How many shots nikon d40

BjarneM wrote: Ive got the d40 and Im very pleased with it. Reply Reply with quote Reply to thread Complain. Hi Firestartar, Great to know. HTM Interesting read, thanks. How can I check the shutter count on my Nikon D40? Thanks, Ray. Hi firestartar, opanda worked on Nikon D40 but did not on Canon Powershot.

JoKing wrote: shay guevara wrote: Interesting read, thanks. F Forum M My threads. You may also like. Nikon D review.

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Popular compact cameras ». Shedding some light on the sources of noise. In the past, we've found that cameras with contrasty tone curves sometimes have trouble with the pastel tones in the Q60 target, making it a valuable reference that we'll continue to include.

Wide and Tele Resolution Tests: The main shots of this target above are captured at an intermediate focal length, roughly corresponding to 60mm on a 35mm camera. Just slightly longer than "normal. The lighting in this shot is deliberately awful, about what you'd expect from noontime sunshine here in the Atlanta, GA area. In fact, the color balance has been chosen to pretty well match the hazy sunshine here in mid-August. The reason for the harsh lighting is to provide a real "torture test" of how cameras handle conditions of extreme contrast; and in particular, how well they do holding onto highlight detail.

HTM on the thumbnail index page. The original intent of this shot was to illustrate why you really want a zoom lens if you intend to take close-up shots of people. Fixed focal length lenses tend toward the wide angle end of the spectrum, meaning that you have to get very close to your subjects to fill the frame with them.

This results in very unnatural, chipmunk-like face shot, with exaggerated noses and rounded cheeks. These days, most digital cameras come equipped with zoom lenses, so you won't have to worry about the "Chipmunk look" in your portrait shots.

Just zoom the lens out to its telephoto position when you're taking close-in shots like this. This shot duplicates indoor shooting conditions in most US homes, with fairly bright incandescent room lighting.

The challenge here is for the camera's flash to blend naturally with the room lighting, and produce good, neutral color overall.

Another common failing is for the highlights from the flash to take on an unnatural bluish cast. Finally, exposure is important here, and frequently a tough challenge for the cameras. Marti's white shirt is central in the scene, reflecting a lot of the light from the flash right back at the camera.

As a result, most cameras underexpose this shot, and require some positive exposure compensation to produce a good result. Many do not. These photos are a tough exposure challenge, if they come out OK, the camera in question can probably be coaxed into delivering a good flash exposure of any subject within its range.

Note too, that the normal flash shot as opposed to the slow sync one, if the camera offers that feature will be sharply rendered, any subject or camera movement frozen by the quick pop of the flash. That makes this shot a good one to look for the effect of over-aggressive noise suppression in Marti's hair.

The incandescent lighting used in most US homes actually has a very strong yellow color to it. Our eyes have an amazing ability to ignore color casts like this, something digital cameras struggle to emulate.

The incandescent lighting used for this shot is thus not only very common here in the US, but also very difficult for most digital cameras to deal with. While we probably want a little yellow color to remain in the image to convey some of the mood of the original scene , too much will look unnatural and distort colors.

Most cameras' auto white balance systems have a great deal of difficulty with this shot, but many incandescent white balance settings struggle as well. It seems that many cameras' incandescent settings are actually calibrated to the tungsten lighting used in professional studio systems, which isn't nearly as warm-toned as typical household lighting.

If you intend to do much shooting indoors after dark, pay careful attention to this test, as cameras vary widely in this regard. ISO represents twice the sensitivity of ISO , meaning that you can use a shutter speed that's twice as fast. Higher ISO settings are often required to get any picture at all when shooting after dark, but even in full daylight, using a higher ISO can help you freeze fast action. The problem is, increasing a digital camera's ISO also increases image noise.

In practical terms, this means that higher-ISO images often can't be used to produce prints as large as lower-ISO ones. The tricky thing here is that high-ISO images often look much different when printed at various sizes than they do when viewed on-screen.

In particular, for any level of image noise, you'll often find that while noise is quite evident at larger print sizes, as you reduce the size of the prints, there will come a point where it suddenly ceases to be an issue.

We routinely print high-ISO photos from the cameras we test on our studio printer currently a Canon i at a range of sizes, and report our findings. If you're interested in investigating the effect of image noise for yourself, don't judge cameras' performance by how their images look on your CRT, viewed pixel-for-pixel.

Rather, download the test shots linked in the table below and output them on your own printer, so you can see how prints of various sizes will actually look.

One additional note about this particular test series though: Because these images are shot under household incandescent lighting, the camera has to boost its blue-channel signal quite a bit to get back to a neutral color balance. Since the blue channel is generally the one with the most noise, this makes this shot a real acid test of noise performance.

Noise levels in high-ISO shots taken under daylight conditions usually won't show as much noise. Like several of our tests, these images are actually photos of a high-resolution poster, shot under studio lighting. As of this writing, the poster in question was produced from a high-resolution scan of a 4x5-inch transparency, scanned to a resolution of about megapixels.

Why did we choose to shoot a picture of a picture? The idea was to show a typical subject a house and surrounding foliage in a way that would be absolutely consistent from camera to camera. Any outdoor subject is going to vary considerably from day to day, as the lighting changes with the weather, atmospheric conditions, and season. Shooting a poster lets us compare images from cameras shot weeks, months, or even years apart, with the sure knowledge that nothing has changed from one shot to another.

Things to look for here are fine detail, as seen in the foliage and tree limbs against the sky, sharpness in the corners, and the preservation of subtle detail in the shaded brick patterns.

While the House poster in the shot above provides absolute repeatability from test to test, it doesn't offer the range of brightness dynamic range that the original scene had, nor does it contain the nearly infinite range of fine detail found in nature. For these reasons, we still shoot the original house, even though the vagaries of nature mean that no two shots will ever be directly comparable.

In fact, over the eight or so years since we first shot this subject, the trees in front of the house have now grown so large that they obscure much of the subject.

Things to look for here are how well the camera handles the range of light levels from very bright to quite dark, and how well it renders the very fine detail visible in various parts of the image. Note though, that because this is shot outdoors, the character of the light is unavoidably going to change quite a bit, depending on the atmospheric humidity and the time of year. Simply reading "4x zoom range" doesn't do a lot to help you visualize what that means.

It also says nothing regarding just how wide the wide-angle end of that range is. To give you an idea of exactly what each camera's zoom lens does, we shoot this series of images, showing results at maximum wide angle, maximum telephoto, and telephoto with "digital zoom" enabled. Note of course though, that so-called "digital zoom" just crops out and enlarges the central pixels of the image, achieving increased size at the cost of reduced resolution.

This is another poster, shot in the studio under controlled lighting. It's intended to give an idea of how well various cameras render a range of skin tones, but it often winds up as more of a referendum on the camera's white balance system. The background of the image has a lot of blue in it, which frequently tricks white balance systems into overcompensating toward warmer hues. The poster is also rather low resolution, having been made from a 20 megabyte digital file.

As such, it can't be relied upon to reveal much about detail rendition of modern, high-megapixel cameras. Because most of its various elements are now contained or represented in the combination of the Still Life and Multi Target shots, we no longer routinely shoot the Davebox by itself, as would normally appear in this space. We do however, still use it for our flash range and low light tests below. Many are interested in close-up or "macro" photography.

This test shows the best results we could obtain using each camera's macro mode. What to look for:. Low light photography is an area where there are really enormous differences between digital camera models. This test starts at a light level about equivalent to typical city street lighting at night one foot-candle , and then progresses down from there, each successive test being at half the light level of the preceding one. You may also see the effect of poor low-light autofocus in some of these shots, although we use a different test setup to check autofocus performance more directly.

The results of which are reported on in the main Test Results section. Things to look for here include:. Digital camera makers have gotten better with their flash-range ratings.

In order to find out how many shots your camera has taken, just upload a new, unedited JPG image using the dialog box below. Smaller files will upload faster. Your image will be deleted from the server once the exif-information has been obtained. The shutter count corresponds to the number of images your Nikon D40X has captured with its mechanical shutter.

Mechanical focal-plane shutters consist of a pair of light-tight curtains that move to uncover the sensor during the exposure time. Every actuation, that is every shutter opening and closing, will cause some minimal wear and tear that will eventually result in malfunction and the need for repair or replacement.

A shutter can fail completely on one incident, but more likely it will deteriorate gradually. It becomes unreliable when shooting at high shutter speeds or the first and second curtains get out of sync, so that the shutter speed becomes inaccurate. If these warning signs appear, it is time to take action and get your camera shutter replaced.

That said, the actuation count is not just an indicator on whether or not the shutter might soon need to be replaced, but more generally on the overall condition of your D40X. A high shutter count indicates that the camera has been intensively used and probably also been subject to more bumps and knocks, more frequent exposure to dust, and more recurrent usage in the rain than a D40X that has been kept in a drawer most of the time and therefore shows a low actuation count. As a result, second-hand buyers on Ebay or Craigslist are willing to offer a higher price for a D40X with a low number of shutter releases than for one with a high actuation count.

Shutter life ratings differ across cameras, ranging from 50 shots for entre-level models to actuations for some professional cameras.