Nikon D1X

APS-C AF digital SLR camera

Nikon D1X

Specification

Production details
Announced:February 2001
System: Nikon F APS-C (1999)
Imaging plane
Maximum format:APS-C
Mount and Flange focal distance:Nikon F [46.5mm]
Imaging plane:23.7 × 15.6mm CCD sensor
Resolution:3008 × 1960 - 6 MP
Shutter
Type:Focal-plane
Model:Electronically controlled
Speeds:30 - 1/16000 + B
Sensor-shift image stabilization:-
Exposure
Exposure metering:Through-the-lens (TTL), open-aperture
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics
Weight:1100g
Dimensions:157x153x85mm

Manufacturer description

Nikon Corporation is pleased to announce the introduction of two new professional digital SLR cameras – the D1X and D1H, Nikon’s latest achievements in digital photography. Both models are founded on the pioneering D1 which introduced a new price/quality threshold to the high-end lens-interchangeable digital SLR camera market.

Since its inception in September 1999, Nikon has been conducting in-depth research into the use of the D1 camera and has analyzed feedback from Nikon users in all disciplines of photography. These studies, which called for further increase in quality and ease of operation led to the con-clusion that the requirements of professional photographers needed to be addressed more directly.

The new cameras give professionals exactly what they demand – a choice. They can opt for the super-high resolution of the D1X, or the fast-action workflow-based D1H.

While inheriting many of Nikon’s fundamental concepts in digital camera manufacture that were embodied in the D1 – total image quality, enhanced speed and improved operability – both cameras boast a wide variety of enhancements that make them stand out from competitive mod-els and place them a generation further on from their own predecessor.

The D1X allows photographers to capture images at 5.47-megapixel resolution (output at 3,008 x 1,960 pixels and at 2,000 x 1,312 pixels), while also enjoying improved color management capability for super-high color fidelity in a wide variety of applications and locations. It will become the standard for the professional photographer who requires no-compromise quality from a digital camera. An improved version of the Nikon Capture software allows the full 16-bit image quality and control either in the studio or when post-processing RAW files.

The D1H offers uprated consecutive shooting (up to 40 shots at 5 fps) as well as faster image processing and data transfer both to CF media and direct to computer (transfer speed by IEEE1394 is now enhanced). It will become the standard for press photographers and professionals for whom speed is absolutely essential.

In response to user feedback and a desire to push the boundary of digital photography to the highest possible level, both models incorporate additional improvements in various areas which elevate their performance to the standards required by today’s and tomorrow’s photographers. All of these features and improvements are complemented by broader system compatibility and are packed into a lightweight, rugged magnesium body.

With the launch of the D1X and D1H Nikon has met the needs of photographers who wish to complement their professionalism with the ultimate combination of total image quality, performance, durability, system compatibility and cost-effectiveness.

Nikon D1X / D1H Major Features

Total image quality

  • D1X: 23.7 x 15.6mm 5.47-megapixel CCD for 4,024 x 1,324-pixel images (output at 3,008 x 1,960 pixels and at 2,000 x 1,312 pixels)
  • D1H: 23.7 x 15.6mm 2.74-megapixel CCD for 2,012 x 1,324-pixel images (output at 2,000 x 1,312 pixels)
  • Newly designed 3D Digital Matrix Image Control (3D Color Matrix Metering, TTL White Balance and Tone Compensation) featuring new algorithm ensures: Precise exposure control, Adaptive auto white balance control, Optimal color accuracy
  • Picture noise is minimized even in high-sensitivity range: D1X: ISO-equivalent 125-800 sensitivity range, D1H: ISO-equivalent 200-1,600 sensitivity range
  • 3D Multi-Sensor Balanced Fill-Flash controlled by newly developed algorithm
  • Two color modes selectable for different workflow environments (opti-mized for sRGB color space and Adobe RGB color space)

Enhanced speed

  • Superhigh-speed image processing by newly developed system LSI
  • Continuous shooting mode: D1X: approx. 3 frames per second for up to 9 consecutive shots, D1H: approx. 5 frames per second* for up to 40** consecutive shots
  • Shutter release time lag as short as the D1 and a quick startup
  • Top shutter speed of 1/16,000 sec. and flash sync speed up to 1/500 sec
  • IEEE1394 interface with enhanced transfer speed

Improved operability

  • Newly developed 130,000-dot TFT LCD color monitor with white LED backlighting
  • Custom Setting menu (offering 35 different settings) is displayed on LCD color monitor (in four languages: English, French, German, Japanese)
  • One-touch playback for rapid review and instant return to Shooting Mode
  • Enlarged playback and thumbnail playback (in either 9 or 4 segments)
  • 100% area-accurate playback coverage on LCD color monitor
  • Supports CompactFlash™ Card (Type I/II) and Microdrive™***
  • Lossless-compression mode for RAW files to increase CF card capacity and image transfer speed without sacrificing image quality
  • RS-232C interface for connection to GPS position information unit
  • Enhanced system compatibility with Nikon professional SLRs F5, F100 and D1
  • Lightweight, durable magnesium (Mg) body

Similar cameras (4)

APS-C • Auto focus • Digital • Singe-lens reflex • Nikon F mount

Model Shutter Metering Modes Year
Fujifilm FinePix S1 Pro E, 1/2000 TTL • OA PASM 2000
Fujifilm FinePix S2 Pro E, 1/4000 TTL • OA PASM 2002
Fujifilm FinePix S3 Pro E, 1/4000 TTL • OA PASM 2004
Fujifilm FinePix S5 Pro E, 1/8000 TTL • OA PASM 2006
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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/ on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.