Nikon D600 Review

Nikon D600 makes the 35mm format reasonably affordable

With the D600, Nikon announces for the first time a camera with sensor in FX format, which is part of the manufacturer’s consumer line. Its full-frame sensor resolves 24 megapixels and allows a sensitivity range from ISO 50 to ISO 25,600. The D600 is typically well equipped for Nikon, but remains small and handy. There are no groundbreaking features or technical innovations on the D600, and yet the camera is extremely interesting: Their price is well below that of the competition.

Short evaluation

Pros

• Robust, still handy housing
• Large scope of equipment
• Numerous, useful automatic functions
• Integrated flash unit
• Excellent image quality, even at high ISO numbers

Cons

• HDR function only cumbersome to activate
• Display neither foldable nor swivelable
• AF sensors only cover the image center, also slower live view/video AF

While cameras with a full-frame sensor were previously reserved for Nikon’s professional segment, the FX format with the D600 is now also finding its way into the consumer DSLRs of the traditional manufacturer. Its 24-megapixel sensor with dimensions of 35.9 x 24.0 mm is probably the most sensible compromise between resolution on the one hand and noise behaviour and file sizes on the other. Technically, it has some similarities with the D7000, of which the D600 takes over the Multi-CAM 4800 autofocus module with 39 sensors. Or the light meter, whose 2016 RGB sensors also perform automatic face recognition. The D600, however, also borrows from professional models. It features the same image processing engine EXPEED 3 as the Nikon top model D4.

The D600 is aimed at demanding photo amateurs as well as less ambitious photographers who value the highest image quality. 19 scene modes make it possible to adjust the camera to the respective shooting situation at lightning speed. In addition, there are special functions for mastering difficult lighting conditions, such as an HDR automatic multi-shot function. In addition, the D600 offers rich image processing functions in playback mode. Demanding photographers will appreciate the reasonably high continuous shooting rate of a maximum of 5.5 shots per second, but also the possibility of saving raw data with a color depth of 14 bits. The equipment list is extensive and leaves practically nothing missing. The D600 also has a small flash with a guide number of 12 on board.

The D600 records videos in full HD resolution (1,920 x 1,080 pixels) at a maximum of 30 full frames per second. The internal microphone only records in mono, but an external stereo microphone can be connected to the D600. Like its larger sister, the D800, the D600 can also output the data stream of a video recording directly via the HDMI output – for example to an external recording device. For image control and reproduction, Nikon has equipped the D600 with a rather opulent display, which resolves around 921,000 pixels at a diagonal of 3.2 inches and is fixed rigidly to the camera body. But the Nikon D600 is also a classic SLR camera with an optical viewfinder; it offers an image field coverage of approximately 100% at 0.7x magnification.

The housing of the D600 is quite dainty for a full-frame camera, ready for operation (but without lens) it weighs 850 grams. Nikon has designed the shutter with the shortest exposure time of 1/4,000 s for 150,000 releases. The layout of some buttons and switches on the D600 has been redesigned so that the camera can be operated even better blindly. Even if the D600 doesn’t stand out at first glance with groundbreaking innovations or achievements, it stands out in one respect: its price. The Nikon D600 should cost around 2,150 Euros and is therefore currently by far the cheapest of the current 35mm full-frame cameras (only a few older full-frame models still available as discontinued models such as Canon EOS 5D Mk. II or Nikon D700 are cheaper)

Ergonomics and workmanship

Although it is the first 35mm camera in Nikon’s consumer line, the D600 gives a very mature impression at first glance. Its case is visibly smaller than that of its big full-format sister D800; compared to the APS-C model D7000, the dimensions of the D600 in all three dimensions have only grown by a few millimetres. This slimming cure has a positive effect on the mass of the D600 – with an empty weight of 760 grams, it still remains reasonably handy. The relatively portable weight is also due to the generous use of a lightweight magnesium-aluminium alloy for the housing; only the camera front is made of a low-cost, yet high-quality polycarbonate. Nikon has put this mix of materials together in an excellent way, the D600 can even take courageous grabs with stoic calm, because nothing creaks or crackles.

The ergonomics of the D600 also remain completely true to Nikon’s line: the controls on the back are arranged in such a way that the camera can be operated very quickly with the thumbs of both hands. For example, the ISO sensitivity and white balance settings are changed at lightning speed. At the top left of the top plate there is a handy mode selector wheel which is secured with a lock to prevent accidental adjustment. Underneath, Nikon has arranged a turntable with which, for example, it is possible to switch from single shooting to continuous shooting mode. The right half of the upper side is dominated by a large status display that can be illuminated with a slight turn of the main switch. Within range of the right index finger are the shutter-release button for video recording, the exposure-compensation switch, and the exposure-metering mode switch.

Two easily accessible selector wheels for thumb and middle finger of the right hand contribute to the fact that the D600 can be adjusted quickly and easily to the requirements of the shooting situation even when looking through the viewfinder. A dipping button is also not missing, it can be assigned another function as usual with Nikon, if required. If required, pressing the rear Info button brings a very comprehensive overview of the currently selected settings to the monitor – and even more: Many parameters can be directly selected and changed in the Info View with the handy four-way rocker.

Thanks to the rich equipment with dedicated buttons and switches as well as the interactive info view, you can save yourself a lot of trouble in everyday practice in the very extensive menus of the D600. In order to find your way here, it takes some training time – the possibilities offered by the D600 are so varied. A comfortable way through this jungle of commands and options is paved with a very personal individual menu in which the photographer can clearly summarize the most frequently needed setting options. The D600 can thus be perfectly tailored to your own needs like a tailor-made suit.

In use, the D600 proves to be pleasantly handy despite its size. Its pronounced handle allows it to lie safely in the hand even with the long and reasonably heavy telezoom AF-S Nikkor 70-200 mm 1:2.8G ED VR, photographing with the much lighter and more compact set lens AF-S NIKKOR 24-85 mm 1:3.5-4.5 G ED VR becomes child’s play. Anyone who has never looked through the viewfinder of a 35mm DSLR will find the view through the large optical viewfinder of the D600 to be a true splendor. It shows a large and pleasantly bright picture and is in no way inferior to the viewfinder of the larger D800. Even an electronic spirit level can be faded in, then the exposure level at the bottom of the viewfinder indicates whether the camera is tilted to the right or left.

If it is difficult to see through the viewfinder – for example, with subjects close to the ground or overhead shots – the Live View of the D600 brings the viewfinder image to the rear display. It is opulently large with a diagonal of 3.2 inches and has a pleasantly fine resolution of 921,000 pixels. It’s a pity, however, that Nikon also denies the D600 a foldable and swivelling display. The viewfinder image control is difficult at very large viewing angles, especially in bright ambient light.

On the other hand, the coverage of the interfaces gives no cause for criticism. They are properly hinged and easy to close again. Also the underside of the camera presents itself as it should be: The tripod thread is made of stainless steel and sits correctly in the optical axis. The battery compartment door is far enough away from the tripod connection so that the energy dispenser remains accessible even when the quick-release plate is attached. And with a runtime of around 900 shots (measured according to the CIPA standard), the battery of the D600 offers a pleasantly long breath.

Equipment

The fact that the D600 is not only intended for photo professionals becomes apparent even before the camera is switched on. Unlike the DSLRs of the Professional series, the D600 offers a familiar mode dial that signals with a green AUTO symbol: The D600 can also be operated as an intelligent fully automatic machine. Then the photographer doesn’t have to worry about anything. As soon as the camera has detected the subject situation, it automatically adjusts to it. Those who do not trust this fully automatic mode can also set the D600 to the respective situation by specifying a scene mode program. The camera offers 19 such scene modes from landscape to portrait to macro – there should be the right automatic for every subject. You don’t even have to worry about the flash – it automatically unfolds if the situation requires it. The D600 is pleasingly farsighted: If you shoot with the portrait program in backlighting, for example, the on-board flash of the camera automatically and sensitively contributes exactly the portion of brightening light that makes the portrait emerge from the dark. Alternatively, the camera tames a very high subject contrast using HDR auto. She takes several differently exposed photos and combines them into a picture that is perfectly drawn from the darkest depths to the brightest lights. However, it is cumbersome that the HDR function can only be activated in the thicket of the menu and cannot be combined with the motif programs. Especially for less experienced photographers, Nikon would have liked to provide the HDR function as an additional scene mode.

Demanding photographers will find practically anything their heart desires or situation requires with the D600. Whether a program automatic, the possibility of semi-automatic or even manual exposure control or exposure series – the equipment list of the D600 is so extensive that you have to search for a long time for a gap. And should something be missed, Nikon’s extensive range of accessories quickly fills the gaps. For example, the handy WU-1b radio adapter for around 60 euros, with which the camera makes contact with a smartphone or tablet. The small adapter is simply plugged into the USB interface and transfers selected shots or the viewfinder image to the mobile device. Nikon has also released a free app for Android (and soon also for iOS) that allows you to focus and remotely trigger the D600. The professional may also miss a PC sync socket for connecting a studio flash unit – but the AS-15 is also a suitable adapter for this, which is simply pushed into the ISO shoe. There are no restrictions with the on-board flash of the D600, which seamlessly integrates the camera into the Creative Lighting System – the on-board flash can therefore control wirelessly connected system flashes as a master. The flash functions of the D600 are very versatile, flashes on the second shutter curtain are just as equally as the possibility of long-term synchronization or a separate flash exposure correction missing. Compared to its big sister, the D800, which offers the shortest flash sync time of 1/250 second, the D600 has to be content with 1/200 second – a small limitation that in practice rarely plays a role.

Only after a very intensive study of the technical data does it become apparent where Nikon has put the red pencil on the D600 compared to the D800. For example in the light meter, whose RGB sensor in the D600 still has to get by with a lush 2,016 pixels. Nikon has also saved on the autofocus of the D600, the camera essentially takes over the AF module of the D7000 with its 39 sensors (including 9 cross sensors). The sheer number of focus measuring points has always proved sufficient in practice. However, the arrangement of the measuring fields is not always suitable for practical use: They crowd into the centre of the full format viewfinder with the AF module taken over from an APS-C camera. If the desired focus point is in the edge areas of the image, the camera must first be directed centrally at the subject and then panned while the shutter release button is pressed halfway – a procedure that allows the subject to slide out of focus faster than desired, especially when the telephoto lenses are wide open. Also when tracking the subject, the AF loses contact with the subject long before it reaches the edge of the picture.

It really gets down to business when the D600 is switched to continuous shooting mode. She sprints off with about 5.5 JPEG photos per second (fps), in RAW she even manages 5.8 fps. Thus, the D600 is noticeably faster than the D800, but its serial frame rate in connection with the optional battery handle MB-D14 can’t be increased again. In practice, however, endurance during a sprint is much more important than the pure speed of a serial shot. Here, the D600 with 28 JPEG files or a good five seconds certainly shows a lot of staying power. If you record in raw format, you will run out of breath after only 15 recordings. Then the D600 falls into the leisurely endurance run, in which it continues to run at 1.5 fps in JPEG or 1.4 fps in raw shots. Considering the considerable amount of data provided by the 24-megapixel sensor, the sprint characteristics of the D600 are quite remarkable. By the way, the shutter of the camera is designed for 150,000 releases, so that occasional continuous fire will be tolerated without complaint. The fact that the D600 processes data very quickly can also be felt during operation: the camera reacts instantly to inputs and also processes quickly typed-in command sequences smoothly.

While the photo functions of the D600 leave nothing to be desired, it is not up to date in every respect when it comes to video. Although it records films in full HD resolution (1,920 x 1,080 pixels), the frame rate is a maximum of 30 full frames per second (30p). If motifs that move fast are to be filmed, the D600 can probably record with 50 full frames per second, but the resolution is then limited to 1,280 x 720 pixels. The aperture set at the start of shooting (or selected by the auto function) cannot be changed while shooting is in progress, even with manual exposure control. If desired, the D600 can follow the focus during filming, but it does so quite leisurely and is not very unerring: The contrast autofocus visibly pumps back and forth, with the set lens AF-S Nikkor 24-85 mm 1:3.5-4.5G ED VR also audible. Even if the camera is held still on a subject, the permanent AF continuously regulates the sharpness, creating an unsteady image impression. Video filmmakers with high demands will be less disturbed by this – they equip the D600 with special video lenses and adjust the sharpness of the shot precisely by hand. The video professional will also be pleased that the D600 has a jack socket for connecting an external microphone and that the sound recording can even be controlled manually. In addition, the D600 can transmit the data stream uncompressed via its HDMI socket, for example to a professional recording device.

As usual with Nikon, the D600 is also not stingy with editing functions in playback mode. Pictures can not only be rotated or cropped, they can also be provided with effects or optimized afterwards. For example, the D-Lighting function also brightens up shadows that run in afterwards. Or the distortion correction fixes image errors of the lens. And with the perspective correction, falling lines can be compensated and tilting buildings can be erected. If you want to alienate your recordings, you will find numerous filter and special effects in the playback menu. Demanding photographers will be pleased that the D600 can also convert raw images into conventional JPEG format. And since the camera records two SD memory cards, the raw files can be stored on one card while the other records its JPEG counterparts.

Lens

All Nikkor AF lenses can be used on the Nikon D600, even older types without their own focus motor. If the camera detects a DX lens (with an image circle corresponding to APS-C), the image is cropped accordingly and the resolution then drops to 3,936 x 2,624 pixels (approx. 10.3 megapixels). We had the camera tested with the AF-S Nikkor 24-85 mm 1:3.5-4.5G ED VR, with which the D600 is also offered as a set. The tube of the standard zoom is

is largely made of plastic, but by no means conveys a cheap impression. The fact that Nikon manufactures the lens bayonet from solid metal also contributes to this. With its weight of just under a pound, it is particularly recommended as an always with you lens. Nikon offers faster lenses with a similar zoom range, but the 24-85 mm 1:3.5-4.5 is equipped with an image stabilizer.

The imaging performance of the set lens does not exactly cause storms of enthusiasm, but it is fine in everyday practice (more on this in the Image Quality section below). The same applies to the AF speed. If the D600 takes about 0.25 seconds to focus and release at a focal length of 24 millimeters, it takes twice as long at the long telephoto end of 85 millimeters. If you focus manually, the D600 will respond to the shutter release within 0.05 seconds. The camera goes to work much more leisurely in Live View mode. Now the focus is determined and adjusted by measuring the contrast on the image sensor, which already looks a bit tough with approx. 1.5 seconds. If the focus is set manually in Live View mode, a magnifying glass can be switched on to display a freely selectable image section enlarged up to 19 times. However, the D600 does not offer further focusing aids, such as a peaking function that marks contrast edges within the focal plane.

Picture quality

Compared to a camera with a sensor in APS-C format and the same resolution, a 35mm DSLR like the D600 is expected to deliver visibly better image quality. After all, the approximately 24 million light-sensitive cells of the D600 have around twice the area of a Nikon D3200, for example, at their disposal. However, the larger the individual sensor elements, the greater their luminous efficacy – this is only advantageous for noise behaviour and dynamic range. On the other hand, a large sensor also places high demands on the lens, which has to illuminate a much larger image circle.

In the past, price-optimized set lenses have often proven to be the Achilles heel of system cameras. Does this also apply to the 24-84/3.5-4.5 from Nikon? The standard zoom has practically no problems with a drop in sharpness towards the edges of the image, as long as you only print on 20 x 30 centimeters. The resolution of the lens is also impressive. The resolution up to aperture 11 is a good 50 line pairs per millimeter (lp/mm). If faded down further, diffraction effects limit the resolution. Unfortunately, the lens achieves these excellent values only in the center of the image. Towards the edges, the resolution goes deep into the basement, with large apertures, the loss of resolution to the image edge is 20 percent and more. It is particularly annoying that the loss of resolution is most pronounced in the wide-angle position of the zoom. If a high level of detail across the entire image field is desired – for example in architectural or landscape photography – the set lens is not the first choice. It is also hardly suitable for architectural photography for another reason: the lens records very strongly. So powerful that the curved lines can already be clearly seen in the viewfinder. The lens also has to struggle with edge darkening: Particularly when the aperture is open and in the wide-angle range, it vignettes clearly. If you want to fully exploit the potential of the D600, you’d better treat the camera to a high-quality lens. Price-conscious photographers like to use a fixed focal length like the AF-S 85 mm F1.8 G, which we also tested on the D600. Edge darkening and distortion are alien to him, moreover the 85 shines with a formidable resolution of up to 56 lp/mm.

 

The D600 shows hardly any weakness in the measured values that do not depend on the lens. Although the signal-to-noise ratio at ISO 3.200 drops below the critical 35 dB mark, and luminance noise also becomes critical at this ISO level. But this is mainly due to the very restrained noise reduction. This reluctance also has its advantages: The texture sharpness remains within the green range up to high ISO 6,400, so even at high ISO sensitivity the D600 still preserves image details that other cameras sacrifice on the altar of noise reduction. Only when it comes to reducing the particularly annoying color noise is the camera likely to be a little more courageous. Thus, with parallel recorded raw files with Adobe Camera Raw 7.2 from ISO 3.200 a few more details could be teased out than from the JPEGs. But this is whining at the highest level – the D600 is also suitable for high sensitivity settings without any ifs and buts and even at ISO 6.400 delivers more than just usable images. If the output resolution is reduced to around six megapixels, the ISO sensitivity can also be increased to ISO 12,800 without regret.

The dynamic range of the D600 is also up to date: between ISO 100 and ISO 1.600, it processes a subject contrast of around ten f-stops – a solid performance. If the sensitivity is increased even further, the input dynamics decrease only moderately and remain at an acceptable level up to ISO 6,400. Nikon slightly adjusted the tonal value curve of the D600 in the direction of “crisp”, so that the JPEG files appear pleasing. If you prefer a linear tonal value transmission, you can configure the D600 accordingly or record in raw. Absolutely impressive is the output tonal range, which is close to the theoretical maximum of 256 steps up to ISO 200. The camera therefore differentiates even the finest colour and brightness gradations very well. Furthermore, the white balance proves to be very accurate, and the D600 also doesn’t blush on average with the color deviation. The bottom line is that the D600 can handle almost any shooting situation. In the studio it scores with a high resolution, an excellent tonal value richness paired with a high level of detail – if it is equipped with good glass. But the D600 is also suitable as a camera for available light and delivers even at ISO 6,400 shots, which present themselves in DIN A4 size and beyond in respectable quality.

Bottom line

With the D600, Nikon delivers a 35mm DSLR that is aimed at the ambitious amateur photographer, but is also quite tasty for professional photographers. Whether resolution, balance between noise reduction and image details or input and output dynamics: the image quality of the D600 is excellent up to ISO 400 and even more than good at ISO 3,200. The high resolution of the camera can only be exploited if the D600 is equipped with adequate glass. Their demands aren’t quite as big as those of the D800, yet the kit zoom AF-S Nikkor 24-85 mm 1:3.5-4.5G ED VR can’t fully exploit the camera’s potential. Very good is also the scope of equipment with useful automatic systems for the inexperienced photographer but also almost infinite configuration options for amateurs and professionals. However, there are some slight limitations compared to Nikon’s professional DSLRs, especially in the autofocus system: 39 AF fields should be sufficient for most occasions, but the sensors are too crowded into the image center. Thus, the D600 isn’t quite as well suited for action photography, even though it’s quite fast with a continuous shooting rate of around 5.5 frames per second. Photographers looking for an affordable all-round full-format camera or a semi-professional secondary housing are welcome to enjoy the D600. And then generously check out one or two minor weaknesses, such as the rigid display, the leisurely autofocus in Live View mode or the cumbersome HDR function that has to be activated. Videographers will only be happy with the D600, however, if they can do without a Full HD rate of 50 full frames per second (50p) as well as focus tracking.

Pros

Nikon D600 Datasheet