The D800 sits smack in the middle of Nikon's professional line-up of cameras, where it combines a compact chassis with the company's highest resolution to date.
It's heavy and chunky but very balanced, with well-spaced controls and the kind of features that make a pro camera both easy and fun to use. Better yet, it's keenly priced for a top spec snapper. It will surely tempt the full-time photo brigade, but it may also encourage the über-ambitious hobbyist to take a step up.
The Nikon D800 is available to buy for £2,600 for the body only.
Let's start with the biggest stat of them all -- the resolution. The D800 is a monster, with 36.3 megapixels to call on, arranged on an FX-format sensor. That's 24x36mm, which is the same size as a frame of 35mm film, and it's the size of the sensor used in the 18-megapixel, £8,500.
Such a high resolution obviously means it can record more information, allowing for tighter crops in post-production.
Of perhaps greater interest though is the flexibility delivered by the full-frame sensor.
It offers two major benefits. Most obviously it allows manufacturers to deliver higher resolutions without compromising performance. This is because they needn't ruthlessly shrink the photoreceptors -- the actual cells on the sensor that detect the incoming light. This makes them sensitive to a wide range of illumination for more subtle, detailed images, with a particularly better response in areas of highlight and shadow.
The results are obvious right from the off, with the D800 consistently producing balanced shots when faced with stark contrasts.
In the snap below, the underside of a railway viaduct is cast in shadow, yet the sky around it is very bright. When exposed at ISO 400, the whole frame remains balanced, with the four points I've picked out for comparison accurately and evenly exposed. It would be easy to draw out further detail within the brickwork in post-production by manipulating the RAW file.
Furthermore, from a usability point of view, full-frame sensors make a lot more sense when you're choosing and buying lenses, as you no longer need to do a quick spot of multiplication to know how each lens will behave.
Smaller sensors, such as Nikon's DX sensor, have a crop factor which requires that you multiply the lens' focal length by a number -- usually around 1.5x -- to see how it will work in practice with a regular lens. As a result, long zooms often over-perform, with a 210mm lens acting as though it were a 315mm attachment since only the central portion of its view can be accommodated by the sensor.
On the one hand, this is a good thing as it means you can often buy a cheaper telephoto lens to reap the benefits of a longer equivalent lens. However, it also means that very wide angle lenses don't live up to their full potential with, say, a 28mm lens on a smaller-chipped camera acting like a 42mm lens on an FX camera. Any savings you make on the zoom lens might therefore be lost when shopping around for a wide-angle lens, which will inevitably cost more to achieve the same effect.
With a full-frame sensor, you can take your lenses as face value.
In every respect then, this is a serious camera, with serious specs to boot. The 36.3 megapixels equates to a staggering 7,360x4,912 pixels. To display one single frame at full resolution without any cropping, you'd need to lace together a dozen regular 27-inch monitors -- four across and three deep, each running at a native 2,560x1,440-pixel resolution.
Sensitivity runs from ISO 100 to ISO 6,400, but you can push it in either direction to ISO 50 and ISO 25,600, and exposure compensation gives you adjustments of +/-5EV in 1/3EV steps. It's an HDR photographer's dream, with three bracketing options covering exposure, flash and white balance, taking between two and nine shots for each.
I performed my tests with the D800 set to aperture priority, adjusting sensitivity as the situation required and saving all results as RAW NEF files, which averaged around 40MB apiece. The dynamic range of the results was impressive, with plenty of detail in both shadow and highlight areas
At higher sensitivities, the results were very clean, and in most cases there was no evidence of dappling caused by the introduction of digital noise. The image below was shot at ISO 500 in overcast conditions, with the subject of the shot shaded still further by the overhanging first floor of a building.
Examining it at 100 per cent magnification, the grain of the wooden structure and carving remains sharp and clear right across the frame.