Nikon D90

The new Nikon D90 - First and foremost there’s a new CMOS sensor, which Nikon claim produces D300 quality output at up to ISO 6400 and - one of several features to ‘trickle down’ from higher models - the same highly acclaimed 3.0-inch VGA screen as the D3/D300. Naturally it has Live View with contrast-detect AF and it would have been surprising had it not sported some form of dust removal system. More surprising is the inclusion of the world’s first DSLR movie mode (720p HDTV quality, no less) and HDMI output, though as we’ll see later it does come with some limitations. A lot of the core photographic spec is the same as or very similar to the D80, though there is a new shutter and an implementation of the 3D tracking AF seen on the D3/D300 !

Just as the D80 was a refinement of the D70/D70s design, so the D90 doesn’t break any new ground - interestingly they’ve actually gone back to the more angular look of the D70. Nobody quite does a quality plastic body like Nikon, it feels tight and solid, wrapped around a good metal chassis. Over this are a few offerings of rubber to improve grip, obviously at the front around the hand grip, at the rear for the thumb and on the left side (from the rear).

The D90 feels very comfortable.

The D90 feels very comfortable and natural, with a good grip and logical, ergonomic, button placement. It’s neither too heavy or too light (as to feel fragile) and feels very well put together and surprisingly robust.

Nikon D90 LCD

The D90 shares the D3/D700 and D300’s new large, high resolution LCD monitor. It has four times the number of dots than the 230,000 unit used on the D80 and other such cameras. This high resolution screen really has to be seen to be appreciated, it’s beautifully detailed and extremely smooth in appearance because the tiny gaps between dots are too small to be seen with the eye. This extra detail is obvious in live view and playback modes where you really can see much ‘more’ of the image in one glance. Another difference comes when you magnify in playback as you find you don’t need to magnify the image as much before you can clearly see sharpness, focus accuracy and even noise.

Nikon D90 SLR

And it’s not just the high end models that have lent features and technology to the D90; the user interface has been given the same user-friendly treatment as the D60, as have the retouching options. As it was explained to use the D90 is intended to appeal to the broadest audience of any Nikon SLR, from first-time ’step up’ customers moving from a compact to serious amateurs wanting comprehensive photographic control without the cost and weight of a D300. Whether the D90 turns out to be a jack or a master of all trades we’ll discover when we get a final production body to review, but our early impressions are overall pretty positive. Note that for the moment the D80 will continue to be sold, possibly well into 2009 - expect to see prices falling as soon as the D90 settles in.

Nikon D90 Top Control Panel

The D90 has one control panel on the top on the right side, which provides a full range of information covering photographic and digital settings. The panel has a green back light which can be illuminated by flicking the power switch to the lamp position, it’s spring loaded and returns to ‘ON’, the back light stays on for the ‘auto meter-off’ time (XX). You can also choose to have the back lights come on with any button press (XX). The Layout is very similar to the D80, though not identical (the continuous H/L, remote control and GPS icons have caused things to move around a little.

Nikon D90 Battery

The D90 uses the same EN-EL3e battery as the D80. It has a specified capacity of 1500 mAh at 7.4 V (11.1 Wh) and is charged using the supplied MH-18a quick charger. The battery simply slides onto the charger and an indicator light will blink until the battery is fully charged.

Nikon D90 is COOL !

Almost exactly two years after the D80 was announced comes its replacement, the rather predictably named D90. The D80 has been one of Nikon’s quiet successes, and even today, despite being positively Methuselah-like in digital camera terms it continues to sell and often makes its way into our top 10 most clicked on cameras. Because it looks so similar to the D80 the D90 appears at first glance to be one of those rather subdued incremental upgrades, but dig a little deeper and you’ll find there’s plenty to keep Nikon fans happy

Nikon D90 Key Features

• 12.9 megapixel DX-format CMOS sensor (effective pixels: 12.3 million)
• 3.0-inch 920,000 pixel (VGA x 3 colors) TFT-LCD (same as D3 and D300)
• Live View with contrast-detect AF, face detection
• Image sensor cleaning (sensor shake)
• Illuminated focus points
• Movie capture at up to 1280 x 720 (720p) 24 fps with mono sound
• IS0 200-3200 range (100-6400 expanded)
• 4.5 frames per second continuous shooting (buffer: 7 RAW, 25 JPEG fine, 100 JPEG Normal)
• Expeed image processing engine
• 3D tracking AF (11 point)
• Short startup time, viewfinder blackout and shutter lag
• Slightly improved viewfinder (96% frame coverage)
• Extensive in-camera retouching including raw development and straightening
• Improved user interface
• New optional compact GPS unit (fits on hot shoe)
• Same battery and vertical grip as D80
• Vignetting control in-camera
• 72 thumbnail and calendar view in playback

Nikon D40 with 18-55 mm lens - Rs.31,550

Nikon D60 with 18-55 mm lens - Rs.36,680; with 18-55 mm VR lens - Rs.39,200

Nikon D80 with 18-135 mm lens - Rs.70,780

Nikon D300 - Rs. 99,950

Nikon D3 - Rs.2,89,950

Rs.16,995 from Canon India Pvt. Ltd.

Pros

• Good resolution
• Clean and detailed image output at all zoom settings
• Very efficient image stabilization
• Fast, reliable focus (except in low light at longer focal lengths)
• Reliable exposure
• Good white balance and accurate color (in daylight)
• Clear and understandable menu
• Well designed and intuitive control layout
• Comprehensive feature set
• Good range of in-camera tonal and color adjustments
• Big, fairly bright screen
• Good balance of noise reduction and detail retention at higher ISO settings
• Good movie quality
• Useful zoom range (although no real wide angle)
• Good value for money
• Good flash exposure and color accuracy

Cons

• Noise and noise reduction artefacts showing in fine texture even at low ISO
• Very slow flash recycling (especially when batteries are weak)
• Images a bit soft viewed at 100% - benefit from a little sharpening
• ISO 800 and above only suitable for emergency use
• Battery life not brilliant (it’s useful to always carry a spare set of batteries)
• Occasional highlight clipping
• Some purple fringing
• No real wide-angle

Overall

The SX100 IS is not ugly, but it certainly won’t turn any heads either, it has a fairly good spec and feature set but nothing that we haven’t seen somewhere else before. ‘Solid’ is probably the best way to describe the performance of this latest addition to the Canon PowerShot range. The SX100 IS performs well in (almost) all areas but there is hardly anything exceptional about it.

Canon describes the SX100 IS as a camera for all members of the family in its press material and although this is some of the most overused marketing blurb you could possibly come across, there is some truth in it. The SX100 IS’ well designed user interface makes it easy to find your way around the camera in a relatively short space of time. The long zoom range of the lens makes the SX100 IS a viable camera for a number of photographic applications, rather than a specialist tool that excels in one particular field. Relatively little distortion at its widest setting means the SX100 IS works well for landscape shots (although the lens could be a little wider) and at 360mm equivalent focal length at the long end of the zoom you can get up close to your kids on the soccer pitch (although the AF might struggle to keep up with them if they’re fast runners).

There is no need to discuss image quality in too much detail. Again, it is very ’solid’ without being exceptional. Under the usual circumstances (high contrast, brightness) there is some evidence of fringing and in lighting conditions other than bright sunlight noise reduction artefacts are visible in dark parts of the image even at base ISO. Users of the SX100 IS will also inevitably experience some of the highlight clipping that is typical for compact cameras with small sensors. None of these issues are deal-breakers though and it is very unlikely they will have any negative impact on your prints unless you print at sizes larger than A4.

Face Detection is a feature that we have not mentioned a great deal in this review. The reason for that is quite simple. Although Face Detection is the must-have accessory of the season, I am still not certain what it is good for. It works well on the SX100 IS in so far as it detects faces (in record and review mode) as long as they are looking straight at the camera and do not wear any hats or other headgear. The ‘Face Selector’ button even lets you chose between faces and assign ‘main face’ status to one of them. However, the difference in image output, compared to focusing on a face using Center AF, is fairly marginal.

The only two points that merit some real criticism have been inherited from Canon’s A-Series to which the SX100 IS is closely related. Flash recycling times are frankly a nuisance. It takes too long for the flash to recharge when batteries are new to start with but it gets even worse when battery power is low. In your typical ’social’ shooting situation it can be fairly embarrassing (and frustrating) having to wait the best part of 10 seconds for the flash to get ready while your subjects are waiting. We found the battery life in general quite disappointing. Always make sure to carry plenty of spare batteries, otherwise you might find yourself stranded ‘powerless’ and missing out on all those photo opportunities.

The SX100 IS is Canon’s first stab at the ‘budget’ big zoom segment and the engineers have clearly done their homework. The camera delivers good image quality in a compact and solid packaging. The SX100 IS’ performance is agile in all shooting situations, thanks to the latest generation of the Canon DIGIC III imaging processor, and the inclusion of comprehensive manual controls and the very efficient image stabilization plus the large clear screen make the SX100 IS a fine photographic tool not only for beginners but also the more advanced photographer with budget constraints.

The most obvious comparison is with the similarly priced Panasonic TZ3, which is smaller, has a much more versatile 28-280mm zoom range and a bigger screen, but which can’t quite match the SX100’s image quality, particularly at higher ISO settings.

In conclusion, the SX100 IS offers reliable image quality, a big zoom range and a good variety of photographic controls in a relatively compact body at a very competitive price. If you don’t mind the slow flash recycling times (which somewhat limit the camera’s use as a social snapshot tool) the SX100 IS is a perfect piece of equipment for anyone wanting to cover a large variety of photographic situations without breaking the bank or carrying a backpack full of lenses. It offers a well balanced package, value for money and is simply fun to use.

• Huge 11.1x focal length range, ideal travel lens
• Decent build quality - much better than Nikon’s 18-55mm kit lens
• Very effective vibration reduction system, at least 3 stops benefit
• Excellent fast, silent autofocus with manual override
• High image quality in the normal to short telephoto range, and good at 200mm

• Pronounced distortion across much of the range
• Extremely soft at 135mm
• Rather average close-up performance
• Zoom creep

Nikon 18-200mm f/3.5-5.6G IF-ED AF-S VR DX review

Overall

Just occasionally, the old cliches are still the best, and with the 18-200mm VR the phrase ‘jack of all trades, master of none’ springs immediately to mind. It’s a lens which delivers somewhat flawed results over its entire zoom range; where it’s sharp, it has heavy distortion, and when that distortion comes under control at the long end, it loses sharpness. Its close-up performance is reasonable, but not spectacular, and overall it will likely be outperformed optically by a cheaper combination of standard and telephoto zooms. So for a certain type of photographer interested mainly in absolute image quality, this may well cause it to be regarded as nothing more than an expensive snapshot lens.

But to dismiss the 18-200mm VR based purely on its optical quality is to miss the point quite fundamentally. The whole idea of such a lens is to allow the photographer to travel light and never miss a shot while changing lenses, or indeed not to have to risk water or dust entering the camera in adverse conditions. So what you do get for your money is a hugely flexible zoom range which can handle the vast majority of photographic opportunities, coupled with excellent autofocus and vibration reduction systems. And all of this is wrapped up in a relatively compact package, with build quality which feels solid without being excessively heavy. It really is a lens you can leave on your camera all day long and scarcely miss a shot, and it has to be said, this makes it a lot of fun to use.

So when all is said and done, we have to understand that superzooms are essentially about making some optical compromises to provide the broadest possible range in a single lens, and it’s up to each individual to decide whether those compromises are acceptable. I wouldn’t recommend the 18-200mm to someone whose primary interests were either architecture or wildlife, for example, but for the photographer who wants to shoot a little bit of everything and not have to change lenses, it’s more than fit for purpose. Ultimately this is probably as good a superzoom as money can buy, so as long as its limitations are recognised and understood, it has to be recommended.

Pros

• Class-leading high ISO performance and incredibly versatile ISO 100-12,800 sensitivity range
• Very good resolution and detail without looking over-processed
• Better balanced noise reduction than most; more chroma NR, less luminance NR (film-like grain)
• Incredibly fast (instant power-up, short shutter lag and short viewfinder black-out)
• Superb continuous shooting capabilities buffering and card writing
• Compatible with DX lenses with auto crop mode (only 5.1MP, however)
• Excellent dynamic range and 14-bit RAW files offer huge amount of latitude
• Large, bright viewfinder
• True ‘pro grade’ construction, excellent ergonomics
• Highly configurable Auto ISO function (can set maximum ISO and minimum shutter speed)
• Conservative approach to image processing (slightly lower sharpening) helps to avoid ‘digital’ artifacts
• Built-in chromatic aberration reduction is very effective (JPEG, RAWs through NX)
• Improved 51 point auto-focus elivers fast and accurate AF lock even in low light
• Auto-focus fine-tuning by body or per lens
• Nikon’s excellent 1005 pixel RGB metering sensor
• Numerous ‘hidden’ designed-in features; AF tracking by color, scene recognition system
• 300,000 exposure shutter life
• Now Nikon standard range of image parameter presets, addition of brightness adjustment
• Superb large, high resolution LCD (delivers full-color VGA; 640xRGB x 480)
• Live view with up to 1:1 pixel view, contrast detect AF as well as passive (mirror flip) AF
• HDMI video output (up to 1080i)
• Dual CF card slots, highly configurable
• Compact Flash UDMA support, very fast throughput overall
• Menu system is a pleasure to use, attractive and logical (though ‘feature creep’ means they’re too long and there’s too many) and built-in help
• Clever features from built in tilt sensor to help system, Active D-Lighting, Overlay, Multiple exposures an intervalometer
• Easy to use playback with very logical delete system (press delete button twice)
• Highly configurable via custom functions
• Probably the best battery information display in the business (% charge, shots, aging)
• Wide range of custom settings
• Optional wireless WiFi transmitter (802.11 b/g)

Nikon D3 review

Cons

• No timed mirror lock-up function (could be automatic with self-timer)
• Focus points somewhat concentrated in the center of the frame
• Metering struggles to keep up if you shoot at the very fastest continuous rate (i.e. in manual focus mode at 9fps or 11fps in DX mode).
• Slightly washed-out flash exposures at short distances (tested with SB-600)
• No in-camera dust removal system

Overall

When we first saw the D3 before it was officially launched I’ll admit there were some raised eyebrows, and the first question was ‘is this a replacement for the D2Hs, the D2X, both or neither?’. The truth of course is that it’s not that simple, and Nikon’s long-awaited first foray into the world of the full frame sensor is essentially in a class of its own.

For one thing it is, without a doubt, built for speed - in every sense of the word. From the almost twitchy responsiveness (brush the shutter and before you know it you’ve taken half a dozen shots) to the astounding image pipeline that can pull huge amounts of data off the sensor and process, buffer and write it to the card at up to 9 frames per second, to the fast, accurate focus, the D3 always seems to be one step ahead of you. Add to this the class-leading high ISO performance (thanks to a bravely low-density sensor) and you’ve got a camera that is uniquely capable of keeping up with the action even when light levels start to drop perilously.

And so, whether used in DX crop mode or full frame (for cropping later) the D3 makes a fantastic upgrade to the D2H (or D2Hs if you prefer). You get slightly higher resolution (5.1MP vs 4.0MP), far, far better high ISO performance, faster continuous drive and better buffering plus all the other improvements you’d expect after a two year wait. But of course you get a lot more than that too; this is a full frame camera that offers D2X resolution with a larger, far better sensor. So a single camera really does do the job of two; replacing the D2H for high speed telephoto work and the D2X for high resolution work at closer quarters, with the added benefit that all your wide lenses start acting like wideangles again.

It’s therefore no surprise to discover that the D3 has, in the six months or so since it was launched, been embraced by the Nikon pro photography community and has caused many a Canon shooter to do some serious soul-searching and consider the unthinkable; a move (back in many cases) to Nikon.

Of course it’s not all a bed of roses; the D3 is a lot pricier than the D2H ever was, and for many sports shooters it’s a lot to ask for what is essentially a 5.1MP alternative to the EOS-1D Mk3 (if you shoot using the DX crop). And it can’t match the resolution of the EOS-1Ds Mark III at lower ISO settings, ruling it out for the most demanding studio photographers. But this slight inability to ‘pin down’ the D3 is also what makes it so welcome; it slots in nicely between Canon’s models and brings real choice to a sector of the market that desperately needs it. And don’t forget that if you want the pixel density that allows you to shoot at high resolution and get the 1.5x DX crop advantage for your telephotos the D300 (with battery grip) is going to make an affordable and highly capable alternative that almost renders the D2Hs obsolete on its own.

We’re not sports photographers and anyone even close to considering a D3 will be more than capable of making an informed decision without a technical review such as this (in fact they’ve probably already bought one), but we can confirm that from an image quality and performance point of view the D3 raises the bar by a fair degree (not a quantum leap; they’re increasingly rare). For a sports camera it’s also a surprisingly good studio and landscape camera, and if there’s a better DSLR out there for photojournalists and red carpet paps we’ve yet to meet it. Image quality (especially at higher ISOs) is stunning, the camera a joy to use and the speed and responsiveness breathtaking. If there is an EOS-1Ds Mark III - bating ‘D3X’ coming this year it will have quite a job to do to better the D3; possibly the most compelling, capable and well-rounded professional digital SLR ever made.

Pros

• Resolution and sharpness on par with the best of the current ten megapixel bunch
• A demonstrable resolution gain at lower sensitivities, less obvious at ISO 800 and 1600
• Surprisingly good build quality, tight shut lines
• Very compact and lightweight (especially with kit lens) yet still comfortable to use
• Kit lens is better quality than many others
• Great in-use performance, very responsive, short black-out time, very fast media write
• Good fast auto focus system (only 3 areas but that’s not a big issue for this camera)
• Auto-focus assist lamp rather than requiring flash to be raised
• Reliable, sophisticated, if sometimes a little conservative matrix metering system
• For a Pentamirror the viewfinder delivers a surprisingly bright image
• Extremely useful, customizable automatic sensitivity (ISO)
• Easy to use playback / delete combination
• All playback functions available in record review
• Very attractive and intuitive menu system
• Unlimited 3 fps continuous shooting in JPEG mode (with a reasonably fast card)
• Good SD card throughput and USB 2.0 transfer speed
• In-camera retouching features including D-Lighting and Red-eye reduction
• Support for SD and SDHC cards
• Good large LCD monitor with wide viewing angles
• Dedicated help button provides both shooting and in-menu assistance
• Programmable Fn hard button
• Value for money

Nikon D40x review

Cons

• No lens motor in body means non-AF-S/AF-I lenses are manual focus only
• Disappointingly RAW+JPEG setting only records Basic quality JPEG’s
• No status LCD panel on top of camera (we hate to see these go)
• No exposure or white balance bracketing
• No hard buttons (without customizing) for ISO or White Balance
• No depth-of-field preview
• Occasional visibility of moire artifacts (although seldom)
• Fixed exposure steps (1/3 EV)
• Disappointing automatic white balance performance in incandescent light
• No RAW adjustment with supplied PictureProject, only simple conversion
• Limited image parameter adjustment (especially for color saturation)

Nikon D40x review

Overall

No one was more surprised that me when Nikon passed through the press releases for the D40X. Just under four months since the arrival of the six megapixel D40 and Nikon were about to reveal a ten megapixel version of the same (save for a base ISO 100 sensitivity and 3.0 fps shooting speed) camera.

That it only took four months for the D40 to leap from six to ten megapixels begs the simple question: why Nikon didn’t just release the D40X in the first instance? Was the ten megapixel sensor not ready in time? Did they have stock of the ‘old’ six megapixel sensor laying around? We will probably never know.

One thing however, is certain: the new model is positioned to go head-to-head against the most dominant digital SLR on the market, Canon’s EOS 400D (Digital Rebel XTi). On paper it measures up well, missing out only with its lack of a physical dust reduction mechanism, no vertical hand grip option and limited image parameter adjustment. Additionally, as with the D40, die-hard Nikon owners may be disappointed with the lack of a focus motor in the body, meaning that many non-AF-S/AF-I lenses will not auto focus (including some Nikon’s best prime lenses).

Other shortcomings which I also counted against the D40 include the fact that when I shot RAW+JPEG I was only getting Basic quality JPEG’s. I also didn’t like that there wasn’t a dedicated ISO or WB button on the camera (yes, you can program the Fn button but I would have thought it more logical to use the four-way controller on the rear from day one), and as with most recent digital SLRs automatic white balance was something you should really only use in natural light. Other things which will be of less importance to D40 owners are the lack of bracketing, depth-of-field preview and fixed exposure steps.

Everything positive we said about the usage and performance of the D40 obviously remains true of the D40X; instant on times, instant response, good auto focus and a punchy feel to the shutter release which encourages you to take more pictures. With its compact body not compromising comfort or ergonomics in any way the D40X is perhaps one of the easiest ‘carry around’ digital SLRs; it that won’t break your back or leave you with an aching neck.

Handling aside, everything else that I said about the D40 remains true with the D40X. Good image processing ekes about as much detail out of the image as heavier RAW conversion can, although the limits of the smaller photosites become clear at higher sensitivities, and good dynamic range means softer roll-offs in highlights - and more likelihood of getting a nice blue sky in a landscape shot.

So in conclusion, the D40X really is just as good as the D40, with the added benefit of a little bit more resolution and slightly faster continuous shooting. But is it enough to take the pole position as the ultimate compact ten megapixel DSLR? That’s harder to say, image quality-wise it’s a dead heat with the EOS 400D (except at high sensitivities); it’s quicker and more comfortable to use, but very slightly less featured, especially if you consider lens compatibility. It would be hard to recommend one over the other and the answer would depend solely on your preferences (I’m calling it a draw).

Conclusion - Pros

• Superb resolution, good per-pixel sharpness (especially in raw files)
• Good tonal response and dynamic range
• Trademark Canon CMOS noise free images, remain detailed even at high sensitivities
• Optional high ISO NR removes all chroma noise
• Viewfinder bigger and brighter than predecessors
• New features (live view, spot metering, MyMenu, Highlight Tone Priority, 14-bit raw) lift it above the typical ‘entry level’ and move closer to 40D territory
• Improved continuous shooting, 3.5 fps and better buffering
• Feels very fast and responsive in use
• Good battery life
• Compact, sharp stabilized kit lens (though it can’t match the sensor’s superb resolving capabilities)
• ISO indication in viewfinder (finally!)
• Lots of external controls including new ISO button give instant access to commonly changed functions
• Contrast-detect focus in live view (though see cons, below)
• Bright, clear 3.0-inch screen and clear, logical menu system

Canon EOS 450D review

Conclusion - Cons

• Average automatic white balance performance, still very poor under incandescent light
• Limited exposure compensation range (+/- 2.0 EV)
• Contrast detect AF so slow it’s useless for most types of photography
• Metering has tendency to overexpose in very bright, contrasty conditions
• Default JPEG output may be a little ‘over processed’ for some tastes (raw far more flexible)
• Flash must be up for AF assist lamp (although AF is good even in low light)
• Automatic AF point selection unpredictable (use center AF, it’s safer)
• Occasional total focus failures (in our case only 5 or 6 shots in almost 2000)
• New Auto Lighting Optimizer doesn’t really seem to do anything
• No mass storage USB support
• A little pricey

Canon EOS 450D review

Overall conclusion

The EOS 450D represents Canon’s response to the increasingly crowded and competitive nature of the entry-level DSLR market. Where the original ‘people’s DLSR’, the EOS 300D, owed at least some of its success to the simple paucity of competitors, the market in 2008 is a very different place indeed, and one that’s seen Nikon (with the D40/D40x/D60) carve a sizeable slice of the action, and where Olympus, Sony and Pentax have strong offerings at price points unthinkable just couple of years ago.

It would appear that Canon decided the best way to avoid getting caught up in the melee was to aim just a little higher, giving the EOS 450D as much of a feature boost as it could without it treading on the 40D’s toes. So although some of the upgrades are an entirely predictable box-ticking exercise (bigger screen, live view etc), there are some pleasant surprises too. The new sensor is superb, and from a resolution point of view puts the EOS 40D to shame without losing any of the high ISO performance that has been Canon’s trump card for so long. Canon was never going to take any risks with its biggest breadwinner, and we feel the EOS 450D is a significant, albeit incremental step in the right direction. We’re certainly happy to see the improved buffering, spot metering and ISO button / viewfinder display, as well as the improvement in the viewfinder itself.

These performance improvements (not just in continuous shooting but across the board) and new features make the EOS 450D feel a lot less intentionally crippled than any of its predecessors, and put some clear blue water between it and cameras such as Nikon’s D60 or Olympus’s E-420 (with a small price premium to match). In fact you can’t help thinking that there is now a space at the bottom of the EOS range for a true ‘entry-level’ model, something the internet’s rumor mongers haven’t failed to notice either.

The EOS 450D feels like a mature product, it is capable of superb results (even if it’s actually now good enough to reveal the limitations of the cheaper EF-S lenses) and it has a feature set that offers an excellent balance between beginner-friendly ease of use and the manual control / customization demanded by those wanting something a little more serious. The new stabilized 18-55mm lens is a distinct improvement on some of Canon’s earlier kit zooms and the fact it only adds $100 to the body price is a real bonus. That said, you really need to be using primes and pro-level zoom lenses to really see what the sensor is capable of.

Of course no camera is perfect and the EOS 450D isn’t without its annoying foibles and weaknesses; the default JPEG output is very punchy but it’s a bit ‘over cooked’ for my taste (too bright and contrasty) and I found myself using RAW even more often than normal. The metering occasionally gets it wrong and I’d recommend turning off the auto focus point selection as it can get jumpy and produce unpredictable results (if the focus is wrong the metering, which is linked to the AF point, gets it wrong too). But the overall hit rate is very high, and virtually all the things we found to complain about can be dealt with easily if you know your way around a camera, or by shooting RAW if you don’t like Canon’s processing.

We’re still not keen on the handling (the small grip means it doesn’t sit as comfortably in the hand as, for example, the Nikon D60 or Olympus E-520) and we’d love to see a second control wheel - and like most current SLRs the live view feature is of limited use outside the studio - but we’ve moved far from ‘deal breaking’ territory here.

Perhaps the biggest challenge facing Canon at the sales counter is that the EOS 450D costs too much to compete with the real entry-level DSLRs and and - on paper at least - cameras such as the Sony Alpha 350 that offer a lot more bang for your buck. But compared to many of its competitors the EOS 450D just feels like a more ’sorted’ camera; in the half decade since the original ‘Rebel’ the line has matured to the point where we have to dig pretty deep to find anything serious to complain about.

Canon may no longer be the automatic choice for the entry-level SLR user, and I possibly wouldn’t recommend it over a Nikon D60 or Olympus E-420 for absolute beginners or anyone wanting ‘point and shoot’ access to well optimized JPEG output. But if you want to move to the next level of image quality and performance, and are prepared to take control of parameters (and ideally shoot raw) to get the best possible results, the EOS 450D is an easy recommendation.

Pros

• Good resolution and detail (especially at lower ISO settings)
• Good dynamic range (better than D40 and slightly better than D40X)
• Surprisingly good build quality, tight shut lines
• New Dust removal system and very useful manual focus rangefinder
• Very compact and lightweight yet still comfortable to use
• New kit lens offers good optical performance and effective image stabilization
• Great in-use performance, very responsive, short black-out time, very fast media write
• Good fast auto focus system
• Auto-focus assist lamp rather than requiring flash to be raised
• Very reliable metering and excellent flash exposure
• Bright, punchy ‘out of camera’ JPEG results using default settings
• For a Pentamirror the viewfinder delivers a surprisingly bright image
• Extremely useful, customizable automatic sensitivity (ISO)
• Active D-Lighting does a good job of lifting shadows (though slows camera down)
• All playback functions available in record review
• Very attractive and intuitive menu system
• Information display gives fast access to all important shooting parameters and now rotates
• Unlimited 3 fps continuous shooting in JPEG mode (with a reasonably fast card)
• Good SD card throughput and decent USB 2.0 transfer speed
• In-camera retouching features including sophisticated raw to JPEG conversion
• Good large LCD monitor with wide viewing angles
• Dedicated help button provides both shooting and in-menu assistance
• Programmable Fn hard button
• Value for money

Cons

• No lens motor in body means non-AF-S/AF-I lenses are manual focus only
• Disappointingly RAW+JPEG setting only records Basic quality JPEG’s
• Default settings a little on the soft side at a pixel level
• High ISO performance good, but not as good as best in class
• No exposure or white balance bracketing
• No hard buttons (without customizing) for ISO or White Balance
• No depth-of-field preview
• Fixed exposure steps (1/3 EV)
• Disappointing automatic white balance performance in incandescent light
• Supplied software still offers limited raw conversion options
• Limited image parameter adjustment (especially for color saturation)
• No Mass Storage USB support (MTP/PTP only)

Overall

The D60 takes the successful formula established in the D40 / D40X and, well, if we’re being honest, doesn’t do a great deal with it at all - the leap from D40 to D40X was a lot greater than the step up from D40X to D60 (even if Nikon’s naming convention might seem to imply the opposite). There’s a few nice new features, and bundling the new ‘VR’ (stabilized) version of the kit lens is a smart move that makes the whole package a lot more appealing, but it’s fair to say that the D60 is a subtle upgrade rather than a wholescale reinvention of Nikon’s entry-level best-seller.

Not that this is a bad thing; the D40 sold so well (and continues to do so) because it hits all the right buttons for its target market; it’s small, well made, incredibly easy to use, produces great results and, crucially, the most affordable Nikon digital SLR ever made. The D60, like the D40X it replaces offers a real performance boost (both in resolution and shooting speed) and the refinements to the user interface, the addition of D-Lighting, the excellent dynamic range and the new kit lens and dust reduction system make an excellent camera just that little bit better. The new Expeed processing reduces the visibility of chroma noise at higher ISO settings (and allows the D60 to offer a few new tricks) but the difference in output is subtle to say the least; it’s still bright, vivid and ‘consumer friendly’ (though purists may find it a little over-saturated by default).

Nikon D60 review

Everything we said about the D40X remains true for the D60; great output that’s easy to achieve even for a total novice, thanks to an excellent exposure and metering system; fast, responsive operation; excellent ergonomics and an easy to master feature set that is just sophisticated enough to allow users to explore the more advanced aspects of photographic technique without being so over complex they can’t be bothered. It’s easy for a camera reviewer with access to the latest, greatest high end gear to get snobbish about entry level cameras, but we all found the D60 to be a camera that’s incredibly easy to like and one that’s surprisingly enjoyable to use.

Inevitably it’s not all great news; as someone who always shoots RAW+JPEG I found Nikon’s decision to retain the crippled ‘Basic JPEG only’ option when shooting in this mode frustrating (the Basic JPEGs are way too compressed for serious use). High ISO performance isn’t quite up to Canon’s standards, and the lack of ‘mid range’ features (most crucially exposure bracketing and a vertical grip option) may not be of importance to the target market, but seem designed purely to push more serious users up the Nikon range to the ageing D80. The lack of AF support for lenses without a built-in motor is less of an issue; there’s plenty of AF-S lenses to choose from (as well as an increasing number of third-party options from the likes of Sigma), and frankly if you’re looking to use more exotic glass or have a collection of older zooms / primes you’re simply not going to be looking at the D60 as an option. If you do want to shoot with Nikon primes or older zooms you’ll be stuck with manual focus (though this is now a lot easier thanks to the new rangefinder).

In reality the biggest challenge the D60 faces is the competition; there’s been an explosion of small, affordable entry-level SLRs in the 18 month or so since the D40 first appeared, and though I’ve never actually used live view outside the studio there’s no denying it’s a strong selling point at this end of the market, as is in-body stabilization. Cameras such as the Olympus E-410 (and its promising successor the E-420) offer a fuller feature set in an equally small (and affordable) body, and you can’t ignore the imminent arrival on the shelves of Canon’s seriously beefed-up (though pricier) forthcoming new entry-level model, the EOS 450D, not to mention the new Sonys or the Pentax K200D.

Nikon D60 review

But let’s not forget what the D60 has to offer; it’s still one of the most affordable cameras in its class and it represents the perfect ‘upgrade’ camera for anyone who has outgrown their digital compact camera and is looking to dip a first toe in the world of the digital SLR. Its output is consistently good (the JPEGs are excellent and its raw files have lots of dynamic range headroom), it’s a pleasure to use and, handles well and weighs very little. And as I’ve stressed throughout this review, it makes getting pleasing results incredibly easy.