Nikon D90 review:

Nikon D90

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4 stars

CNET Editors' Rating

5 stars 1 user review

The Good First-rate performance; solid, well-constructed body with good viewfinder; video capture capability; great photo quality.

The Bad Middling kit lens; poor HDMI output implementation.

The Bottom Line Like the D80 before it, the Nikon D90 delivers an excellent dSLR for the money. It's the first digital SLR camera with video recording, which is great, especially since it's shot in 1,280x720-pixel motion JPEG at 24fps, giving it a cinematic, high-definition look. You can also shoot video with any lens, which yields interesting effects

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8.3 Overall
CNET Editors' Choice Oct '08

The much-rumoured and even more longed-for update to the Nikon D80 has done its predecessor proud. The 12.3-megapixel Nikon D90 doesn't replace the popular 10-megapixel D80, which moves down Nikon's dSLR product line, and unsurprisingly, provides some significant enhancements over that two-year-old model. Most notably, the roughly £750 D90 is the first digital SLR to support movie capture.

The D90's main competitors are Canon's older 10-megapixel 40D, the 12.2-megapixel Sony Alpha DSLR-A700 and the 14.6-megapixel Pentax K20D.

At 737 grams, the body is considerably heavier than most similar models, but it also feels sturdier and more substantial. The slightly more expensive A700 and K20D have more advanced dust and weather sealing, however. It's about the same size as the D80 and takes the same battery and vertical grip. It also has the same wireless flash controls and high-speed flash sync features. Nikon improved the shutter durability and integrated the same dust-prevention system as that of the D300. And while it uses the same LCD as that camera, it's covered by a polymer rather than glass.

The function button is in a good location from a shooting perspective, but is easy to overlook if you don't know it's there

We really enjoyed shooting with the camera -- it's comfortable to hold and the control layout and navigation should be immediately recognisable to anyone who's shot with a Nikon dSLR recently. If you're making the switch from another brand, there might be a learning curve, though. For example, Nikon puts the white balance, ISO and quality buttons to the left of the LCD on its cameras, while other manufacturers tend to place them under the control of your right hand. As we complained about with the D80, we wish these were more easily identifiable by touch and the labelling a bit less cluttered.

To the right of the LCD you'll find the dedicated Live View button, a four-way navigation switch plus OK button, a switch to lock the navigation from moving the selected AF point, and a context-sensitive information button. In Live View mode, it cycles through a grid and two information displays and in standard shooting mode it displays the now-common settings summary and lets you change a limited number of parameters.

The parameter selections are a bit odd, though. You can only adjust settings you don't normally change that frequently -- such as Assign AE-L/AF-L button behaviour, Assign Fn button and Long exposure noise reduction -- while options you'll need more often, such as the AF mode choices or self-timer delay, remain buried in the custom settings. True, you can assign at least the AF mode choices to the Fn button, but there's a lot of other stuff you might want to assign to that as well, most notably the one-touch raw-format toggle.

While the camera's movie mode certainly ranks as the D90's most novel capability compared with its peers, the implementation leaves quite a bit to be desired. Its movie-capture specifications aren't too shabby: 24 frames per second 1,280x720-pixel motion JPEG and support for VR optical image-stabilisation if the lens has it. But it seems like Nikon faced some technical limitations that impair the capture experience, as well as makes some rookie mistakes with both its video and HDMI output.

For instance, exposure is fixed for the length of the clip, it has monaural sound, and you can only focus manually while shooting. HD clips are capped at 5 minutes because of file-system limitations. Plus, Nikon doesn't seem to have put sufficient video processing smarts into the camera to properly render video or stills.

When connected via the mini-HDMI output, it relies on the TV to do the downconversion to HD resolution for stills (never a good idea), and Nikon's true 24fps video doesn't quite match that of most TV processors' expected 23.976fps, which can result it occasional playback stutter. Still, this has been a long-awaited feature in the entry-level segment, since it's one of the two most important features users have had to sacrifice when moving up to dSLRs -- the other being pocketability.

As with the newer Canon EOS 50D, the D90 adds face detection to its Live View repertoire -- part of the enhancements enabled by a revision of its Expeed image processor. The FD supplies data to the camera's face-priority AF, and Nikon has integrated the FD information into its automatic scene recognition algorithms to help with metering and AF. In practice, it doesn't seem to make much difference, either in speed or portrait quality, over wide-area AF. Both of those two AF modes are significantly faster than normal area AF in Live View, however.

There's also the usual array of improvements and additions to shooting controls, including an expansion of Active D-Lighting parameters, nine slots for custom Picture Control settings, and advanced scene modes that incorporate Picture Controls and Active D-Lighting, and which can automatically shift to slower shutter speeds when the camera knows a VR lens is attached. Most important, our testing confirmed that operating in Active D-Lighting mode doesn't impose a performance penalty, as can happen because of the processing overhead. The D90 also includes a socket for Nikon's GP-1 hot shoe GPS device, but we'd trade all these bells and whistles for the custom settings banks found in the D300 and D3.

Although we captured some sharp photos, this was our typical experience: pictures were not quite sharp enough

Our main complaint is with the new 18-105mm f3.5-5.6 kit lens. On the one hand, it seems like the perfect range to cover as a primary: at 27-157mm in 35mm-equivalent terms it gets wide enough and long enough for typical shooting needs. But on the other hand, the zoom ring is too stiff and the lens seems just slightly less sharp than the kit lenses from Canon.

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