After plodding along in the six megapixel camera space for a few years, Nikon popped the cork on a succession of 10 megapixel SLRs. The D200, D80 and D40x are all 10.2 megapixel models, but aimed at different users. In-store prices for this trio ranges from $900 to $1,700 (body only). The $1,700 D200 has magnesium body construction, weather sealing on the doors and other openings and a faster image processor, so it is aimed at a more extreme camera user. The most recent of the trio, the D40x aimed at first-time SLR purchasers, is a refresh of the D40, and among other things, bumps the resolution from six to 10.2 megapixels.
The price difference between the D40x (street price is just under $900) and D80 is just $200, so a fair question is what does the extra cash get you. There are a few performance as well as ergonomic differences between the two. The viewfinder system is different. The D40x uses a penta-mirror whereas the D80 uses a true pentaprism. The D80’s viewfinder magnification factor is closer to lifesize (0.94x vs. 0.8x for the D40x) and the eyepoint is slightly longer (19.5 mm for the D80 vs. 18 mm for the D40). The extra 1.5 mm doesn’t sound like much, but it may be just enough to allow eyeglass wearers to see the full viewfinder frame without jamming their glasses into eyepiece.
The D80’s autofocus system is also more sophisticated, with 11 selectable focus points (compared to three for the D40x). The D80 also has wider support for older Nikon lenses (the D40x’s support for older Autofocus systems isn’t as extensive, for example).
On the other hand, like the D40x the D80 has several automated scene modes. These are factory assigned presets for specific shooting situations such as portraiture, landscapes, sports, etc., and are usually found on point and shoot and entry-level models (like the D40x). Frankly, for the D80 I think the dial space is wasted on these functions, as the camera has the goods to attract a more advanced user.
One of the major adjustments SLR users had to put up with in the first couple of generations of consumer digital SLRs was the relatively low viewfinder magnification – the image was somewhere down that long dark tunnel. So when I picked up the D80 for the first time, the 0.94x viewfinder magnification was a joy to see. It’s eye-popping big, and that factor alone gave me a very favourable first impression.
And the favourable impression didn’t stop at the viewfinder – there are many things to like about this camera. It uses a two-wheel selection system that many other advanced cameras use (one under your thumb, the other under your index finger), a proven way to quickly and simply adjust two exposure vectors. (For example, in manual mode, one wheel controls f-stop, the other controls shutter speed.) A gratifying, large (2.5-inch) colour LCD sits on the back, and the menu system is well organized. One-touch buttons provide quick access to often-changed settings like white balance and image quality. If you’ve used a digital camera before, there shouldn’t be too much in the menu structure that will mystify you after a brief orientation.
A camera with good ergonomics will still fail if the image quality is below par. Happily, the D80 shines here too. When I bought my SLR a few years ago I considered it the best six megapixel model for under $3,000. But the superior image detail from the $1,100 D80 is obvious – 40 percent more pixels do make a difference in the detail that can be recorded. The camera has a number of settings that change the colour characteristics of jpeg images, so you can tune the settings to match the subject. Shooting in raw format means that basic exposure parameters like exposure, white balance (or colour temperature) and contrast can be modified at will after the photo is taken.
When the D80 was introduced, it was often described as a junior D200, since the features were very close but the D80 didn’t have the ruggedness of the D200. The body is plastic, not metal, but it’s smaller and lighter and for users like me, that’s a fair trade-off.
The price difference between the D40x (street price is just under $900) and D80 is just $200, so a fair question is what does the extra cash get you. There are a few performance as well as ergonomic differences between the two. The viewfinder system is different. The D40x uses a penta-mirror whereas the D80 uses a true pentaprism. The D80’s viewfinder magnification factor is closer to lifesize (0.94x vs. 0.8x for the D40x) and the eyepoint is slightly longer (19.5 mm for the D80 vs. 18 mm for the D40). The extra 1.5 mm doesn’t sound like much, but it may be just enough to allow eyeglass wearers to see the full viewfinder frame without jamming their glasses into eyepiece.
The D80’s autofocus system is also more sophisticated, with 11 selectable focus points (compared to three for the D40x). The D80 also has wider support for older Nikon lenses (the D40x’s support for older Autofocus systems isn’t as extensive, for example).
On the other hand, like the D40x the D80 has several automated scene modes. These are factory assigned presets for specific shooting situations such as portraiture, landscapes, sports, etc., and are usually found on point and shoot and entry-level models (like the D40x). Frankly, for the D80 I think the dial space is wasted on these functions, as the camera has the goods to attract a more advanced user.
One of the major adjustments SLR users had to put up with in the first couple of generations of consumer digital SLRs was the relatively low viewfinder magnification – the image was somewhere down that long dark tunnel. So when I picked up the D80 for the first time, the 0.94x viewfinder magnification was a joy to see. It’s eye-popping big, and that factor alone gave me a very favourable first impression.
And the favourable impression didn’t stop at the viewfinder – there are many things to like about this camera. It uses a two-wheel selection system that many other advanced cameras use (one under your thumb, the other under your index finger), a proven way to quickly and simply adjust two exposure vectors. (For example, in manual mode, one wheel controls f-stop, the other controls shutter speed.) A gratifying, large (2.5-inch) colour LCD sits on the back, and the menu system is well organized. One-touch buttons provide quick access to often-changed settings like white balance and image quality. If you’ve used a digital camera before, there shouldn’t be too much in the menu structure that will mystify you after a brief orientation.
A camera with good ergonomics will still fail if the image quality is below par. Happily, the D80 shines here too. When I bought my SLR a few years ago I considered it the best six megapixel model for under $3,000. But the superior image detail from the $1,100 D80 is obvious – 40 percent more pixels do make a difference in the detail that can be recorded. The camera has a number of settings that change the colour characteristics of jpeg images, so you can tune the settings to match the subject. Shooting in raw format means that basic exposure parameters like exposure, white balance (or colour temperature) and contrast can be modified at will after the photo is taken.
When the D80 was introduced, it was often described as a junior D200, since the features were very close but the D80 didn’t have the ruggedness of the D200. The body is plastic, not metal, but it’s smaller and lighter and for users like me, that’s a fair trade-off.
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