Nikon D800E Review

Nikon D800E Brief Review

by Dave Etchells, Mike Tomkins, Ellis Vener, Shawn Barnett and Zig Weidelich
Posted: 12/21/2012

The Nikon D800E digital SLR is identical to the Nikon D800, except it's designed to remove the effects of the optical low-pass filter (OLPF) for slightly sharper images than normal. That puts it at risk of producing moiré patterns, false colors, and other aliasing artifacts. Our tests have found that to be true.

Because otherwise the D800E is so similar to the D800, this isn't a full review of the D800E. For a full review of the camera's other features, see our Nikon D800 review. For more on what makes the D800E unique, read on.

Anti-aliasing. Like almost all Bayer-filtered cameras, the standard Nikon D800 includes an optical low-pass filter (OLPF), sited just above the image sensor. The purpose of this filter is to blur incoming light just slightly, on the order of a pixel or less, thereby attempting to prevent aliasing patterns such as moiré and 'jaggies' from appearing in images. Unfortunately, this LPF also knocks out some subtle image detail, reducing per-pixel sharpness. In some types of photography such as landscapes or studio work, moiré is either less of an issue, or its effects can be taken into account by the photographer. If you're always shooting in these circumstances, the blurring is merely reducing image detail for no good reason. For this reason, some photographers either dismantle their cameras to remove the low-pass filters -- not a job for the faint of heart -- or pay to have somebody else do it for them. (There's been something of a cottage industry in this area for many years, now.)

With the introduction of the Nikon D800E, Nikon has acknowledged photographer desire for the maximum resolution -- even if potentially at the expense of moiré issues -- by offering two versions of the D800. The standard Nikon D800 includes a low-pass filter appropriate to the camera's resolution, while a more limited-edition Nikon D800E variant replaces the standard low-pass filter with a modified version, thus increasing image resolution. Nikon's approach is interesting, and was the subject of some confusion early after the D800E's announcement. The diagram below explains how the D800E's low-pass filter is set up.

First of all, it should be noted that the D800E does still include a low-pass filter, but Nikon has used the second layer of the LPF to undo the effects of the first.

In the illustration above, the top row shows the sequence of optical components as found in a conventional LPF, for instance that used in the standard D800. LPFs use birefringent materials to produce a slight doubling of the image in two directions. In the example above, the first LPF splits and shifts the image microscopically in the horizontal direction, the wave plate converts the polarized light into circularly polarized light, an IR cut-filter blocks infrared light, while a second LPF does the same as the first LPF except in the vertical direction. This results in four copies of the image slightly offset from each other on the sensor surface. As noted, the shift between the images is truly microscopic, typically less than a pixel. The net result is that the image is blurred slightly, hopefully by just the amount needed to avoid moiré patterns and jaggies. (There's some variation in the strength of the LPFs between manufacturers and models: Some are more conservative, introducing more blurring to protect against artifacts, while others cut it closer to the line, using weaker LPFs to give better detail, but at some increased danger of artifacts, something we still see in the D800.)

In the D800E, Nikon has moved the vertical LPF to the first position, substituted optical glass for the wave plate, and introduced an inverse vertical LPF as the second low-pass filter. In this way, the light has the same optical path through the LPF/IR filter stack as in the standard camera, but the effects of the first LPF layer are undone by the second. If the characteristics of the two LPFs are exactly opposite each other, the net result should be the same as if there were no LPF at all.

While the absence of a low-pass filter will make the Nikon D800E more prone to moiré, Nikon provides a color moiré correction tool in its Capture NX2 imaging suite to help cope with the problem. (It must be noted, though, that aliasing is a fundamental fact of life with undersampled digital data, and no amount of processing can guarantee to completely eliminate it.)

The natural question, of course, is why go to all this trouble; why not just eliminate the LPF altogether, as is done by third party LPF chop-shops? We've asked Nikon that question, and it turns out that removing the low pass filter would affect the focus enough that they needed to keep it in the optical formula. By using an inverse LPF layer to undo the effects of the first, the light refraction will be the same as in the standard D800, minus only the image-shifting that produces the low-pass filter behavior.

This also addresses the question some have had over why the Nikon D800E is slightly more expensive than the standard D800. It's not just a matter of not including the LPF, but rather that alternate components are substituted. The non-standard components would be low-volume, so they will have a higher cost. It's also possible that the LPF elements need to be more carefully screened and selected, so their image shifts will precisely cancel. Finally, the D800E requires a disruption of the normal production line, with cameras being pulled out for special treatment and then re-inserted. It's likely that the modified units also need to be tested separately, to insure that they meet the different sharpness specs for the E version. Each of these steps probably isn't terribly expensive in itself, but doubtless add up overall.

Studio Image Quality Comparisons

More thorough comparisons to other cameras appear below, but we left these few crops from the D800E and D800 so you can quickly see the difference.

Nikon D800E versus Nikon D800 via ISO 100 JPEGs

Nikon D800E versus Nikon D800 via ISO 100 ACR conversions

RAW processing with ACR

To process the Nikon D800 and D800E NEFs in Adobe Camera Raw, we opened them using ACR 6.7 at its default settings, with the exception that we set sharpening to zero. (We like the results of unsharp masking in Photoshop better than those from the sharpening algorithm that's built into ACR.) We left luminance noise reduction sliders at zero, and left the Color and Color Detail sliders at their defaults of 25 and 50 respectively. We selected Medium Contrast curve, and used the "Adobe Standard" camera color profile. The Camera Calibration panel used the 2010 (current) process, as that's what we've been using for some time now in our ACR conversions.

Once opened in Photoshop, we applied unsharp masking at 200% and an 0.4 pixel radius. These settings gave us the best edge definition without causing overshoot or halos around strong contrast edges.

As you can see in the images here, the amount of detail the Nikon D800E can produce is quite astonishing, and the difference between it and the D800 is easily visible.

Nikon D800E Real-world Moiré Study

by Ellis Vener

The Nikon D800E is not the only camera that has moiré issues. But most digital cameras minimize the problem by incorporating a low-pass, or anti-aliasing filter that ever so slightly blurs the projected image as it reaches the sensor. It is a fine balancing act: too strong of a filter and the image doesn't have enough resolution -- no matter how many pixels the sensor has; too weak a filter and different types of aliasing problems -- like moiré -- become readily apparent. Almost all, if not all, medium format digital camera backs do not include an anti-aliasing filter in the optics that sit on the face of a sensor and the Foveon sensor designs Sigma uses in their SD and DP cameras lack one too. But as the D800E is the first popular DSLR to do away with an anti-aliasing filter, the moiré problem moves from being an obscure issue that specialists deal with to being closer to center stage.

If you are a landscape or wildlife photographer it is unlikely you'll ever see moiré. On the other hand if you photograph buildings, portraits and certain types of products -- any subject with a fine repeating pattern -- it is highly likely that moiré will show up, and sometimes in surprising places.

While this article deals with moiré and how to deal with it in the context of photographing architectural subjects, it applies to other genres of photography as well.

The first thing to understand about moiré is that it is caused by the interaction of fine repetitive subject detail projected on the sensor at a scale that causes it to interact with the grid of pixels. The same detail photographed with a longer lens or from a different angle or distance might not spring the moiré trap as the ratio between the size of the lens resolved detail and the pixel density on the sensor might not be right. On the other hand changing the camera to subject distance, the lens focal length -- both of which change the size of the image of the subject projected on the sensor, or the camera-to-subject angle may simply cause different moiré patterns to be created. Another way to change the probability of moiré formation is to either reduce optical resolution by using a lens that isn't great (a solution that has obvious drawbacks) or to use choose an aperture that slightly tips the resolution/diffraction balance in favor of the diffraction.

While the possibility of moiré formation may always be an issue with certain subjects, choice of raw converter also plays a supporting role.

According to Michael Tapes of PictureFlow llc., “The amount of moiré will be dependent on the raw converter in use as some designs favor sharpness while others favor smoothness.” Tapes goes on to point out that since “two-thirds of the color data for every pixel derived from a raw file has to be interpolated (guessed at) from surrounding pixels. How the demosaicing is done is a factor...in the end, the architect of the software has to decide how to balance the issues of sharpness, smoothness, and speed.”

Eric Chan of Adobe's Adobe Camera Raw and Lightroom team agrees and adds “Since demosaicing isn't perfect, there will be some false color artifacts, usually in fine detail areas. Different raw converters make different tradeoffs in their demosaic algorithms. This is part art, part science. Moiré also involves false colors, but is a somewhat different phenomenon.”

When testing for problems like moiré a brick wall is a handy subject, especially if it is very large; and even better, a brick wall with lots of other geometric patterns as well. Fortunately I had one handy. Using a Nikon AF-S 70-200mm f/2.8G ED VR II and an AF-S Nikkor 24-70mm f/2.8G ED I photographed it at 200, 165, 135, 120, 105, 95, 86, 78, 70, 60, 50, 42, 35, 32, 28, 26, and 24mm from a fixed position to demonstrate how changing the size of subject details on the sensor would affect moiré creation. The camera was triggered by a radio release system (LPA Design PocketWizard MultiMAX and cable). The tests were shot on an early morning in clear light on a day with minimal haze and pollution. Focusing was done using the camera's live view Contrast detecting autofocus mode with live view set to 100% (1:1 match between sensor pixels and camera monitor pixels).

The exposures were metered using the camera's 3D Color Matrix II metering system with the camera in aperture priority mode.

The raw NEF images were processed using Adobe Photoshop Lightroom 4.1 with all settings at Adobe's default except for the following:

• In the Detail panel: Sharpening was set to Amount 54, Radius 0.7, Detail 35, and Masking to 0.
• In the Lens Correction panel: Lens Profile corrections were enabled as was the Remove Chromatic Aberration (AKA “Defringe”) control, with the RCA default settings at Adobe's defaults of Amount 0, Purple Hue at 30/70, and Amount 0 and Green Hue at 40/60.

Lightroom 4.1 was used as it is my standard raw processing program and I believe I know it pretty well. As pointed out previously different raw processing programs may handle the formation of the moiré patterns differently, or possibly create new ones.

With the D800E some moiré was present at all focal length settings from 165 to 24mm. It was subtle at first, showing up faintly in the details of some of the mini-blinds, but as the view became progressively wider the moiré changed in intensity and location.

What to do about moiré?

There are a couple of different approaches. One path is physical: at the capture stage, use a different lens or aperture to reduce optical resolution, or if possible change the camera-to-subject distance.

The other path is processing-related. Beyond using a different raw processor, some raw processors now include tools to reduce or remove moiré. Nikon's Capture NX2 uses a global approach to attack the moiré, but this can result in other unwanted artifacts. Lightroom 4.1 uses an anti-moiré adjustment brush that allows you to vary area and intensity of treatment, while Phase One's Capture One 6 takes another targeted approach that employs local adjustment layers and brushes to apply an anti-moiré treatment (see http://blog.phaseone.com/2012/05/10/removing-color-moire-with-capture-one-6/). In all cases I prefer methods that target specific problem areas to global treatments. The Lightroom 4.1 treatment removes the color of the moiré, but not the luminance errors; for that you'll need Photoshop.

Both the Nikon D800 and D800E capture extraordinary detail, but they also both exhibit noticeable moiré in certain subjects. This is an important consideration when pondering the purchase of the Nikon D800E. Make sure you're prepared to deal with the consequences of moiré in clothing and other artificial subjects before proceeding.

Additional Moiré Examples

D800E JPEG versus Adobe Camera Raw 6, ViewNX 2, and Capture NX 2

Nikon Capture NX 2 Color Moiré Reduction

Adobe Camera Raw 7 Moiré Reduction

A note about detail, focus, and depth of field

The combination of resolution, frame size, and the 70mm focal length of our standard lab lens resulted in a surprisingly shallow depth of field, even at f/8. On a full-frame camera, correct framing with the 70mm lens results in a camera-subject distance of about 5.5 feet. Shooting at f/8 at that distance, we discovered we could see differences in sharpness across just 3 inches or so (maybe even 2 inches) of subject depth. This meant we had to be exceptionally precise in our focusing to make sure all parts of the target were rendered as sharply as possible, and to insure that the shots we took with the D800 and D800E were focused precisely the same.

As it turned out, we got the focal distance with the two camera bodies within a half an inch of each other, plenty close enough to make valid comparisons between the two bodies. (Borne out by how well all parts of the shot are focused with both cameras.)

The fact that we had to labor this much to get the focus down to within a half an inch (or ± a quarter of an inch) is a little telling, and perhaps suggests where the natural markets for this camera lie. If you're shooting subjects at relatively close range in a studio, or shooting portraits, trivial focus differences are likely to completely override any difference between the D800E and the D800. The part of the image that's in sharpest focus will indeed show slightly more detail than it would on the D800, but it's going to be tricky to get the plane of focus exactly where you want it, even with manual focusing in Live View mode.

Combine the criticality of focus with the D800E's tendency to produce moiré, and it seems to us that the D800E's natural home will be in landscape and architecture photography (where the subject distances are likely to be greater), or in some kinds of scientific imaging. Overall, we agree with Nikon that the D800E probably isn't for the bulk of photographers, who'd be better served by the standard D800.

Nikon D800E Image Quality Comparison

Below are crops comparing the Nikon D800E to the Nikon D800, Nikon D3X, Canon 5D Mark III , Pentax 645D, and Sony A99. Note that the 645D only goes to ISO 1,600, so crops will be absent at ISO 3,200 and 6,400.

NOTE: These images are best quality JPEGs straight out of the camera, at default settings including noise reduction. All cameras in this comparison were shot with our very sharp reference lenses.

Nikon D800E versus Nikon D800 at ISO 100

Nikon D800E versus Nikon D3X at ISO 100

Nikon D800E versus Canon 5D Mark III at ISO 100

Nikon D800E versus Pentax 645D at ISO 100

Nikon D800E versus Sony A99 at ISO 100

Most digital SLRs and CSCs will produce an excellent ISO 100 shot, so we like to push them and see what they can do compared to other cameras at ISO 1,600, 3,200, and 6,400. Recent advances in sensor technology have made ISO 1,600 look a lot more like ISO 100, but there are still cameras whose quality starts to fall apart at this setting. We also choose 1,600 because we like to be able to shoot at least at this level when indoors and at night.

Nikon D800E versus Nikon D800 at ISO 1,600

Nikon D800E versus Nikon D3X at ISO 1,600

Nikon D800E versus Canon 5D Mark III at ISO 1,600

Nikon D800E versus Pentax 645D at ISO 1,600

Nikon D800E versus Sony A99 at ISO 1,600

Here are ISO 3,200 comparisons.

Nikon D800E versus Nikon D800 at ISO 3,200

Nikon D800E versus Nikon D3X at ISO 3,200

Nikon D800E versus Canon 5D Mark III at ISO 3,200

Nikon D800E versus Sony A99 at ISO 3,200

Detail: Nikon D800E versus D800, Nikon D3X, Canon 5D Mark III, Pentax 645D, and Sony A99

In the Box

The retail package contains the following items:

• Nikon D800E body
• Body cap BF-1B
• Hot-shoe cover BS-1
• Lithium-ion battery (1900mAh) EN-EL15
• Quick Charger for EN-EL15 Battery MH-25
• USB cable UC-E14
• USB cable clip
• Camera strap
• LCD monitor cover BM-12
• CD-ROM
• One-Year Warranty

Recommended Accessories

• Large capacity, high-speed CompactFlash or SDHC/SDXC memory cards
• Lenses
• Accessory flash
• Extra battery
• Camera case

As we said at the outset, this review is more about the single difference between the D800 and D800E: the absence of a low-pass filter and its effects. It's clear from our analysis that both the D800 and D800E have moiré issues, but the D800E's is much more apparent and challenging to address. What we also found was that the D800E indeed captures more detail than the D800, making it uniquely suited to landscape photography, or scientific applications where moiré won't be an issue.

Unfortunately, our review of our sample images revealed quite a few instances where moiré was a problem with both cameras, with amplified effects in the D800E that we think outweighs the resolution advantage for most photographers. In almost every instance of man-made items, from buildings to fabric, you're at risk of encountering moiré among repeating patterns. It's also easy to find rainbow colors in hair, both human and animal, that could be objectionable. There's no way to avoid it, so people without a special use for the D800E will do well to avoid the camera. Removing moiré from more than a few images is really more trouble than it's worth.

Moiré was also pronounced in video files from the D800E, which we think is more likely due to insufficient digital filtering in the D800E's firmware than from the lack of a low-pass filter. We had to send back the D800 before we were able to shoot any simultaneous subjects to test the theory, but we think it's safe to say the D800E offers no advantage for video capture, as its superior resolution is only seen at the full-resolution 7,360 x 4,912 level, not at the significantly reduced 1,920 x 1,080 resolution of Full HD video.

Read our review of the Nikon D800 for the rest of what we liked and didn't about the camera overall, or skim the Pro/Con list above. As we said of the Nikon D800, it's an excellent camera with a gentlemanly demeanor and just about everything a serious photographer could want, but the one feature that improves the D800E's resolution also proves a limiting factor that's a bad idea to ignore. If you'll be exclusively photographing natural landscapes or other subjects where you can be confident that moiré won't be a problem, or if you need to avoid the low-pass filter for scientific imaging, the D800E is a fine choice. In our opinion, though, the vast majority of photographers will be better off saving the US$300 difference in price and going with the excellent D800 instead.

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