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	*	True Nikon pro SLR compatible with most Nikon F-mount lenses.
	*	4.1-megapixel CCD, 2,464 x 1,632-pixel images
	*	ISO from 200 to 1,600 ("ISO Boost" to 6,400)
	*	Very fast shutter response and cycle times.
	*	Wireless image transfer capability with separate transmitter accessory.

Manufacturer Overview
The new Nikon D2H is the latest addition to one of the world's most famous series of camera equipment . Nikon is one of the names that literally needs no introduction in the world of photography. Long a leader in the film world, they offer cameras for both the serious amateur and working professional. Back in June 1999, Nikon announced their first all-digital professional SLR, the D1 - a camera whose specifications and initial price point (2.7 megapixels and a list price of $5850 for the body) rocked the pro camera world. In February 2001, they raised the bar with the 5.3 megapixel D1X and the speedy (5 frames per second) 2.7 megapixel D1H. Reverting to a mid-year announcement, they've now followed up with the July 2003 of the new 4.1 megapixel, 8 fps Nikon D2H digital SLR, a model that aims to answer the challenge posed by Canon's 4.1 megapixel, 8 fps EOS-1D (announced in September 2001, and available around December 2001).

The Nikon D2H breaks new ground on several fronts though, introducing Nikon's new internally-developed LBCAST sensor technology, enabling a dramatic increase in shooting speed, while at the same time dramatically lowering image noise under low-light conditions. While packed with new features and improved specs, the new camera continues to have the same superlative "cameraness" (a favorite Nikon term, describing how the device functions as a camera) of past models, but bears only a passing resemblance to its predecessors - most of the basic controls are in the same places as before, but almost every feature of the design has been improved, inside and out. The user interface ergonomics have been refreshed to provide a camera that is more comfortable in the hands and easier to control (with quite a few new controls added at the same time). The electronics inside the camera have also received many changes resulting in a camera that has 50% more resolution than the D1H, yet captures images 60% faster. The resolution and speed are approximately the same as Canon's EOS-1D, but the burst depth (the number of consecutive frames that can be shot at high speed) is 50-90% greater than that of Canon's camera, depending on the file format in use. (That's 5 seconds of continuous shooting at the full 8 fps maximum frame rate in JPEG mode, or just over 3 seconds in RAW mode.) Overall, the D2H is an impressive advancement of Nikon's camera technology, bringing not only higher speed but a host of enhancements throughout the camera system.

Highlights

• 4.1-megapixel, 23.3 x 15.5mm JFET LBCAST image sensor delivering image resolutions as high as 2,464 x 1,632 pixels.
• Single-lens reflex digital camera with interchangeable lenses (supports essentially all standard Nikon F mount lenses).
• Variable ISO (200 to 1,600 with "Hi" settings equivalent to 3,200 and 6,400).
• TTL optical viewfinder with detailed information display.
• 2.5-inch, low-temperature polysilicon TFT color LCD with 210,000 pixels.
• Program AE, Shutter Priority, Aperture Priority, and Manual exposure modes.
• Exposure / Flash / White Balance Bracketing and Interval photography modes.
• Depth of field preview.
• Adjustable Low-Speed (1 to 7 fps) and High-Speed (8 fps) Continuous Shooting modes, plus Single-Shot, Self-Timer and Mirror-Lockup modes.
• Variable White Balance with nine modes, including a manual setting, fine tuning capability and ability to choose a color temperature from 2,500 to 10,000K (31 steps).
• 11-point TTL autofocus with Single-Area (manual), Dynamic-Area, Group Dynamic, and Dynamic-Area w/ Closest Subject Priority options to select AF point(s).
• Topside hot shoe for external flash connection of Nikon Speedlight as well as a second PC-style flash sync socket.
• Flash exposure determined by combination of TTL 1,005 pixel Matrix sensor and Five-Segment Multi sensor.
• Front-Curtain Sync, Red-Eye Reduction, Red-Eye Reduction with Slow-Sync, Slow Sync, and Rear-Curtain Sync flash sync modes. (With compatible external speedlight.)
• 3D-Color Matrix, Center-Weighted, and Spot metering options.
• Adjustable exposure compensation from -5 to +5 exposure equivalents (EV) in one-third, one-half, or one-step increments, in all exposure modes.
• Shutter speeds from 1/8,000 to 30 seconds in one-third, one-half, or one f-stop increments, and a Bulb setting for longer exposures (which doesn't appear to be time-limited - I took test shots as long as three minutes).
• Color Mode, Sharpening, Tone Compensation, and Hue Adjustment options.
• Self-timer with programmable duration from two to 20 seconds.
• Secondary shutter release with lock for vertical-format shooting.
• Image storage on CompactFlash Type I or II, or Microdrive.
• JPEG, uncompressed TIFF (RGB), and NEF (RAW) data file formats.
• 10-pin remote terminal for optional remote control accessory.
• Optional wireless transmitter accessory for wireless image transfer to a computer. (FTP protocol over 802.11b wireless LAN.)
• NTSC / PAL-compatible A/V Out jack and included video cable for connection to a television set.
• DPOF (Digital Print Order Format) compliant.
• Powered by EN-EL4 lithium-ion rechargeable battery pack (battery and charger included), or optional AC adapter.

Executive Overview
The Nikon D2H is the next generation in the line of digital SLR bodies that have proven so popular among pros and advanced amateurs alike. The D2H offers a 4.1-megapixel CCD, interchangeable lens system, and a handful of updated features, in addition to the excellent exposure features enjoyed on previous models like the D1x and D1h. With the same familiar, F5-inspired body design, the D2H offers the look and feel that film-based pros are accustomed to, and is quick to get to know, with an improved user interface as well. One of the most interesting features on the D2H is its wireless capability. With the optional wireless transmitter accessory attached, you can send images directly from the camera to a computer without messing around with cabling or card readers.

The D2H continues with the standard Nikon F lens mount, which means that you can attach most of Nikon's 35mm lenses with no problem (great for current Nikon 35mm shooters who already have a full kit of lenses). With a weight of 2.5 pounds (1070 grams), the D2H has the heft I've come to associate with professional SLRs, but somehow manages to not feel bulky or awkward in the hand. A pro accustomed to shooting with Nikon's F5 bodies will find the D2H very comfortable and familiar. In exchange for the substantial heft though, the D2H's magnesium-alloy body provides an exceptionally rugged and rigid optical platform capable of absorbing unreasonable abuse without complaint. With both hot shoe and PC-style flash sync connections, the D2H will interface with most any flash equipment, whether in the field or studio.

The D2H's accurate TTL (through the lens) optical viewfinder means that you have no need for the LCD panel as a viewfinder, a good thing, since the SLR optics mean that the LCD can't be used as a "live" viewfinder anyway. (By its nature, barring a "pellicle" mirror or beam splitter optics, the very design of an SLR precludes a "live" LCD viewfinder.) In addition to a dioptric adjustment dial and an internal shutter to prevent stray light from affecting exposures when the camera is used on a tripod, the viewfinder features a very detailed information display that reports most of the camera's exposure settings and also shows a set of 11 autofocus targets. A flexible autofocus system means that you can determine the type of autofocus (single, continuous, or manual), designate how it's used (single area, dynamic area, etc.) and even designate the location of the autofocus target within the frame. A new autofocus mode, Group Dynamic Area, lets you select a grouping of five AF points for the camera to base the exposure on, providing slightly more flexibility that a standard spot AF point. Exposure-wise, there are so many features on this camera that you'll have to read the entire review to get them all. I'll just mention a few of the primary options here.

To begin, you have the option of working in Program AE, Aperture Priority, Shutter Priority, or Manual exposure modes. Exposure settings are easily changed by using a combination of control buttons and command dials, or through the LCD menu system. The extensive Custom Settings menu provides access to a huge range of camera settings, including how various elements of the user interface itself work. For example, you can decide which command dial controls the shutter speed or aperture, determine the EV step-size of exposure adjustments, or set the range of ISO options available, among many others. With the D2H, you have a broad exposure compensation range, with a variable adjustment from -5 to +5 exposure equivalents (EV) in one-third step increments. (A custom settings menu option also lets you set the EV compensation step size to one-half or one EV unit.) The camera's improved white balance system also has a lot of flexibility, with options for Auto, Incandescent, Fluorescent, Direct Sunlight, Flash, Overcast, Shade, and Color Temperature (with a full range of Kelvin temperature settings), all of which are adjustable from -3 to +3 (arbitrary units) in their intensity. A Preset white balance setting serves as the manual adjustment, and the D2H can store up to five presets.

Three metering modes are available: Spot, Center-Weighted, and a very accurate Color 3D Matrix metering option. ISO can be set anywhere from 200 to 1,600, giving you excellent exposure flexibility. (Special "HI" modes are available that extend the effective ISO to 3,200 or 6,400, albeit at the cost of significantly increased image noise.) The auto bracketing feature takes a series of exposures of the same subject at different exposure settings, with the exposure step between shots being configurable via the settings menu. (You can also bracket flash exposures and white balance settings.) The camera's Continuous Shooting mode lets you capture up to 40 consecutive images as quickly as eight frames per second, and here again, you can select both the maximum number of shots as well as the frame rate. The camera's flash sync mode menu lets you select when and how the external flash fires. Choices include Front-Curtain Sync, Slow-Sync, Rear-Curtain Sync, Red-Eye Reduction, and Red-Eye Reduction with Slow Sync. Because the D2H accommodates a variety of Nikon's Speedlights, specific flash power and operation will vary depending on the particular model you're using. Note that some options such as red eye reduction are only available with Nikon flash units or others conforming closely to the flash-interface protocols used by the D2H.

The 4.1-megapixel CCD delivers an image resolution of 2,464 x 1,632 pixels. Image quality options include the usual Basic, Normal, and Fine but also TIFF, and both compressed and uncompressed RAW formats. Image storage is on CompactFlash Type I or II, and the D2H supports Microdrives for huge on-the-go storage capacity. (Although semiconductor memory cards have now caught up to the Microdrives in the capacity race.) The D2H utilizes a custom EN-EL4 lithium-ion battery pack for power and a charger is included in the box. (While I generally strongly recommend purchasing a spare battery pack, the D2H's battery life is pretty phenomenal: Unless you're a pro who's going to shoot more than 1500-2000 images at a time, the single battery pack included with the D2H should provide plenty of power.) A design plus I really appreciate in a pro camera is that the battery pack and card slot are both accessible from the sides of the camera, meaning that you don't have to dismount the camera from the tripod to access either compartment.

Design
With the established reputations of Nikon's D1, D1X, and D1H (not to mention the prosumer D100) digital cameras resting securely behind it, the D2H continues the line of Nikon's outstanding, high-performance pro digital SLRs. Offering the same exceptional exposure control and a range of features embodying the ultimate in flexibility and control, the D2H maintains the same functional design as Nikon's film-based pro SLR line. I've mentioned the Nikon-coined term "cameraness" before, which describes the combination of features, functionality, and above all, user interface design, that defines how a camera operates as a photographic tool. Key to Nikon's strategy is that their digital SLRs embody the same "cameraness" as their film models, so practicing pros can switch back and forth between film and digital bodies without having to stop and adjust their shooting style or practices. Like the previous models, the D2H fulfills this goal admirably, with an operational design that will be immediately familiar to users of the Nikon F5. Though sophisticated, the D2H's user interface is clean, straightforward, and quick to navigate, with a no-frills, four-page menu system that's slightly improved over previous models. (Actually, to interject a personal note here, I found the D2H overall to be the most enjoyable camera to shoot with that I've yet had the pleasure of using. Its user interface is one of the most transparent I've encountered, and the camera just felt "right" when using it. - This is more of a subjective comment than I'm usually comfortable making here, but I do so because the difference between the D2H and other cameras was so dramatic, even though subtle. - If that's not an oxymoron...)

While the camera bodies may look very similar, the D2H sports a number of new upgrades and features over the previous D1H model. For starters, the D2H has a slightly different control layout, and a couple of new buttons to handle previous menu options. Internally, the D2H offers a 4.1-megapixel JFET LBCAST image sensor for higher resolution images and improved long-exposure image noise. It also has much more sophisticated white balance system, with an ambient-light color sensor and the ability to save as many as five manual presets, a larger LCD monitor for better viewing, a Voice Memo mode, and a new Anti-Dust option (that needs Nikon's optional Capture 4 software to take advantage of), among other slight changes. One of the most interesting capabilities of the D2H is only available via a separate accessory, the wireless transmitter. With it attached (as shown above), you can wirelessly send image files from the camera to a computer, or even out over the internet.

Measuring 6.2 x 5.9 x 3.4 inches (158 x 150 x 86 millimeters), the physical dimensions of the D2H are practically identical to those of the D1, D1X, and D1H models. Weighing in at a hefty two pounds, 12.4 ounces (1,259 grams) excluding the lens and flash unit, but including batteries and memory card, the D2H is a definite handful, but nonetheless falls about the middle of the range for pro digital SLRs. Thanks to a cast-alloy body (see the photo above), the D2H carries forward the "built like a tank" ruggedness of previous Nikon Pro SLRs.

One new addition to the D2H is a much more complete system of environmental seals on the body than we've seen on Nikon cameras before, as shown above. The result is a camera that's by no means waterproof, but one that's at least highly resistant to water and dust.

The front of the camera features a standard Nikon F lens mount, complete with AF coupling and AF contacts. As with Nikon's other Digital SLRs, the D2H body contains the necessary contacts to support Nikon's latest AF-S "silent wave" autofocus lenses, and also supports Nikon's designed-for-digital DX-series lenses. There's also a Depth of Field Preview button, Function button, Sub-Command dial, sync terminal for an external flash, 10-pin remote terminal, Lens Release button, Focus Mode Selector dial, ambient light sensor, self-timer lamp, and secondary Sub-Command dial. A substantial hand grip on the right side of the camera features a rubbery covering that provides a very secure finger grip. A thick rib running along the bottom of the body provides a hand grip when the camera is rotated for vertical-format shots, covered with the same textured, rubbery surface.

The top of the camera features the Power switch, Shutter button, Mode and Exposure Compensation buttons, and a small status display panel that reports most of the camera's settings, without forcing you to resort to the rear-panel LCD screen. The images inset right include a photo of this display panel as it appears on the camera, as well as a graphic illustration showing all segments activated simultaneously.

Also on top is a diopter adjustment dial for the optical viewfinder and Metering dial (both on right side of the hot-shoe mount, when viewing the camera from the rear). On the other side of the hot-shoe mount are the Mode dial (with lock button), as well as the Flash Sync Mode, Bracketing, and Command Lock buttons. The top hot-shoe accommodates a variety of Nikon Speedlight external flash units. The hot shoe has the usual trigger terminal in the bottom, as well as three other contacts for interfacing to Nikon's dedicated speedlights.

On the right side of the camera, a second Shutter Release button makes vertical shooting much easier. A locking dial surrounds the button to prevent accidental triggering. Also on this side of the camera is one of the eyelets for attaching the neck strap.

The opposite side of the camera features the battery and connector compartments, and the second neck strap eyelet. Both connector compartments are covered by rubbery flaps that remain tethered to the camera when opened, and fit snugly into place. The top compartment houses the AV Out and DC In jacks, with the USB 2.0 jack in the compartment below. A rotating latch locks the battery compartment cover in place. The cover is actually a separate piece from the camera, removing completely to expose the battery chamber. When a battery is inserted, the compartment cover locks onto the battery, but can be released by pressing a tiny button just inside the outer lip.

The back panel of the D2H holds the remaining camera controls, which are extensive. The large, bright 2.5" LCD screen features a removable protective cover which pops on and off. The protective cover is a nice idea, as the LCD projects out from the back of the camera further than any other feature, and so could be subject to abrasion, sliding back and forth across your jacket or shirt front when the camera is hanging from its neck strap. The protective cover is transparent, making it possible to see and navigate the LCD menu system without removing it. A light-tight shutter can be flipped closed across the viewfinder eyepiece, preventing stray light from affecting exposures when the camera is used on a tripod. This shutter is opened and closed by a small lever at the top left of the eyepiece. Across the top are several command buttons, including the Playback, Delete, AE/AF Lock, and AF-On buttons, in addition to the main Command dial. The LCD monitor panel rests in the left center of the back panel, along with a Four-Way Arrow Rocker pad located inside a focus selector lock dial. A card slot cover release button (beneath a small, plastic flap) is located to the left of the CompactFlash slot which supports Type-I and II CompactFlash cards, as well as MicroDrives. Card activity is indicated courtesy of a small LED just above the release button, and to the left of the CompactFlash card slot, on the back of the camera. Lining the left side of the LCD monitor is another set of control buttons, including the Menu, Thumbnail, Protect, and Enter buttons.

A small rear control panel beneath the LCD monitor works in conjunction with a series of buttons below it, which include Sensitivity, Quality / Size, and White Balance buttons. (As before, the images at right show a photo of this display panel as it appears on the camera, as well as a schematic illustration with all segments activated.)

The AF Area mode selector and Voice Memo button are next to the lower right corner of the LCD monitor, and a secondary AF-On button and Command dial for vertical shooting are in the lower right corner of the rear panel. Finally, a small speaker just to the left of the small status display panel plays back voice memos recorded via the small microphone to the right of the White Balance button.

The very flat bottom of the camera reveals only the metal tripod mount and the connector jack for the optional wireless transmitter accessory. I appreciate the fact that neither the batteries nor the CompactFlash slot are accessed from the bottom of the camera, which lets you change the batteries and memory card without dismounting from a tripod. The large surface area of the camera's bottom combines with the high-friction rubberized surface to produce a very stable mounting surface for use with a tripod. The central position of the tripod mount with respect to the depth of the camera body, and the center-line of the lens, will help both with mounting stability and to reduce parallax error when shooting panoramas.

Viewfinder
The D2H is equipped with an optical viewfinder that works through the lens (the LCD monitor is for image playback and accessing the menu system only, and as with other digital SLRs cannot be used for image preview / framing). The circular optical viewfinder features a diopter adjustment dial and a sliding protective shutter manually moved in and out of place by a small lever. The internal metal shutter helps avoid exposure errors due to light entering the rear element of the viewfinder during long exposures on a tripod. Nikon states that the optical viewfinder provides about 100 percent frame coverage, which agrees quite well with my own measurements. (I measured viewfinder coverage at almost exactly 100 percent.) The D2H's illuminated display inside the viewfinder provides a bit more information than the previous D1H, with a center-weighted metering circle, 11 sets of focus brackets, focus indicator, metering, bracketing indication, battery level, FV lock, sync indicator, AE lock, shutter speed, shutter speed lock, aperture, aperture lock, aperture stop indicator, exposure mode and compensation, frame counter, flash-ready indicator, electronic analog exposure display, voice memo status, white balance mode and bracketing, image size and quality, and ISO sensitivity.

While the 2.5-inch LCD panel on the D2H isn't usable as a viewfinder, it does provide a great deal of information about your pictures after you've shot them. A variety of playback options are available, ranging from a 9-image thumbnail display, through several full-sized image modes, to a zoomed playback option with variable magnification. Of these, one of the most interesting options is the histogram screen, shown at right. Histogram displays are common on professional digicams, regarded as almost mandatory by many pros for evaluating exposure levels. A histogram is simply a graph of how many pixels there are in the image at each brightness level. The brightness is the horizontal axis, running from black at the left to white at the right. The height of the graph shows the relative number of pixels having each brightness level. This sort of display is very handy for determining under- or overexposure. Ideally, the histogram would stretch across the entire width of the display, using the full range of brightness values available. An underexposed image will have a histogram with all the data lumped on the left-hand side, with nothing reaching all the way to the right. Likewise, an overexposed image will have all the data lumped on the righthand side.

The histogram display is very helpful in telling whether you've got the exposure right, but to my mind isn't adequate by itself. With digicams, it's very important not to blow-out the highlights in a picture (rather like slide film in that respect), since once you hit the maximum brightness, the image just saturates, and any highlight detail will be lost. A histogram display does a pretty good job of telling you how the image as a whole is doing, but what if there are just a few critical areas that you're worried about for the highlights? If only a small percentage of the total frame is involved, it won't account for many pixels. That means any peak at the "white" end of the histogram graph would be pretty small, and easy to miss (or just plain invisible). What to do? The folks at Nikon recognized this problem, and provided another special display mode that they simply call "highlights," accessible via the Playback settings menu, under "Display Mode." This mode blinks any highlights that are saturated in any of the color channels. It does this by taking the pure white areas on the LCD and toggling them between white and black.

In addition to the histogram, highlights, and information screens, the D2H also features a focus information screen, which highlights in red the AF area used for the shot. This can be helpful for checking to see that the camera's AF system locked onto the portion of the subject you were most interested in.

The previous D1H didn't offer any playback zoom, a problem that has been well-addressed on the D2H. Pressing the Enter button while an image is displayed enters Playback Zoom mode. To control zoom, you then hold down the Index button while turning the Command dial. The ability to magnify an image lets you see critical details that are indiscernible in the basic LCD image. Also in Playback mode, the D2H's LCD monitor can display as many as four or nine thumbnail-sized images at once, when the Index button is held down while rotating the Sub-Command dial.

Optics

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In this section, I usually discuss the lens characteristics of the camera I'm describing. In the case of the D2H, you can attach pretty much any lens you want, as long as it uses the Nikon F mount. The D2H features the standard F mount, with both mechanical AF coupling for older lenses, and AF electrical contacts for the latest AF-IF or AF-S Nikkor lenses with internal focus motors. With very few exceptions, you can use the D2H with any F Mount Nikkor lens ever made. (Actually, I'm not personally aware of any F-mount lenses that *wouldn't* work, but do know that some of the really unusual Nikkor lenses from the past [full-frame fisheyes?] had problems on some camera bodies, requiring mirror lockup to function properly. This is a vanishingly small percentage of the possible lenses that could be used with the camera though, so you can safely assume that most any F mount lens in your camera bag will work just fine with the D2H.)

Functions and exposure modes available with a given lens will vary with the type. More recent Nikkors (the D-type and G-type models) include a microchip that communicates focal-distance information to the camera. Lenses without the microchip used in the "D" and "G" types won't support the "3D color matrix metering" mode. Here's a table giving a brief idea of the functionality available with different Nikkor lens types (abstracted from the D2H's manual).

Given that the optical characteristics will depend entirely on the lens attached, I'll instead concentrate here on the focusing options and modes. There's a lot to talk about here, given the exceptional control and flexibility afforded by the D2H's autofocus systems. The D2H allows you to take advantage of auto or manual focus via a small dial on the front of the camera, right next to the lens. (This dial was redesigned from the D1H model, so that it's less likely to accidentally change the focus mode while holding the camera with two hands.) Setting the switch to "M" puts the camera into manual focus mode, "S" places it in Single Servo AF (focus priority), and "C" puts it into Continuous Servo AF (release priority). Single Servo simply means that the camera sets focus only once, when the Shutter button is first pressed halfway, and is best for still objects. Continuous Servo means that the camera continuously adjusts the focus, as long as the Shutter button is halfway pressed, and is best for moving objects.

You also have the freedom of setting the autofocus area on the D2H. A dial on the camera's rear panel selects between Single Area, Dynamic Area, Group Dynamic Area, and Dynamic Area with Closest Subject Priority modes. Single Area AF simply means that the camera judges focus based on one part of the subject, while Dynamic AF employs all 11 of the autofocus brackets, or areas. (Both modes allow the user to manually select the main AF area.) The camera first focuses on the subject in the central focus area. Whenever the subject moves to a different AF area, the camera also shifts the focus to "follow" the subject. This is great for irregularly moving subjects. Group Dynamic AF mode is a new feature on the D2H, and lets you manually select a group of five AF points in any section of the frame, from which the camera automatically focuses based on the portion of the subject closest to one of the selected points. This is good for moving subjects that remain within the same general area of the frame. Finally, the Dynamic Area with Closest Subject Priority option means that the camera first focuses on the closest object that falls into one of the 11 focus areas and then tracks it as it moves. (Note that no focus area brackets are illuminated in the viewfinder with this mode and that this mode doesn't work well with telephoto lenses or poorly lit subjects, according to Nikon). In Single Area and Dynamic Area AF modes, you can change the main focus area by unlocking the focus area selector (the Four-Way Arrow pad on the back panel) and then shifting the focus area using the up, down, right, or left arrow keys. Then, simply lock the focus area selection by sliding the switch back into place. By default, the D2H does not "wrap" the focus area selector as you scroll between focus areas. Through the Custom Settings menu, you can opt for a "Wrap" function, which hunts for the next area from top to bottom or left to right. What this means is that if you continue to press the right arrow key when the right focus area is selected, the selection will jump to the left focus area next, rather than remaining on the rightmost focus area setting.

There are two methods for using the AF Lock function. The first is to place the central subject in the selected focus area, halfway press the Shutter button, then realign the composition and fire the shutter. Alternatively, when using Single Servo AF, you can press the AF-L/AE-L button to lock focus (and exposure, unless set for focus only in the Custom Settings menu). Keeping this button pressed will lock focus and/or exposure, even if the Shutter button is released. This allows you to recompose the photograph without keeping your finger on the Shutter button, but on the AE-L/AF-L button instead. (Thereby resulting in less chance that you'll accidentally fire the shutter when you don't intend to.) The AF-On buttons on the rear panel set focus without needing to half-press the Shutter button. The purpose of the AF-On buttons is to allow you to lock focus independently of exposure, if the AE-L/AF-L button has been set to lock exposure only. Thus, you can lock the focus for one section of the frame, and the exposure for another.

Exposure

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The D2H offers the many of the same (exceptional) exposure controls and multiple options I liked so much on previous Nikon digital SLRs. First of all, the D2H gives you a choice between Program AE, Manual, Aperture Priority, and Shutter Priority exposure modes with shutter speeds from 1/8,000 to 30 seconds available, as well as a Bulb setting for longer exposures (which doesn't appear to be time-limited - I took test shots as long as three minutes). A very nice touch is that, while in Program AE mode, you can rotate the Command dial to select different combinations of aperture and shutter speed settings than those normally chosen by the autoexposure system. (That is, if the automatic program would have chosen 1/125-second and f/5.6, you could instead direct the camera to use 1/60 at f/8 or 1/30 at f/11, to get greater depth of field.) This feature, referred to as a "Flexible Program" mode, is a very handy option for those times when you need some measure of increased control, but still want the camera to do most of the work for you. You can also set the exposure step size for adjusting the shutter speed, to one-third, one-half, or one full EV unit, through the Custom Settings menu.

An interesting feature when using Manual exposure mode is the electronic analog exposure display visible in both the optical viewfinder and the top-panel data readout. This shows the amount an image will be over- or underexposed, based on the settings you have selected, and helps you find the best exposure for the subject. I also liked the Command Lock feature (activated by pressing the Command Lock button on the top panel) which locks the shutter speed and/or aperture setting so that it is not accidentally changed when using the Command dial for another purpose. (If you set either the shutter speed or aperture before activating the Command Lock function, a "lock" icon will appear next to the corresponding setting in both the viewfinder and data readout displays, and that setting can't be changed until you change the Command Lock option.)

ISO can be set to a range of values from 200 to 1,600 via the ISO button on the back panel, and to values of 3,200 or 6,400 by selecting the "Hi-1" and "Hi-2" settings. Through the Custom Settings menu, you can also activate an Auto ISO option, which disables the two high sensitivity settings. The D2H's improved White balance system offers Auto (useful from 3,500K to 8,000K), Incandescent (set to about 3,000K), Fluorescent (4,200K), Direct Sunlight (5,200K), Flash (5,400K), Cloudy (6,000K), Shade (8,000K), Color Temperature (manually selectable from 2,500K to 10,000K), and Preset (which allows you to manually adjust the white value by using a white card or object as a reference point). You can store as many as five Presets for instant recall. All white balance settings can be adjusted from -3 to +3 units on an arbitrary scale by turning the Sub-Command dial (on the front of the hand grip) while holding down the White Balance button (with the exception of the Color Temperature and Preset options, which are not adjustable). Higher values correspond to a decrease in the camera's white point, in degrees Kelvin (meaning the images become "cooler" in appearance). This is a very nice feature, as I often wish I could use one of a camera's standard white-balance settings, though just a bit warmer or cooler. To be sure, some experimentation would be required to familiarize yourself with the impact of these tweaked white balance settings, but having them available is a definite plus. In addition to manually tweaking the white balance, you can automatically capture a bracketed series of images at different white balance adjustments with one press of the Shutter button. Rotating the Command dial while holding down the Bracket button lets you set the number of images in the series. Pressing the Bracket button while rotating the Sub-Command dial lets you set the adjustment variable between shots.

As flexible as they are, I found the D2H's white balance options one of the few areas in which I was dissatisfied with the camera's performance. The much-vaunted auto white balance system did seem to work pretty well under a variety of circumstances, and did indeed appear to be less prone to being fooled by subjects dominated by a particular color. What I can't understand is why Nikon limited the Auto mode's range of usable color temperatures to a minimum of roughly 3500K. Conventional incandescent lighting is far more warm-toned than this (household incandescent lighting is typically in the range of 2400-2500K), so there's a vast range of lighting environments likely to be encountered by working photographers that the D2H's Auto white balance option won't be able to handle.

The Kelvin color-temperature white balance option is a powerful one, potentially highly useful for those photographers equipped with color-temperature meters. I found that the Kelvin-based white balance system worked well across a range extending down to about 2800K, but below that, the D2H seemed to over-correct somewhat, producing rather bluish-tinted images under 2500K lighting when the 2500K white-balance setting was used. It's possible that my aging Minolta color meter wasn't reading the color correctly, but the meter, the D2H, and a Canon EOS-1D all seemed to agree pretty well at the 2800K level. (Given that my color meter is indeed rather old, I don't want to place too much emphasis on this, but did want to at least mention it so prospective purchasers can be aware of the potential issue, and check the camera out carefully with their own color meters.)

The table below shows approximate white point temperatures in degrees Kelvin for the various adjustments in each of the major white balance settings.

Three metering options are available on the D2H: 3D Color Matrix, Center-Weighted, and Spot. The 3D Color Matrix setting uses a 1,005-pixel CCD sensor (separate from the main image sensor) to meter exposure based on several areas in the frame (useful when brightly colored or very dark subjects occupy a significant portion of the frame). This is the same 3D Color Matrix metering system used on the Nikon F5 and the previous D1, D1X, and D1H models. Center-Weighted metering measures light from the entire frame but places the greatest emphasis on a circular area in the center. (You can adjust the size of the area through a Custom Settings menu option.) Spot metering is pretty self-explanatory, taking a reading from the dead center of the image (best when using the AE Lock function). The D2H has a nifty trick with spot focus though. With D-type lenses, and in the proper focus-area mode, the spot metering actually centers on the focus area selected, giving you the option for off-center spot metering. You can also link the spot with the center of the Group Dynamic Area setting.

Exposure compensation on the D2H is adjustable from -5 to +5 exposure equivalents (EV) in one-third step increments, and is controllable in all exposure modes. (Through the Custom Settings menu, you can also opt for one-half or one full step size.) The Auto Bracketing feature takes as many as nine shots of the same subject with varying exposure values determined by either the photographer in Manual mode or by the camera in all other modes. Exposure settings for bracketing can vary from -2 to +2 EV (values are added to the already chosen exposure compensation value), with step sizes of one-third, one-half, or one EV unit, and the bracketing biased toward either underexposure, overexposure, or centered around the main exposure value. Through the Custom Settings menu, you can designate whether the bracketing sequence adjusts the exposure, the flash, both flash and exposure, or white balance (described above). For an exposure series, the camera doesn't automatically snap a series of images with one press of the Shutter button. Instead, the exposure varies with each subsequent press of the Shutter button, and an indicator on the top status display panel reports where you are in the sequence. By pressing the Bracket button and rotating the Command dial, you can set the number of images you'll capture in the series. Pressing the Bracket button while turning the Sub-Command dial sets the exposure increment each shot will vary by.

On a more mundane level, the D2H has a self-timer feature that allows you to set the time interval anywhere from two to 20 seconds, activated by fully pressing the Shutter button.

An interesting feature is the Mirror-Up Mode (which replaces the Anti-Mirror Shock mode on the D1H), accessed on the Drive dial. Mirror-Up raises the mirror with the first press of the Shutter button, then captures the exposure with a second press. The mirror is lowered automatically after the exposure. (Obviously meant for times when the camera is on a tripod.) This mode allows you to take images without worrying about extended shutter delay from an arbitrary anti-vibration delay or any vibration from the mirror. The D2H also offers image Sharpness, Tone Compensation (Contrast), Color Mode, and Hue Adjustment options. The Sharpness setting has been expanded from the D1H's offerings, and now includes Medium Low and Medium High options in addition to the standard Auto, Normal, Low, High, and None settings. As with previous camera models, the Tone Compensation option’s Custom setting allows you to download a custom tone curve from your computer. (If no curve is downloaded, the Custom setting defaults to the Normal setting.) The Hue adjustment offers arbitrary adjustments from -9 to +9 degrees, set in three-degree increments. Raising the Hue setting in the positive direction results in a stronger yellow cast in the image, causing blues to shift toward neutral. Alternatively, lowering the Hue setting to negative values introduces a blue cast, which consequently shifts a yellow cast toward neutral. The Color Mode option allows you to capture images in sRGB I or II, or Adobe RGB color. The first sRGB setting is calibrated for portraits, while the second is better for nature and landscape shots.

When reviewing images on the LCD monitor, you can pull up a histogram and a highlight function to give you a complete readout on the exposure. This is a useful tool to examine your exposure in the camera instead of waiting to download images and then deciding to reshoot.

Continuous Shooting Mode
The D2H offers Low and High Speed Continuous Shooting modes, for capturing rapid series of images. In Low Speed Continuous Shooting, the camera records from approximately one to seven frames per second, for as long as the Shutter button is held down. The actual frame rate and the number of shots in the series is determined through the Custom Settings menu. High Speed Continuous Shooting captures at a much faster rate, approximately eight frames per second. Once the designated frame limit is reached, the camera won't record any more photographs until at least one of the images is transferred from the buffer memory to the memory card. Regardless of the set number of images in the series, the amount of memory card space will ultimately limit the length of the series if there's not enough room to store the number selected.

Voice Memo Mode
New on the D2H is a Voice Memo recording option, which lets you record short sound clips up to 60 seconds to accompany captured images. You can set the camera to automatically record voice memos after capture, or opt to manually record memos by pressing and holding the Microphone button on the rear panel. This can either be done immediately after capturing a photo, or can be done whilst reviewing images at a later time.

Interval Shooting Mode
Another new feature on the D2H is Interval Shooting mode, which facilitates time-lapse photography by taking a series of images at preset intervals. You can set the starting and ending times for the series, as well as the amount of time between shots and the total number of shots to be captured. This is a good way to capture a timeline of slower events, such as clouds passing across the sky, tidal changes, a flower opening, etc.

What's up with RAW?

Like many high-end digicams, the Nikon D2H has a "RAW" file format as an option. If you're new to the world of high-end digital cameras, you may not be familiar with the concept of the "RAW" file format. Basically, a RAW file just captures the "raw" image data, exactly as it comes from the camera's CCD or CMOS image sensor. So why would you care about that? - RAW files let you manipulate your images post-exposure without nearly as much loss of image quality as you'd get with JPEG files. A full discussion of RAW file formats is way beyond the scope of this article, but Charlotte Lowrie of MSN Photo has written an excellent article describing the benefits of the RAW format, titled A Second Chance to Get It Right. Check it out, it's one of the clearest tutorials on RAW formats I've seen yet.

Flash
Like most professional SLRs, the D2H doesn't carry a built-in flash, but rather is designed to work with external strobe systems, or Nikon Speedlights. The camera features an external flash hot-shoe on its top panel, as well as a secondary PC Sync socket on the front of the camera. The Flash button on top of the camera accesses the five sync modes, which include Front Curtain Sync, Slow Sync, Rear Curtain Sync / Slow Rear Curtain Sync (Aperture Priority and Program modes), Red-Eye Reduction, and Red-Eye Reduction with Slow Sync. Just as these modes sound, the camera times the flash exposure with either the opening or closing of the shutter. Red-Eye Reduction simply means that a small pre-flash fires before the full-strength flash to eliminate the effects of Red-Eye in portraits. The Slow Sync setting times the flash with a slower shutter speed, which in turn allows more ambient light into the frame.

The SB-800 Speedlight
Simultaneous with the announcement of the D2H, Nikon also announced an all-new Speedlight, the new SB-800. By far the most advanced integrated flash system announced by Nikon (or anyone else, for that matter) to date, the SB-800 features "i-TTL" wireless through-the-lens flash exposure control when used with the D2H. - While the SB-800 can be used with other Nikon cameras, many of its groundbreaking features are only available when coupled with the D2H. (Although we can expect that this is a new standard for Nikon Speedlights, so future camera bodies will doubtless also support the full range of SB-800 features.

The new SB-800 offers a range of new features, including a new and highly advanced wireless control system by which multiple SB-800 speedlights can be controlled from a single master unit, with full wireless control over relative exposure levels between units, and full "i-TTL" through-the-lens metering. Other new features include a new Auto FP high-speed sync, flash color information communication for improved color accuracy, a flash value ("FV") exposure lock, and a new wide-area AF-assist illuminator that's tailor-made for the D2H's new 11-area Multi-Cam 2000 AF sensor unit.

One of the most technologically impressive aspects of the SB-800 is its use of Nikon's new Advanced Data Communication system, which uses rapid pulses of the flash units during the pre-flash metering period to pass setup and exposure information between multiple units. With this system, you can control four independent sets of SB-800 speedlights wirelessly from the camera itself. (No more crawling/climbing around to set exposure levels on remote flash units!) The four groups consist of the speedlight attached to the camera (the master), and three separate sets of remote units, each of which can consist of any number of SB-800 units for the ultimate in lighting flexibility. Settings for each group of speedlights are made via the control panel and large LCD panel on the Master unit attached to the camera. It deserves repeating that all speedlights in all groups can operate in i-TTL mode for completely automatic flash exposures, including relative exposure differences dialed-in for each group from the Master controller. (You can also run different groups in different flash modes if you'd like, setting two groups to i-TTL, and another to Manual mode, for instance.)

When you press the shutter button, the Master fires each group of speedlights in turn, collecting exposure information via the camera's TTL metering system. This exposure information is then integrated, power levels are set for all groups, and the shutter and speedlights are fired for the exposure itself. If it sounds like there's a lot going on, it's because there is, but the whole process takes only as much time as does the normal pre-exposure metering flash from a conventional "smart" strobe unit.

It's hard to overstate how effortless the SB-800 makes multi-flash lashups. If you've ever had to climb up and down a ladder or crawl behind a set a few dozen times to get flash levels set properly, you'll immediately understand the benefit of being able to set the exposure levels for up to 3 groups of remote strobes, without leaving the camera.

Wireless TTL multi-flash functionality is only part of the story though, as the SB-800 offers a range of other new features as well. Here's a list, copied from Nikon's marketing materials:

• Auto White Balance Adjustment using Flash Color Temperature Information: The SB-800 achieves a high level of color accuracy when used with the D2H digital SLR camera. With changes in the duration of light emitted by a speedlight, there are slight variations of color temperature. Using the D2H in Auto White Balance mode, the SB-800 communicates these slight variations in color data back to D2H and the camera’s auto white balance system implements the fine adjustment needed for overall excellent white balance.
  
  
• FV-Lock: FV-Lock (Flash Value Lock) is comparable to the way an AE-Lock functions in a camera. Once the camera measures a correct flash value, the SB-800 locks this value until the photographer resets it – helping to maintain the flash value for correct exposure of the subject.
  
  
• Auto FP High-Speed Sync Flash: The SB-800’s Auto FP function can automatically fire the speedlight in i-TTL mode at shutter speeds up to 1/8,000 second, offering excellent opportunities to use flash in bright light with fast aperture lenses. (My own note: This is a really significant capability, as it makes delicate fill-flash lighting possible even in full sunlight when using a f/2.8 lens.)
  
  
• Modeling Flash: A modeling flash feature in the SB-800 fires a stroboscopic burst of light for approximately one second, allowing photographers to visually confirm lighting and shadow effects before shooting.
  
  
• Quick Battery Recycle Pack: Included with the SB-800 Speedlight is the SD-800 Quick Battery Recycle pack that cuts recycling time in the SB-800 to as short as 2.7 seconds for full power manual flash.
  
  
• Additional features: Additional features in the SB-800 include zoom coverage, bounce and rotating flash head, large LCD read-out panel, accessory filters for special color effects and emulation of fluorescent and incandescent lighting, robust locking flash shoe, and autofocus assist light.

It's no stretch to say that the SB-800 is by far the most impressive flash system I've seen to date. It makes wireless, TTL-metered, multi-flash photography not only possible but easy. I expect Nikon will sell SB-800DXs by the thousands, and quite likely more than a few D2H bodies as well, simply because the D2H is currently the only Nikon camera that takes full advantage of the SB-800DX's incredible capabilities. (Truth be told, I think that the SB-800DX is a more revolutionary development than the D2H itself, it promises to have a greater impact on photographer's creative capabilities. The D2H does much the same things that previous digital SLRs did, just faster. The SB-800 offers entirely new capabilities that are more than just refinements on those of previous systems.)

Shutter Lag / Cycle Times
When you press the shutter release on a camera, there's usually a delay or lag time before the shutter actually fires. This time allows the autofocus and autoexposure mechanisms time to do their work and can amount to a fairly long delay in some situations. Since this number is rarely reported on, and can significantly affect the picture taking experience, I now routinely measure it, using a custom test system I designed and constructed for the purpose.

Operation and User Interface
Though some of the control buttons have moved around and a few new ones have been added, I found the user interface on the D2H surprisingly straightforward and simple to use, even more so than I did the earlier D1H model. The addition of a few external control buttons makes it faster to access some of the camera's settings. The LCD menu is a four-tab system that divides up functions between Playback, Camera, Custom Settings, and Set-up. Nikon greatly simplified the Custom Settings menu on the D2H, eliminating the more cryptic numeric designations and implementing a color coded system that divides the settings between common themes such as "Metering/Exposure" and "Shooting/Display." While many of the camera's options can be accessed via the excellent "plain English" menu system, all the most common shooting controls are available via the camera's external buttons and knobs. You can also program the operation of some of the buttons, to configure the camera for your particular shooting requirements. As I noted earlier, Nikon makes a big deal of their digital SLR's "cameraness," defined as how well/easily they function as cameras. The D2H definitely fits this mold, with an intuitive control layout that's quick to learn, once you get the gist of things, and that's arguably the fastest and most intuitive I've had the pleasure to use.


Control Enumeration



Depth of Field Preview Button: Located on the front of the camera, on the top left side (viewed from the front) next to the lens, this button allows you to check the depth of field for the current aperture setting by looking through the viewfinder, which provides an approximate idea of the depth of field. Note that since less light can enter through the smaller aperture, the viewfinder becomes correspondingly dimmer whilst the Depth of Field Preview button is pressed.

Function Button: Beneath the Depth of Field Preview button, this button can be programmed through the Custom Settings menu to control a variety of exposure options, including Flash Value Lock, Flash Value Lock / Lens Data, One Stop Speed / Aperture, AE Lock / AF Lock, Flash Off, Bracketing Burst, Matrix Metering, Center-Weighted Metering, and Spot Metering.


Lens Release Button: Also on the front of the camera, on the right side next to the lens, this button releases the lens from its mount when pressed. This button was enlarged slightly from the D1H model, making it more comfortable to access.

Focus Mode Selector Switch: Beneath the Lens Release button, this switch sets the focus mode to Manual, Single Servo AF, or Continuous Servo AF.


Sub-Command Dial: Positioned at the top front of the hand grip, just beneath the Power switch, this dial is used for selecting secondary values in many operating modes and menus. The dial also adjusts the aperture in Aperture Priority and Manual exposure modes, and selects from a range of equivalent exposure settings in Flexible Program mode.


Power Switch: Encircling the Shutter button on the top right of the camera, this switch turns the camera on and off. By turning it slightly past the "On" position to the "Light Bulb" icon, it also turns on the backlights for both status display panels (on top and on the back panel) when shooting in dark situations. The switch is spring-loaded to return itself to the "On" position after turning on the backlights, which will remain on while the exposure meter is active (that is, for a few seconds after a half-press of the shutter button), or until the shutter is released.

Shutter Button (see image above): In the center of the Power switch, on the top of the camera, this button sets exposure and focus when halfway pressed and fires the shutter when fully pressed.


Exposure Compensation Button: Directly behind the Shutter button on the top of the camera, this button sets the Exposure Compensation from –5 to +5 exposure equivalents (EV) in one-third, one-half, or one-step increments when pressed while turning the main Command dial.


Exposure Mode / Format Button: Just to the left of the Exposure Compensation button, pressing this button while turning the main Command dial sets the exposure mode (Program AE, Manual, Aperture Priority, or Shutter Speed Priority). In any mode, pressing this button simultaneously with the Erase button (also labeled Format) for two seconds, then releasing both buttons momentarily and re-pressing them formats the memory card.


Metering Selector: To the left of the Exposure Mode / Format button on top of the camera (actually on the side of the bulky flash hot-shoe mount), this selector ring surrounds a small black button. Pressing the button and turning the ring allows you to select between Spot, Center-Weighted, and Color Matrix / 3D Color Matrix metering options.


Diopter Adjustment Knob: Directly behind the metering selector, this knob adjusts the optical viewfinder to accommodate eyeglass wearers. (Range is -3 to +1 DP.)


Mode Dial Lock Release: On the top left side of the camera (when looking at the back), next to the Mode dial, this button releases the Mode dial to select the camera mode.


Mode Dial: Underneath a set of control buttons on the left side of the top panel, this notched dial selects between Single Frame, Continuous Low-Speed Shooting, Continuous High-Speed Shooting, Self-Timer, and Mirror-Up modes.

Auto Bracketing Button: (See photo of Mode dial above. The Auto Bracket button is the one labeled "BKT".) Positioned on the top of the Mode dial and next to the Flash and Command Lock buttons, this button turns on the Auto Bracketing function and sets the number of frames when pressed while turning the main Command dial. Pressing this button and turning the Sub-Command dial sets the exposure or white balance step size (in EV for exposure, or Mireds for white balance).

Flash Sync Mode Button: (See photo of Mode dial above. Flash sync button is the one with a lightning bolt icon on it.) Behind the Auto Bracketing button, this button cycles between the five flash sync modes (Front-Curtain Sync, Slow-Sync, Rear-Curtain Sync / Slow Rear Curtain Sync, Red-Eye Reduction, and Red-Eye Reduction with Slow-Sync) when held down while turning the main Command dial.

Command Lock Button: (See photo of Mode dial above. Command Lock is the button with the L inside a white square.) This button locks either the aperture or shutter speed setting in Aperture Priority and Shutter Priority exposure modes, when pressed while turning the Sub-Command dial. You can also lock one value or the other in Manual exposure mode.


Playback Button: Situated at the top left side of the back panel, this button activates the LCD monitor and displays the most recently-captured image.


Erase / Format Button: To the right of the Playback button, this button deletes individual images. When pressed in conjunction with the Mode button for two seconds, then released and both buttons pressed once more, this button formats the CompactFlash card.


Eyepiece Shutter Lever: Nestled above the left side of the optical viewfinder, this lever opens and closes the shutter that covers the viewfinder eyepiece for accurate exposures when using a tripod. (e.g., when your eye isn't blocking light from entering the rear element of the viewfinder.)


AE/AF Lock Button: Located on the top right side of the back panel, this button locks the exposure and/or focus when pressed (can be set through the Custom Settings menu to lock one or the other, or both).

AF-On Button: (see image above) To the right of the AE/AF Lock button, this button sets the autofocus when pressed (performs the same function as halfway pressing the Shutter button).


Main Command Dial: The final control on the top right of the back panel, this dial is used to select various camera settings when turned in conjunction with a number of control buttons. In Aperture Priority and Shutter Speed Priority modes, this dial sets either the aperture or shutter speed settings. In Manual exposure mode, the dial sets the shutter speed.


Focus Area Selector and Lock / Four-Way Arrow Rocker Pad: Beneath the Command dial, on the right side of the back panel, this rocker button with its associated locking switch controls the autofocus area in Record mode. The switch unlocks the autofocus area and the four arrow buttons let you decide where to set the main autofocus area (by choosing one of the 11 brackets displayed in the viewfinder). In Playback mode, the rocker toggle button's up and down arrows scroll through captured images while the right and left arrow buttons cycle through various information displays for each image. The arrow buttons also navigate through the LCD menu system.

AF Area Mode Selector: Below the Four-Way Arrow Rocker pad, this selector sets the AF area mode to Single Area, Dynamic Area, Group Dynamic, or Dynamic Area AF with Closest Subject Priority.

Voice Memo Button: Below the lower left corner of the LCD monitor, this button lets you record as many as 60 seconds of sound to accompany a captured image. The camera records as long as the button is held down.


Menu Button: The first button in a series lining the left side of the LCD monitor, this button calls up the LCD menu system.

Thumbnail Button: Below the Menu button, this button pulls up an index display of either four or nine images when pressed while turning the Command dial. When an index display is active, you can move through your images a page at a time by holding the Thumbnail button and turning the Sub-Command dial.

Protect Button: Below the Index button, this button write-protects individual images from accidental deletion (except through card formatting). Pressing this button also removes protection.

Enter / Playback Zoom Button: The final button in the series on the left side of the LCD monitor, this button confirms menu settings in any menu. When a captured image is displayed on the LCD monitor, this button enlarges the image when pressed while turning the Sub-Command dial. Pressing this button while turning the main Command dial shows the full frame with an outline box indicating the area that was enlarged. (You can use the Four-Way Arrow pad to move the selection area and then zoom back in.)

ISO Button: The first button in a series lining the lower side of a smaller status display panel (directly beneath the LCD monitor), this button changes the camera’s sensitivity setting (ISO equivalent) when pressed while turning the Command dial.

Quality Button: To the right of the ISO button, this button sets the image resolution and quality. Pressing this button and turning the Command dial adjusts the quality setting, while turning the Sub-Command dial adjusts the resolution.


White Balance Button: Directly to the right of the Quality button, this button selects the White Balance setting when pressed while turning the main Command dial. Options are Auto, Incandescent, Fluorescent, Direct Sunlight, Flash, Cloudy, Shade, Color Temperature, and Preset (which allows you to manually adjust the white value by using a white card or object as a reference point). All white balance settings (except Color Temperature and Preset) can be adjusted from -3 to +3 by turning the Sub-Command dial (on the front of the hand grip) while holding down the White Balance button

Card Slot Release Button: Hidden beneath a plastic flap on the back panel, just below the Four-Way Arrow Rocker pad, this button releases the CompactFlash card slot cover so that the card can be removed. (Sorry, no photo of this button.)


Vertical AF-ON Button: Hidden on the bottom right of the back panel, this button serves the same purpose as the main AF-ON button, but is used when shooting vertically.

Vertical Command Dial: (see image above) Directly beside the vertical AF-ON button on the lower right corner of the back panel, this dial serves the same purpose as the main Command dial but is used when shooting vertically.


Vertical Shutter Release Button and Lock: Located on the bottom of the right side of the camera (when looking at the back panel), this locking Shutter button can be used when shooting vertically. The rotating lock ring keeps it from accidentally firing when shooting normally.

Camera Modes and Menus

Playback Mode: Accessed by pressing the Playback button, this mode allows you to review captured images, as well as delete or protect them and set them up for printing.

Record Mode: The camera is automatically in Record mode whenever it's powered on (when reviewing images, touching the shutter button immediately readies the camera to shoot a photo). The following exposure modes are available here (accessed by pressing the Mode button and turning the main Command dial):

• Program AE: Puts the camera in charge of the shutter speed and aperture settings, although you can vary its choices by turning the Command dial. (That is, you can increase or decrease the aperture the camera has chosen, and the camera will vary the shutter speed to maintain the same overall exposure value. Once you've chosen an offset in the aperture/shutter combination, the camera will continue to control the exposure automatically, while maintaining the aperture/shutter bias you've selected.)
• Aperture Priority: Allows you to set the aperture value while the camera automatically selects the appropriate shutter speed.
• Shutter Speed Priority: Allows you to set the shutter speed value while the camera automatically selects the appropriate aperture.
• Manual: Lets you select both the aperture value and shutter speed.

LCD Menu System: The following menus are available in any camera mode, and are called up by pressing the Menu button.

Playback Menu:

• Delete: Deletes selected images or all images from the memory card.
• Playback Folder: Designates which folder to review images from.
  • Named Folder(s): If a folder (or multiple folders) has been created, it appears here.
  • All: Reviews all images on the memory card, regardless of folder.
  • Current: Plays back images in the currently-used folder only.
• Slideshow: Accesses the Slide Show submenu which allows you to view all captured images in a slide show format. Options are:
  • Start: Starts the show.
  • Frame Interval: Sets the time interval between each image (two, three, five, or 10 seconds).
  • Audio Playback: Turns playback of audio clips attached to images in the slideshow on or off.
• Hide Image: Allows selected images to be hidden or revealed during Playback mode operations.
• Print Set: Allows images to be set up for printing using the DPOF (Digital Print Order Format). Options are:
  • Select / Set: Selects individual images to be printed from an index display, and marks them for printing. Once selected, you can specify the number of copies.
  • Deselect All: Removes the print mark from all images. You are prompted to reconfirm before the process is completed.
• Display Mode: Indicates which display modes are available during image playback. Options are Data, Histogram, Highlight, and Focus Area. Options are selected with a checkbox in front of each item.
• Image Review: Turns instant image review on or off. If on, the camera displays each image post-capture for a few seconds on the LCD monitor.
• After Delete: Displays a menu for you to choose what the camera should do after deleting an image. Choices are:
  • Show Next: Shows the image taken immediately after the image that was deleted. If the deleted image was the last one taken, the previous image will be displayed.
  • Show Previous: Shows the image taken immediately before the image that was deleted. If the deleted image was the first one taken, the next image will be displayed.
  • Continue as before: If the user was scrolling through images in the order that they were captured, the image taken immediately after the one that was deleted will be displayed. If the user was scrolling through images in reverse order, the image taken immediately before will be displayed. If the deleted image was the last one taken, the previous image will be displayed. If the deleted image was the first one taken, the next image will be displayed.
  
  

Shooting Menu:

• Shooting Menu Bank: Lets you select from four banks of shooting menu options, meaning you can create up to four custom user settings. You can also choose to rename a menu bank for easy identification. Menu bank names are alphanumeric, allow upper and lower case characters, and can be up to 20 characters long.
• Reset Shooting Menu: Resets the currently-selected menu bank settings to the camera's defaults.
• Active Folder: Selects the folder for storing images. You also have an option to create a new folder. Folder names are in the format "100NCD2H", with the first three digits being selectable anywhere from 100 to 999.
• Image Quality: Offers the following image quality options: NEF (RAW) + JPEG Fine, NEF (RAW) + JPEG Normal, NEF (RAW) + JPEG Basic, NEF (RAW), TIFF (RGB), JPEG Fine, JPEG Normal, and JPEG Basic.
• Image Size: Specifies the image resolution. Choices are Large (2,464 x 1,632 pixels) or Medium (1,840 x 1,224 pixels).
• RAW Compression: Determines whether RAW files are compressed when captured.
• White Balance: Adjusts the camera's color balance to match a variety of light sources. Choices are Auto, Incandescent, Fluorescent, Direct Sunlight, Flash, Cloudy, Shade, Color Temperature, and Preset (manual setting).
• ISO: Changes the camera's sensitivity setting, with options of 200, 250, 320, 400, 500, 640, 800, 1,000, 1,250, and 1,600. HI-1 (3,200) and HI-2 (6,400) settings are only available with the ISO Auto setting is off in the Custom Settings menu.
  
  
  
• Image Sharpening: Controls the level of in-camera sharpening applied to captured images. Options are Auto, Normal, Low, Medium Low, Medium High, High, and None.
• Tone Compensation: Adjusts the level of contrast to Auto, Normal, Less Contrast, More Contrast, or Custom (lets you load a preset tone curve from a computer).
• Color Mode: Assigns the color mode to I (sRGB), II (Adobe RGB), or III (sRGB). Of the sRGB modes, the I mode is intended for Portrait shots, and the III mode is for nature or landscape shots.
• Hue: Adjusts the hue saturation from -9 to +9 degrees, in three-degree units.
• Interval Timer Shooting: Activates the Interval shooting mode, letting you set the start and end times for the series, the number of shots, and the interval period.
• Non-CPU Lens Data: Lets you set the focal length and maximum aperture of non-CPU lenses, so that they will work with color matrix metering, aperture value display, and balanced fill flash settings. Focal length options are three broad ranges of 6-48mmm, 50-180mm, and 200-4000mm. Maximum aperture values range from f/1.2 to f/22, as well as "NA".

Custom Settings Menu:
Each option accesses a sub-menu of color-coded and numbered options pertaining to a specific subject. The initial screen (shown at right) provides an index into the various groups of sub-menus. Once you're into the second level of the menu system though, you can scroll smoothly through all the entries, regardless of what group they belong to. The color-coding seen in the index screen carries through to the various individual options, making it easy to know where you are in the menu structure at all times. In the description of the various functions below, I've inserted a screen shot corresponding to each of the major menu sections.

• Bank Select: Selects the bank for which Custom Settings are to be adjusted.
• Menu Reset: Resets the Custom Settings in the current bank.
  
  
  
• Autofocus:
  • a1 - AF-C Mode Priority: In AF-C mode, give priority to Release Button or Focus. Designates whether photos can be taken whenever the Shutter button is pressed (Release Priority) or when the image is in focus (Focus setting).
  • a2 - AF-S Mode Priority: Similar to above but in AF-S mode, gives priority to Release Button or Focus.
  • a3 - Group Dynamic AF: Controls how focus areas are grouped. Options are Pattern 1 or 2.
  • a4 - AF Activation: Controls whether both the Shutter and AF-On buttons determine focus, or only the AF-On buttons determine focus.
  • a5 - Focus Area Illumination: Controls when the focus areas are illuminated in Manual and Continuous AF modes. The When Selected option determines how long the active focus frame is displayed when selected (either 0.2 or 1 second).
  • a6 - Focus Area: Designates whether the focus area display wraps or not during manual selection.
  • a7 - Vertical AF-On: Assigns specific functions to the vertical AF-On button. Choices are: AF-On + Focus Area (default), AF-On, AE/AF-L + Focus Area, AE/AF-L, or Focus Area only.
    
    
    
• Metering / Exposure:
  • b1 - ISO Auto: Activates the Auto ISO option, which disables the HI-1 and HI-2 ISO boost modes.
  • b2 - ISO Step Value: Designates the step size of the ISO setting, with choices of one-third, one-half, or one EV unit.
  • b3 - EV Step: Assigns the EV step size for shutter speed, aperture, and bracketing. Options are one-third, one-half, or one EV unit.
  • b4 - Exposure Compensation EV: As with the above settings, controls the step size for Exposure Compensation. Choices are one-third, one-half, or one EV unit.
  • b5 - Exposure Compensation: Controls whether the EV button is needed to set the exposure compensation. If set to Off, the exposure is adjustable by simply turning the Command dial.
  • b6 - Center Weight: Specifies the diameter of the metering area for Center-Weighted metering mode. Choices are 6, 8, 10, or 13mm, or Average.
    
    
    
• Timers / AE&AF Lock:
  • c1 - AE Lock: Controls whether exposure is locked by a press of the AE-L/AF-L button or by either the AE-L/AF-L or Shutter buttons.
  • c2 - AE-L/AF-L: Controls the function of the AE-L/AF-L button. Options are AE/AF Lock, AE Lock Only, AE Lock Hold/Reset (locks when button is pressed and remains locked until pressed again), AE Lock Hold, or AF Lock.
  • c3 - Auto Meter Off: Sets the amount of time that the exposure information is displayed in the control panel on top of the camera. Choices are 4, 6 (default), 8, or 16 seconds, or No Limit.
  • c4 - Self-Timer: Designates the self-timer countdown time as 2, 5, 10 (default), or 20 seconds.
  • c5 - Monitor Off: Controls how long the LCD monitor remains active when no operations are being performed. Options are 10 or 20 seconds, or 1, 5, or 10 minutes.
    
    
    
• Shooting / Display:
  • d1 - Shooting Speed: Controls the shooting speed for Low-Speed Continuous Shooting mode. Choices are 1, 2, 3, 4, 5, 6, or 7 frames per second.
  • d2 - C-Mode Max Shots: Determines the maximum number of shots in a single burst in either Continuous Shooting modes. The number of frames varies with the quality and resolution settings:
    • Compressed NEF (RAW) + JPEG: 1 - 24 shots
    • Uncompressed NEF (RAW) + JPEG: 1 - 25 shots
    • Compressed NEF (RAW): 1 - 25 shots
    • Uncompressed NEF (RAW): 1 - 26 shots
    • TIFF (RGB): 1 - 35 shots
    • JPEG: 1 - 40 shots
  • d3 - Exposure Delay Mode: If set to On, this delays the shutter release until 0.4 seconds after the Shutter button is pressed. If Off, shutter opens when the Shutter button is pressed.
  • d4 - Long Exposure NR: Controls whether images captured at shutter speeds slower than 1/2 second are processed with Noise Reduction. When enabled, the camera indicates "Job nr" on the displays after taking a long exposure, and remains busy for slightly longer than the length of the original photo (ie. for a 30 second exposure, there would be a period of a little over 30 seconds after the exposure completed before the camera was ready to take another picture, review the last one, etc.)
  • d5 - File Number Sequence: If set to Off, file number starts over at 0001 whenever a card is formatted, new folder created, or a new memory card is inserted. If On, file numbering continues from card to card. The Reset option resets file numbering with each new card, but adds a "1" to the largest number in the folder.
  • d6 - Control Panel / Finder: Controls the level of information displayed in the rear control panel and viewfinder displays. For the rear panel, you can choose either to display ISO sensitivity at all times, or only whilst the ISO button is pressed (at other times the number of exposures remaining would be shown). For the viewfinder display, you can choose to show either the frame count, or the number of exposures remaining.
  • d7 - Illumination: Designates whether the LCD illumination activates with a press of any control button, or just with the Illumination option of the Power switch.
  
  
  
• Bracketing / Flash:
  • e1 - Flash Sync Speed: Controls the flash sync speed setting, from 1/250 to 1/60. Also enables auto FP high-speed sync with the SB-800 Speedlight, using the "1/250 (FP auto)" setting.
  • e2 - Flash Shutter Speed: Sets the slowest shutter speed possible when using a flash in Program AE or Aperture Priority modes. Options range from 1/60 to 30 seconds. In Shutter Priority and Manual modes, shutter speeds with flash can be as slow as 30 seconds regardless of this setting.
  • e3 - AA Flash Mode: Controls whether the flash level is automatically adjusted for aperture when an external exposure meter is used with an SB-80DX or SB-28DX Speedlight.
  • e4 - Modeling Flash: Specifies whether an SB-800 Speedlight emits a modeling flash when the Depth of Field Preview button is pressed.
  • e5 - Auto Bracket Set: Controls what settings are affected by bracketing mode. Choices are AE & Flash Level, AE Only, Flash Only, or White Balance.
  • e6 - Manual Mode Bracketing: If AE & Flash or AE Only modes are selected above, this option controls what settings are adjusted in bracketing mode. Choices are Flash / Speed, Flash / Speed / Aperture, Flash / Aperture, and Flash Only.
  • e7 - Auto Bracketing Order: Determines the order of images taken in Auto Bracketing mode. Either Default/Under/Over or Under/Default/Over.
  • e8 - Auto Bracketing Selection: Controls how the bracketing mode is selected, either Manual or Preset. Manual indicates that pressing the Bracket button and rotating the Command dial selects the number of shots, and turning the Sub-Command dial sets the bracketing increment. Preset indicates that pressing the Bracket button and turning the Command dial turns the mode on and off, and rotating the Sub-Command dial sets both the number of shots and the bracketing increment.
    
    
    
    
• Controls:
  • f1 - Center Button: Determines what functions are available by pressing the center of the Four-Way Arrow pad. Options are divided into Shooting Mode and Playback Mode groups. In Shooting Mode, choices are Center AF Area, Illuminate AF Area, and Not Used. In Playback mode, options are Thumbnail On/Off, Histogram On/Off, and Zoom On/Off.
  • f2 - Multi-Selector: Controls the function of the Four-Way Arrow pad in Shooting mode. Options are Do Nothing, Reset Monitor Off Delay, and Initiate Auto Focus.
  • f3 - PhotoInfo/Playback: Controls the role of the Four-Way Arrow pad in Playback mode. Off sets the left and right keys to scroll through information screens, while the up and down arrows scroll through captured images. On sets the keys in the reverse.
  • f4 - Function Button: Assigns functions to the Function button. Choices are FV Lock, FV Lock/Lens Data, AE-L/AF-L, One Stop Speed / Aperture, Flash Off, Bracketing Burst, Matrix Metering, Center-Weighted Metering, and Spot Metering.
  • f5 - Command Dials: Designates the direction and functions of the command dials.
  • f6 - Buttons and Dials: Designates whether changes that require a control button and command dial are made while holding the button down and turning the dial, or with a press of the button followed (within 20 seconds) by a turn of the dial.
  • f7 - No CF Card?: Specifies whether the shutter can be released without a CF card.
    
    

Setup Menu:

• Format: Formats the memory card, erasing all images on the card, even write-protected ones.
• LCD Brightness: Controls the brightness of the LCD display, with 5 steps (-2 to +2) available.
• Mirror Lock - Up: Locks the mirror in the up position so that the CCD can be cleaned (only functions when the camera is on AC power).
• Video Mode: Assigns the Video Out signal to PAL (with reduced resolution) or NTSC.
• Date: Sets the camera’s internal calendar and clock.
• Language: Sets the LCD menu language to one of six languages.
• Image Comment: Lets you add a small comment (up to 36 alphanumeric characters max.) to accompany images as they are captured.
• Auto image rotation: Enables or disables the D2H's orientation sensor. When enabled, a tag is recorded in the file header that allows Nikon View and Nikon Capture to automatically display images in their correct orientations.
  
  
  
• Voice Memo: Determines whether the Voice Memo option automatically enables after each image, or only when the Voice Memo button is pressed.
• Voice Memo Protect: Activates write-protection for the last voice memo recorded, preventing it from being erased or overwritten.
• Voice Memo Button: Designates whether the Voice Memo button must be held down during recording, or pressed once to start and again to stop.
  
  
• Audio Output: Determines whether audio plays through the camera's speaker, or via an A/V connection to a television set. You can also turn this function off.
• USB: Chooses either Mass Storage Class or PTP-compliant USB.
• Dust Off Ref Photo: If activated, this option acquires data for the Image Dust Off function in Nikon Capture software, which removes distracting dust from images.
• Battery Info: Displays the battery information for the EN-EL4 rechargeable battery.
• Wireless LAN: Sets up the camera to work with the optional wireless transmitter accessory, for wireless transmission of files to a computer.
• Firmware Version: (This menu item is just off the end of the menu screen shown above. I chose not to include another screen shot just for the sake of this one item...) Displays the firmware version of the camera.

Image Storage and Interface
The D2H uses CompactFlash memory cards for image storage, accommodating Type I and II sizes, as well as Microdrives. The D2H does not come with a memory card, so plan on purchasing one (or several) separately. As with the original D1, D1X, and D1H, I was pleased to find the CompactFlash slot very accessible, letting me quickly change the card while the camera was mounted on a tripod. The D2H utilizes a folder arrangement that allows users to organize images in the camera and a sequential frame counter option to avoid problems with overwriting files when copying them to the computer. It also supports the FAT32 file system, and so is not hindered by the 2GB limit of FAT16-based cameras (a significant point if you want to be able to use the really large flash cards that are now on the market).

Captured images can be individually write-protected via the Protect button on the rear panel. Write-protected files are only immune to accidental deletion, not card reformatting. Images are saved at either 2,464 x 1,632 or 1,840 x 1,224 pixels. File formats include several levels of compressed JPEG files as well as RGB TIFF and RAW data modes. The "raw" file format stores the data exactly as it comes from the CCD array, either compressed or uncompressed. Since the "raw" format is proprietary though, it can only be processed by programs that specifically support it (unlike JPEG files which almost any program will accept). Nikon's provides its own Nikon View software which has basic raw conversion capabilities, and offers the more advanced "Nikon Capture" software as another option. It is likely that Mike Chaney's Qimage or Eric Hyman's Bibble will also offer support for the D2H in future versions since they currently support other Nikon cameras. Finally, commercial software like Phase One's Capture One (C1) and Adobe's Photoshop CS that supports other Nikon RAW files may also support the D2H in future versions. The compressed RAW format is a "lossless" compression, making it difficult to determine the actual amount of compression being used, since the actual amount of compressio