• 9 frames per second continuous shooting makes the D3S the fastest full-frame DSLR around
• Configurable dual card slots means more space, backup storage, or dedicated video bank
• Highly sophisticated 3D AF tracking, incorporating dedicated 1005-pixel CCD sensor
• Excellent build quality with magnesium alloy body and environmental sealing
• Very good ergonomics, well shaped and comfortable hand grip
• Well-placed and configurable buttons
• New 'Info' button and screen takes some of the pressure off the creaking menu system when setting key shooting parameters
• Large and bright viewfinder with 100% coverage
• (Relatively) quick contrast detect AF in live view - definitely improved over the D3
• Good quality 720p video output with excellent high-ISO capabilities
• Stereo microphone socket for video recording
• Multi-mode virtual horizon
• Useful Active D-Lighting feature protects highlights as well as boosting shadows
• Reliable flash exposures
• Self-cleaning sensor very effective (a huge improvement over the D3/D3X)
• Excellent battery life when shooting stills, not at all bad even with Live View/Video activated
• Sophisticated interval timer feature
• Very malleable raw files, plenty of latitude in 14-bit raw mode for extreme exposure adjustments
• Quiet mode isn't silent, but it is a welcome improvement over normal single frame advance

Conclusion - Cons

• White balance isn't brilliant in artificial lighting (but few cameras shine in this respect)
• AF array is smaller (as a proportion of viewfinder area) than D300S, which makes swapping between cameras awkward in some shooting situations
• Vertical AF-ON button is poorly placed - very easy to press by accident
• 720p, 24fps video is good, but resolution isn't as high as some competitive DSLRs
• Motion JPEG video capture only. It would have been nice to have the choice of MPEG
• Disappointing bundled software package considering the cost of the camera
• Doesn't answer the main criticism of the D3 - 12MP was considered a fairly low resolution in 2007...

Overall conclusion

It is hard to overstate the importance of the Nikon D3, not only to its parent company, but also to the market as a whole. The D3 had a profound transformational effect, raising photographers' expectations of low-light imaging permanently. The 'D3 effect' is easy to see in the rash of DSLRs that have been released in the past couple of years with similarly high maximum ISO settings, but it's fair to say that not all have lived up to the heady promise that the bare numbers might suggest.

It is inevitable that the D3S lacks something of the star quality that attracted so many pro and semi-pro photographers to the D3. As I mentioned in the introduction to this review, the D3S is an evolutionary upgrade, and represents a refinement, rather than a reimagining, of the same basic principle. With the exception of its video mode, the D3S brings very little to the table that is truly 'new' compared to its predecessor. However, the improvements that have been made are considerable. From the minor (faster contrast-detection AF in Live View) to the major (a whole 2EV extra ISO range), the various tweaks and additions to its feature set make the D3S a significantly more useful camera than the D3.

To take the improved high ISO abilities as an example, the D3 set new standards when it was released in 2007, and the D3S sets the bar even higher. Throughout this test, and in the gallery, you will see images taken at ISO settings at and above ISO 12,800 (itself unthinkably high only a couple of years ago) which are not only usable, but detailed, free of banding, and impressively color-accurate. The sensor of the D3S is simply unmatched in terms of its ability to convert light to useable signal.

The increased buffer of the D3S compared to the D3 means that not only can images be taken in lower light, more pictures can be taken in a burst. This will be good news for sports and action photographers, and anyone that habitually shoots 14 bit NEF files. Assuming that card space isn't an issue for you, we see no reason to shoot raw in anything other than 14-bit lossless compressed/uncompressed mode, since the increased buffer means that you're unlikely to experience any performance penalty in most situations.

The new video mode is definitely an improvement over similar modes in previous Nikon DSLRs, and you'll find a detailed account of exactly why in the video page of this review. It must be said, however, that video does still feel like a 'bolted on' feature in a couple of ways, and the fact that the recording format is locked to the slightly less efficient (compared to MPEG) motion JPEG is a little disappointing.

Also, I'm sure I'm not the only person, for example, that longs for an accessory electronic viewfinder to supply a Live View feed. Straight away, such an accessory would bring the D3S closer to a conventional high-end video camera in handling, and aid stability when shooting video handheld. The rear LCD really isn't the most convenient method of composing video footage on any DLSR, requiring, as it does, the camera to be held out from the body and up, at close to eye-level. Until manufacturers apply themselves to thinking about how people actually shoot movies, and make the necessary ergonomic changes, video capture on a DSLR will probably remain a largely tripod-based affair for most photographers, D3S users included.

Image Quality

For a 12 million pixel camera, it is hard to see how the Nikon D3S could deliver better image quality at its optimal output settings - i.e. from carefully processed 14-bit uncompressed NEFs. Nikon's JPEG output is generally rather soft across its entire range of CMOS-equipped DSLRs, and at a pixel level (100% on screen) JPEG images from the D3S lack a certain 'bite'. This is easily fixed (to a superficial extent) by turning the in-camera sharpening up a notch or two, although we wouldn't recommend going much higher. Default sharpening coupled with a careful post-capture application of Unsharp Mask delivers perfectly good results in JPEG mode, and we prefer slight under sharpening to over sharpening, which once applied, is impossible to 'correct'.

Obviously, one of the main selling points of the Nikon D3S is its performance at high ISO settings, where it is currently unmatched by any other current DSLR. Considering its higher pixel count and smaller sensor, the Canon EOS 1D Mark IV does remarkably well in low light, but the D3S offers an unequivocal 1 stop advantage, at least, at ISO settings higher than ISO 6400. JPEGs get a bit mushy and increasingly lifeless above ISO 12,800, but careful processing of the D3S's raw files can yield good results (albeit rather grainy) even up to ISO 102,400.

I can see the dpreview feedback inbox filling up with 'who cares?' emails already, but whilst it is certainly true that ISO 102,400 is very high - higher probably than most photographers will ever need to go - the fact is that the D3S can deliver usable images at this rarified altitude, in light so low that previously the only option for still image capture would have been infrared. And it's difficult not to be impressed by that. The ability to shoot video at settings up to the ISO limit of 102,400 is also extremely attractive to would-be videographers or photojournalists who don't want to carry a dedicated video camera.

Handling

At the risk of repeating myself too much, the handling experience of the D3S is very similar to the D3, with only a couple of differences, so most of my comments here and on page 8 (Live View) apply equally to the older camera and vice versa. The main differences are a new dedicated live view button on the rear of the D3S, and an 'info' button for changing settings like color space and noise reduction - both of which would otherwise be accessed from deep within the camera's menus. These additions make the D3S a more comfortable camera to shoot with over time, but neither is exactly revolutionary.

This isn't a surprise - as a third-generation (fourth if you consider the ergonomic advances made between the original D1 and the D1H/D1X) professional DSLR, again, the D3S is simply the refinement of a reasonably static basic design. It is a shame though that Nikon has not addressed some of the few annoying ergonomic faults of the D3, including a somewhat convoluted menu system, inconsistent placement of some shooting/custom settings and an all too easily pressed vertical 'AF-ON' button. For a more detailed account of what we like and don't like about the D3S's handling, head to the bottom of page 8.

The final word

Judged on its own merits, the Nikon D3S is an absolutely outstanding camera. It offers exceptionally good image quality across an extremely wide range of ISO settings, and its key systems (AF, white balance and metering) are at least on a par with the best available in other cameras from rival manufacturers. Add its full weatherproofing, excellent battery life and rugged construction into the mix, and you have a truly 'go anywhere' camera. Video might not necessarily be a 'deal breaker' function for the majority of DSLR users at the moment, but however you feel about it, it's nice to have, and works (reasonably) well.

You may be able to sense a 'but' coming, and here it is. My problem with the D3S isn't what it can do - which is in all respects exemplary - but what it can't. Even when the D3 was announced in 2007, some commentators expressed surprise that Nikon didn't go with a higher resolution sensor. Almost three years later, and 12 million pixels looks even more conservative alongside newly-minted competitors like the Canon EOS 1D Mark IV. Nikon's view is that in this section of the marketplace, better image quality at high ISO settings is worth a penalty in resolution. Anyone that shoots regularly in low available light would probably agree, but it can't be denied that this extra high-ISO boost answers a criticism of the D3 that no-one really had. After all, it's tough to argue that the original D3 wasn't good enough at high ISOs...

We've seen from the samples in this test that the Canon EOS-1D Mark IV actually matches the output of the original D3 pretty closely up to its maximum ISO setting of 25,600. Although it's great that the D3S gives cleaner images at even higher settings, I suspect that most people don't need to shoot much higher than ISO 3200 most of the time, let alone ISO 102,400.

I could be wrong, and it will be interesting to see what Nikon comes out with in the next couple of years. For now, if versatility and speed are of more use to you than a little extra resolution, the Nikon D3S will serve you very well indeed. Be sure to check out our samples gallery to judge for yourselves.