Nikon D3x

Last update (03 January’12):
– Review by Geek
– Added User Manual

Nikon D3X is a 24.5-megapixel FX-format (35.9 x 24.0mm) CMOS sensor digital SLR camera features Nikon EXPEED image processing technologies, ISO 50-6400, Two Live View shooting modes, 5 fps at full FX-format resolution continuous shooting, 51-point AF system, 3D Color Matrix Metering II with Scene Recognition System, 100% viewfinder coverage, Rugged, durable and precise magnesium-alloy construction, Dual CF card slots with overflow, backup and copy options, Up to 4,400 images per battery charge, and 3-inch super-density 920,000-dot VGA LCD monitor. [Download Nikon D3x Brochure]

Overall Rating: ★★★★½ | Check Availability

Expert Reviews

Nikon D3x Reviews

Geek reviews the Nikon D3x and writes;
“As smitten as I am with the D3x, I think this is a great chance to point out that this is not a camera for everyone. Even if you could afford it, the D3x is a large camera that you don’t want to have to hold for 6 straight hours if you don’t have to…”
Rating: N/A

DCR reviews the Nikon D3x and writes;
“However, photographers whose work demands highly detailed images (or advanced amateurs with a hefty bank account) won’t be disappointed with the D3x’s image quality and highly sophisticated feature set.”
Rating: N/A

TrustedReviews reviews the Nikon D3x and writes;
“It pretty much goes without saying that the Nikon D3x is an incredibly good camera, with the kind of performance, rugged reliability, versatility and most importantly image quality demanded by the top professionals. It is big, heavy and quite breathtakingly expensive, but if you’re the sort of photographer who needs to have the very best then ask the picture agency you work for to buy you one. “
Rating: ★★★★★

CameraLabs reviews the Nikon D3x and writes;
“we found a very slight amount of noise textures becoming visible in the D3x as soon as 400 ISO, although more obviously at 800 ISO and above…. In the meantime, if you’re not bothered about pro build or handling and just want the best image quality for the money, Canon’s EOS 5D Mark II is certainly very compelling right now.”
Rating: N/A

ImagingResource reviews the Nikon D3x and writes;
“The Nikon D3x produces the highest image quality of any camera we’ve tested to date. Its combination of resolution, color fidelity, and noise performance puts it at the very top of its class.”
Rating: N/A

Yuri Acrus compares the Nikon D3x to Canon EOS 1Ds Mark III and writes;
“I plan for my basic setup going forward to be: Hasselblad for studio and high-resolution stuff and Nikon for the rest. Because I know what lenses to use, never shoot much more then ISO 400 anyway and need to count on the focus system, the Nikon D3X is a dream come true.”
Rating: N/A

DCI reviews the Nikon D3x and writes;
“Overall, the D3x performed well in all our lab tests, though white balance and dynamic range were slightly lower than expected. It excelled on the resolution test, especially in terms of image sharpness.”
Rating: N/A

PhotographyBlog reviews the Nikon D3x and writes;
“for such a high end camera the D3x is surprisingly intuitive to use, controls feels just right, are clearly marked, reasonably sized and the camera responds instantly to each button press or rotation of command dial.”
Rating: ★★★★★

KenRockwell reviews the Nikon D3x and writes;
“s the “X-Factor” worth $3,800? Not to me! With unlimited cash I’d get a D3X just because I could, but for most subjects, most situations and most photographers, the D3’s superior speed and sensitivity are far more important than adding more pixels.”
Rating: N/A

Shutterbug reviews the Nikon D3x and writes;
“Will D3 owners feel a need to upgrade? I don’t think so. With their different ISO and capture speed capabilities, the D3 and D3X are complementary and aimed at different kinds of shooters or different kinds of shooting environments. Maybe you will find that you need both cameras. Clearly any Nikon shooting pro who wants the maximum image quality will not only want a D3X but may actually need one to deliver the kind of image quality that demanding clients require.”
Rating: N/A

WDC reviews the Nikon D3x and writes;
“The D3x is a stunning camera that pushes the boundaries of DSLR performance to a new level. It isn’t perfect, though, in particular, the omission of any form of built-in dust control is a major disappointment.”
Rating: ★★★★½

PDNGearGuide reviews the Nikon D3x and writes;
“Pros: The best all-around image quality yet in a studio-oriented digital SLR; fast overall speed from start-up to image capture; rugged, well-balanced camera build; reliable and speedy autofocus system even in low light; accurate exposure system. Cons: Very expensive; noise levels at ISO 3200 not quite as good as Canon 1Ds Mark III; no HD movie mode; shooting buffer is faster than the competition but takes at least 30 seconds to full clear; speeds drop to one frame per second in 14-bit RAW mode. “
Rating: N/A

LuminousLandscape reviews the Nikon D3x and writes;
“ISO 1600 noise is quite well controlled, subjectively comparable to other cameras in its class, such as the 1Ds MKIII and A900. Below is a comparison of the D3x, 1Ds MKIII and A900 from DxOMark. It shows that even at between ISO 2000 and 3000 the noise difference between these three cameras is less than 3db, which is visible, but below the point where it is significant. “
Rating: N/A

GoodGearGuide reviews the Nikon D3x and writes;
“At twice the megapixel count of the earlier D3, the Nikon D3x is suitable for immensely detailed landscape and nature photography. However, there are not enough additional features to justify a price almost twice that of the Nikon D3.”
Rating: ★★★★½ reviews the Nikon D3x and writes;
” D3X is not for everyone, but make close examination of your business. If this 24.5 megapixel camera can set you apart from your competitors by raising the quality bar higher than others are willing to go, then perhaps the D3X IS the camera for you. “
Rating: N/A reviews the Nikon D3x and writes;
“Image noise was barely visible in long exposures up to ISO 3200. Beyond that point, some luminance noise was evident. However, had no visible effect on image colours and overall apparent sharpness…”
Rating: ★★★★½

ByThom reviews the Nikon D3x and writes;
“the D3x produces excellent, best-of-class images, but that comes at a price that’s the highest of any existing DSLR. You’ll need really top notch lenses and technique to resolve that performance. Are you really ready for all that portends?”
Rating: N/A

PopPhoto reviews the Nikon D3x and writes;
“Is this excellent camera worth $8,000? We say yes. .. for pros and enthusiasts who are already invested in the Nikon system, and can afford the eight grand, this is one smart big-ticket purchase.”
Rating: N/A

Preview by AmateurPhotographer;
“lWe used for this test the Nikon 24-70mm f/2.8 zoom. Both camera and lens are excellent. Detail, smoothness and colors are as good as it gets in this class.”
Rating: N/A

Preview by AmateurPhotographer;
“low-compression JPEGs taken at ISO 100 at standard settings in a studio environment look stunning… “
Rating: N/A

Preview by;
“For those who want to have the most up-to-date gadget, the Canon will seem like a more obvious choice, but only if you don’t require a weather-sealed body, slightly faster frame rate and more resolution which the Nikon provides. “
Rating: N/A

Preview by TrustedReviews;
“The viewfinder is very bright and clear – essential for studio work – and focusing in low-light was quick and accurate,… overall, it feels superbly solid and totally up to the job. “
Rating: N/A

Preview video by WhatDigitalCamera;

Preview by ePhotozine;
“I think the removal of the main dust reduction feature was a bad idea .. The image quality is excellent and being able to crop really close in on the rear monitor and still see detail in the eyes and hair of the model was great. “
Rating: N/A

Preview by TechRadar;
“ergonomically there’s nothing different that we could see between the D3 – a model which dates back to 2007 – and the D3X. .. If you are a photographer who is looking for these requirements, the Nikon D3X could well be for you.”
Rating: N/A


Nikon D3x Sample Photos

Nikon D3x Sample Photos @ TrustedReviews
Nikon D3x Sample Photos @ CameraLabs
Nikon D3x Sample Photos @ ImagingResource
Nikon D3x Sample Photos @ DCI
Nikon D3x Sample Photos @ PhotographyBlog
Nikon D3x Sample Photos @ DCWatch
Nikon D3x Sample Photos @ ImagingResource
Nikon D3x Sample Photos @ Fengniao
Nikon D3x Sample Photos @ FotoActualidad
Nikon D3x Sample Photos @ TrustedReviews
Nikon D3x Sample Photos @


Nikon D3x User Manual (PDF)

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– Download Nikon D3x User Manual (PDF – 17.84 MB)


Nikon D3x Press Release

Amsterdam, the Netherlands, 1 December 2008 – Nikon Europe today introduced its new top-of-the-range D-SLR, the D3X. Building on the reliability, handling and durability of the award-winning D3, the D3X offers an imaging sensor with far higher resolution than its counterpart, breaking new ground in imaging quality. The all-new 24.5MP CMOS sensor makes the new camera eminently suitable for the broadest range of shooting situations, both in the studio and on location, and will be especially appreciated by uncompromising photographers in nature photography, studio work and fashion.

“This is the camera that many professional photographers have been waiting for,” said Robert Cristina, Manager Professional Products and NPS at Nikon Europe. “Just as the D3 has become the professionals’ camera of choice in sports photography, the D3X’s extremely high imaging resolution will raise the bar for commercial, fashion and stock photography. The results speak for themselves: this is without doubt our highest-quality camera to date.”

The World is Your Studio
The D3X boasts a specially-developed FX-format CMOS image sensor with 12-channel readout, gapless micro lens array and on-chip noise reduction. It delivers class-leading levels of continuous shooting speed and noise management at higher sensitivities without sacrificing detail.

The D3X supports a broad ISO range from ISO 100-1600, extendable down to ISO 50 and up to 6400 equivalent with up to 5 fps continuous shooting at full resolution, or 7 fps in the 10MP DX-crop mode. The acclaimed Multi-CAM3500FX 51-point autofocus system enables extremely accurate single-point accuracy with outstanding dynamic tracking for fast moving subjects in low light.

The camera’s LiveView function offers a smooth workflow option, perfect for studio work or other situations where the use of the viewfinder is impractical. The camera also delivers a superb response rate, with a start-up of just 12 milliseconds and 40ms shutter lag. The Kevlar/carbon fibre composite shutter has been designed for intensive professional needs and tested to 300,000 cycles.

Images with the X factor
The D3X reaps the benefits of the very latest developments in sensor design and image processing technology. Designed to produce files suitable to meet the demands of tomorrow’s commercial and stock requirements, the camera produces 50MB 14-bit NEF (Raw) files. Using Capture NX2 software, NEF files can be processed into medium format terrain; 140MB (16-bit TIFF-RGB). Fine details are reproduced with incredible clarity, whilst shadows and highlights contain tonal gradation with minimal clipping for pictures with a unique look and feel.

Intuitive control
The D3X shares the same ergonomics and handling as the D3, which have been designed to enable anyone to get to work quickly and efficiently. The bright, uncluttered viewfinder features 100% coverage and comprehensive illuminated displays, while the high-definition, 3-inch, 920,000-dot VGA TFT monitor enables outstanding playback quality for on-the-spot image assessment. The D3X’s magnesium body, which is sealed for moisture and dust resistance, also supports Nikon’s wireless system (the WT-4), HDMI output, offers a dual slot for CF cards and is compatible with the new GP-1 GPS unit


Nikon FX-format CMOS sensor with 24.5 megapixels
The D3X employs a new Nikon FX-format CMOS sensor with 24.5 effective megapixels covering an area of 35.9 x 24.0 mm to achieve truly amazing resolution. What’s more, we’ve optimized the pixel characteristics to provide a higher S/N ratio and wider dynamic range by securing a greater amount of light received by each pixel, thereby reducing lost highlights and shadows, and ensuring smoother tone reproduction with minimized noise.

Wide sensitivity range starting at ISO 100
At normal setting, the D3X offers a wide range of sensitivity — from ISO 100, suitable for stroboscopic setting in studio shoots, to ISO 1600. It realizes superior image quality with less noise at ISO 1600 as well as at low sensitivity settings. What’s more, the sensitivity range can be increased by two stops (up to ISO 6400 equivalent) and decreased by one stop (down to ISO 50 equivalent), offering an even greater diversity of shooting possibilities. Auto sensitivity control is also available.

New EXPEED-based image processing
A new image processing system, based on Nikon’s comprehensive EXPEED digital image processing and specially optimized for the D3X, provides superior image quality, faster processing speeds and lower power consumption. This advanced system achieves precise color reproduction for the broadest spectrum of hues, plus vivid saturation and smooth gradation, conveying colors as you see them, even with the slight changes in color tones you perceive. Furthermore, Nikon’s advanced noise processing function, which was designed to minimize noise occurrence, achieves this without interfering with other factors, including hue.

High-speed performance meets the most rigorous professional demands
Just like the D3, the D3X achieves a start-up time of 0.12 second and a shutter release time lag of 0.04 second*1*2. It delivers a continuous shooting speed of approx. 5 frames per second in FX format (36 x 24) or 5:4 (30 x 24), and 7 frames per second in DX format (24 x 16)*2*3. Also, the D3X is fully compatible with UDMA, the new-generation high-speed card that enables 35-Mbyte recording equivalent to the D3. The D3X is capable of recording approx. 7.1 MB (JPEG, image size L, NORMAL) of data captured in FX format at speeds of approx. 5 frames per second.

Realizing reliable auto control: Scene Recognition System
As with the D3, the D3X recognizes subjects and shooting scenes using a 1,005-pixel RGB sensor that precisely controls exposure by detecting not only the brightness but the colors of the subjects as well. The results are applied to control Autofocus, Auto Exposure, i-TTL Balanced Fill-flash and Auto White Balance, thereby achieving control of the highest.

AF system employing high-density 51-point AF
The Multi-CAM 3500FX autofocus sensor module, originally incorporated in the D3, offers proven outstanding performance. All 51 focus points, including the 15 cross-type sensors located at the center, are effective in all AF NIKKOR lenses with a maximum aperture of f/5.6 or larger. Three AF-area modes — Single point, Dynamic-area AF and Auto-area AF — are available to maximize the use of the 51 focus points by selecting the most suitable one to match subject conditions. Moreover, in Scene Recognition System, subject identification and tracking information is applied to improve subject acquisition performance in Dynamic-area AF mode and focusing accuracy for human subjects in Auto-area AF mode.

Superior durability
Magnesium alloy is used for the exterior cover, chassis and mirror box to ensure light weight and rugged reliability. Strict O-ring sealing at critical connected parts effectively restricts dust and moisture.
The shutter unit, developed and manufactured by Nikon, employs a new material (carbon fiber/Kevlar® hybrid) for the shutter blades, guaranteeing excellent durability through 300,000-cycle release tests with the shutter actually loaded. Precision is also maintained with a shutter monitor.

High-resolution 3-inch LCD monitor with approx. 920k­-dots (VGA), 170° wide-viewing angle and reinforced glass
The D3X incorporates a large, 3-inch LCD monitor with ultra-high resolution of approx. 920k-dots (VGA). Enlarged playback images also appear in extremely high resolution for easy focus confirmation. The wide viewing angle of 170° makes it easy to check composition in Live View shooting for both high and low angles.

Two Live View modes available
In Handheld mode, which allows the frame to be recomposed prior to actual shooting, ordinary TTL phase-difference AF using all 51 AF points is activated. Tripod mode is designed for precise focus with still subjects and tripod stabilization; It allows focal-plane contrast AF on a desired point within a specific area. Optional software Camera Control Pro 2 enables monitor focus and control shutter release from a computer. And optical Wireless Transmitter WT-4 enables wireless remote camera control and image transfer.

Picture Control System
Picture Control System offers four kinds of Picture Controls: Standard, Neutral, Vivid, and Monochrome. Choose one and use as is, or adjust image creation factors (Sharpening, Contrast, Brightness, Saturation, and Hue). Optional Picture Controls (Portrait, Landscape, D2XMODE I, D2XMODE II and D2XMODE III) are available at the Nikon website for downloading and installation to your camera.

Active D-Lighting — reproducing brightness as you see it
In settings with strong contrast, Active D-Lighting, used in combination with 3D Matrix Metering II, determines an exposure by utilizing a gradation of highlights, detects lost shadows, then reproduces them after digital processing. Rather than simply expanding the dynamic range, Active D-Lighting prevents images from looking flat through localized tone control technology, and creates realistic contrast while compensating lost shadows and highlights. Choose from Auto, Extra High, High, Normal, Low or Off setting prior to shooting.

Electronic virtual horizon
An accelerator sensor incorporated in the body of the camera detects inclination and displays it in the LCD monitor. In Live View shooting, virtual horizon is displayed in the LCD above the monitor image. It can also be displayed in the top control panel and in the exposure indicator of the viewfinder.

UDMA-compatible memory card double slot
The CompactFlash (CF) card slots are UDMA-compatible for high-speed data transfer. With the double slot, you can choose from Continuous recording, Backup recording, and RAW + JPEG Separation recording (records the same image in RAW and JPEG on different cards). You can also copy the data from one card to another.

GPS Unit GP-1 (optional)
GPS records shooting information such as latitude, longitude, altitude and date of shooting. Coordinated with map information, you can create an original map using images.

Other features

* Lateral chromatic aberration reduction creates images with a clear periphery using original image processing technology to significantly reduce color aberrations
* Vignette Control effectively prevents reduction of light at the periphery
* Optical viewfinder achieves approx. 100%*4 frame coverage and 0.7x*5 magnification in FX format
* Three sensing areas: FX format (36 x 24), DX format (24 x 16), and 5:4 (30 x 24)
* Customizable function button
* Choice of black or white letters for shooting information display
* AF fine adjustment with professional standard of accuracy
* Compliant with HDMITM for high-definition image playback
* Lets you shoot up to approx. 4,400 frames on a single battery charge*6

*1: Based on CIPA Guidelines
*2: In 12-bit A/D conversion mode
*3: The maximum frame rate can be chosen using Custom setting d2 [Shooting speed]. The rate is tested under the following conditions: focus mode set to C, exposure mode set to S or M, shutter speed set to 1/250 sec. or faster, with other settings set to default. If VR is on when a VR lens is used, the indicated speed may not be attained. The maximum number of shots at the maximum frame rate is determined by the selected image size and quality. The frame rate slows when the memory buffer fills.
*4 Approx. 100% (vertical/horizontal) in FX format, approx. 97% (vertical/horizontal) in DX format, approx. 100% (vertical) and approx. 97% (horizontal) in 5:4
*5 With 50mm f/1.4 lens set at infinity, -1.0m-1
*6 Using EN-EL4a lithium-ion battery at Single-frame [S] mode; based on CIPA Standards

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Sony A900

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Nikon D700

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5 Responses to “Nikon D3x”

  1. Sun Ra says:

    This is ridiculous, paying $8,000 for a camera that will be outdated within 18 months. C’mon, this is a rip-off. Digital camera, including so-called high-end models, are essentially consumer items and are updated and surpassed frequently by the manufacturers. And the image results still don’t approach the quality shooting film through the F6 and scanning the negative at 9600 dpi. We’ve all been suckered into believing digital is better, any paying through the nose for it. Wake up!

  2. Jim P says:

    Its not the eight grand that bothers me. Its the idea that Nikon manufactured a camera only marginally better than the D3 and THEN tagged that price-point. Canon charged 8 grand for the EOS 1Ds Mk III for two years and it didn’t bother anyone because shooters perceived they were getting quality far beyond the nearest competitor at any price. For Nikon to sustain this price level, I think they’re going to have to rework the camera or replace it in short time with a D4 that’s been completely re-engineered from the ground up. The high ISO performance, the buffer, and the continuous frame rate need to be improved to warrant this cost. My studio will wait and see what happens.

    And as for the comment about film and the F6 – I’ve been a paid shooter for over 35 years. My D2Xs produces 16 x 20s that exceed the quality of any print from any 35mm negative or chrome I’ve ever seen. The Hasselblad H3D 60 easily rivals anything from a 6×7, too. We’re at the point where film may be different, but not “better.” And as for cost, the Hassy will run you the better part of $40K. Oh, and as for longevity, I’m still using the D2Xs… and will be for some time. That model was and still is a great camera.

    My vote would be to boycott the D3X for a time. Let’s see if Nikon will (1) reduce the MSRP or (2) quickly replaces this goof with a high-res body that warrants the price.

  3. Brent Allen says:

    Well I think some need to quit complaining. I bought the D3x….and you know what? Its ALREADY paid for itself in a month. When clients heard I had the new Nikon, they went crazy (magazines). I didnt hear anyone crying when Canon charges 8 grand for their camera? If it’s too much, dont buy it. SIMPLE! I bought it and leaving the competition behind.

    As far as the F6 film comment….DUDE…..WAKE UP!!!

  4. Sun Ra says:

    With film, the image is continuous in all three dimensions: x, y, and z (intensity). With film, you get the same resolution at color transitions (green/magenta, for instance) as you get for light/dark transitions. With film, you have complete R, G, and B resolution at every point. Film’s sharpness decreases gradually as the pitch (spatial frequency of fineness of detail) increases. Seen as an MTF curve, film’s response to detail gradually becomes less as the details get finer. Film can resolve insanely fine details, but not with as much contrast as coarser features. This natural response is similar to our eyes, and another reason film looks so good.
    When you scan film, good scanners resolve right up to their DPI (dots or pixels per inch) rating. Film scans also have complete RGB color information and resolution at each pixel. Film scans resolve detail about as well as the original film, up to the resolution of the scanner. There is no response to details finer than the resolution of the scanner, even if it’s on the film and visible in optical prints. When laypeople compare film to digital, they aren’t comparing film to digital. They are usually only comparing scans of film to digital.
    With digital cameras, you get full contrast up to the very highest limit of the sensor’s resolution. Finer details simply disappear, or become aliases. This is one way film and digital look so different. Film records fine and coarse details naturally, while digital (and video) tend to record medium details more strongly than film, but have no response to the extremely fine details which film can record. Often the finest medium details to which the digital camera is sensitive are boosted in contrast. This is called sharpening, and is how we get digital images to fool the eye into thinking they’re sharp. Digital cameras never resolve their rated resolution. The only digital cameras that used to were those with Foveon sensors, but them Sigma started lying, too.
    All (non-Foveon) digital cameras use a black-and-white sensor on which red, green and blue dots have been painted. Since we only have about a third the resolution in any one color, since only one-third of the sensor is painted with each color, Bayer Interpolation firmware in the camera (or in raw conversion software) takes the pixels of each color, and interpolates (smoothes) values in-between the pixel locations of each color to create brightness value for each color at every other color’s location.
    Therefore, at each pixel location in a digital camera’s image, we don’t have full R, G, and B data. We only get about half, which is why digital camera images at 100% won’t look as good as good film scans at 100%, or lower resolution settings of your camera seen at 100%.
    This is all called Bayer Interpolation. With this, most digital cameras really only resolve about half their rated megapixel rating. For instance, a 10MP camera really only sees about as well as a theoretically perfect 5MP digital camera, or 5MP film scan.
    Foveon chips see at full resolution, but the makers of those cameras lie about the resolution to keep up with other cameras. Most Foveon-chipped cameras (Sigma) multiply the real resolution by three! What Sigma sells as 14MP cameras are really only 5MP.
    So how many pixels does it take to describe all the detail we can get from film? Fuji Velvia 50 is rated to resolve 160 lines per millimeter. This is the finest level of detail it can resolve, at which point its MTF just about hits zero. Each line will require one light and one dark pixel, or two pixels. Thus it will take about 320 pixels per millimeter to represent what’s on Velvia 50.
    320 pixels x 320 pixels is 0.1MP per square millimeter.
    35mm film is 24 x 36mm, or 864 square millimeters.
    To scan most of the detail on a 35mm photo, you’ll need about 864 x 0.1, or 87 Megapixels.
    But wait: each film pixel represents true R, G and B data, not the softer Bayer interpolated data from digital camera sensors. A single-chip 87 MP digital camera still couldn’t see details as fine as a piece of 35mm film.
    Since the lie factor factor from digital cameras is about two, you’d need a digital camera of about 87 x 2 = 175 MP to see every last detail that makes onto film.
    That’s just 35mm film. Pros don’t shoot 35mm, they usually shoot 2-1/4″ or 4×5.”
    At the same rates, 2-1/4″ (56mm square) would be 313 MP, and 4×5″ (95x120mm) would be 95 x 120 = 11,400 square millimeters = 1,140 MP, with no Bayer Interpolation. A digital camera with Bayer Interpolation would need to be rated at better than 2 gigapixels to see things that can be seen on a sheet of 4×5″ film.
    As we’ve seen, film can store far more detail than any digital capture system.
    The gotchas with any of these systems is that:
    1.) It takes one heck of a lens to be able to resolve this well.
    2.) It takes even more of a photographer to be able to get that much detail on the film, and
    3.) If you want to scan the film and retain this detail, you need one hack of a scanner (320 lpmm = 8,000 DPI).
    This is why every time higher-resolution film scanners came out back before amateurs could afford DSLRs, we saw more details where we though we wouldn’t see any.
    Consumer 35mm scanners hit 5,400 DPI (Minolta) before the amateurs went to DSLRs, and even at 5,400 DPI we still saw more detail in our scans than we did at 4,800 DPI.
    Film never stopped amazing us as we scanned it higher, and this is why.
    5,400 DPI is equal to 212 pixels per mm, or 0.045MP/mm^2. Thus a 35mm slide, scanned on that Minolta 5400 scanner, yielded 39MP images, without Bayer Interpolation. Open these in PhotoShop, and 39×3 = 120 MB files, again, sharper than the Bayer-interpolated images from digital cameras.
    Resolution has nothing to do with getting the right pixels and making a good photo, but if all you want to do is count pixels, count on film.

  5. curious says:

    gee i don’t know…

    how can a new $350 fuji 200exr compact get the same 4 1/2 stars rating as this $8000 nikon?


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