In summary
The Coolpix A is a bit of a Curate’s egg: excellent in parts. Consequently, even though we can’t complain about the camera’s image quality, for its price we can’t justify giving it an Editor’s Choice nomination. Once you’ve overcome the counter-intuitive controls layout, worked out how to slip into and out of movie mode as quickly as possible and sorted out the focusing system, there are a few other minor irritants to contend with.
The grip is minimal and not particularly comfortable and it wouldn’t be much use when gloves were worn. In fact the overall design of the camera isn’t really suitable for one-handed operation, unlike some of its competitors. We have no idea why movie recording was buried in the release mode settings but it’s definitely sub-optimal.
It’s also difficult to understand why Nikon didn’t offer an electronic viewfinder with this camera. While the optical viewfinder wasn’t supplied, it seems to be large and awkward to use and parallax error would be significant with closer subjects. (One of the great strengths of the Fujifilm X100s is its hybrid viewfinder.)
It would also have been nice to be able to adjust aperture settings in the A mode with the dial around the arrow pad. Instead, it does nothing and you can’t assign any function to it. This isn’t helpful when the Fn1 button is so difficult to use.
You have to dive into the playback menu to turn off the automatic replay of each shot after it has been taken. And it seems you can’t turn off the monitor screen when you fit the optional viewfinder.
As mentioned, the self-timer re-sets to off after each shot, which is irritating when you want to take a series of long exposures ““ and totally contrary to the default settings in DSLRs and most high-end compact cameras.
The AF system isn’t nearly as fast or functional as the system on the Nikon 1 cameras, which have phase detection sensors embedded in the sensor chip. Why didn’t Nikon provide phase-detection sensors in the Coolpix A, which has a larger sensor?
And if you set up the camera for ‘quick grab’ street photography, using a small aperture and pre-set, mid-range focus distance, the camera doesn’t store the focus distance when power is switched off, so you’re forced to re-set. This is a pity since one of the big advantages of this camera for street photography is the ability to switch the shutter sound off for almost silent operation.
Fortunately, image quality from the review camera was up to Nikon’s standards and the Coolpix A rewards users who capture raw files. Movie quality was also very good. High ISO performance was as good as Nikon’s DX DSLR cameras and the lens was a competent performer.
Full review
Nikon’s Coolpix A is the latest entry into a new category of compact cameras with APS-C sized sensors and fixed, fast prime lenses. Small enough to slip into a jacket pocket, it appears to have the same Nikon-designed CMOS sensor as the respected D7000. With an effective resolution of 16.2 megapixels and on-chip electronics that support 14-bit processing it is fast enough to support Full HD video recording with contrast-based autofocusing.
Angled view of the Coolpix A, black version, with the pop-up flash raised. (Source: Nikon.)
There’s a fair bit of competition in this category, with Fujifilm, Ricoh and Sigma in the game, the latter with three different models (based on lens focal length). The table below compares key features of similarly-specified cameras from each manufacturer.
|
|
Nikon Coolpix A |
Fujifilm X100s |
Ricoh GR |
Sigma DP1 Merrill |
|
Effective resolution |
16.2 megapixels |
16.3 megapixels |
16.2 megapixels |
15.4 megapixels |
|
Lens focal length (35mm equiv) |
28mm |
35mm |
28mm |
28mm |
|
Max. aperture |
f/2.8 |
f/2.0 |
f/2.8 |
f/2.8 |
|
Viewfinder |
Optional OVF |
Electronic & Optical, 90% FOV coverage |
None |
None |
|
Monitor |
3-inch, 921,000 dots |
2.8-inch, 460,000 dots |
3-inch, 1,230,000 dots |
3-inch, 920,000 dots |
|
Flash |
Yes, GN 11.5 |
Yes, GN 9 |
Yes, GN 5.4 |
Optional |
|
Max. movie resolution |
1920 x 1080 |
1920 x 1080 |
1920 x 1080 |
640 x 480 |
|
Battery capacity (shots/charge) |
230 |
330 |
290 |
97 |
|
Dimensions |
111 x 64 x 40 mm |
127 x 74 x 54 mm |
117 x 61 x 35 mm |
121.5 x 66.7 x 64.3 mm |
|
Weight (incl. battery & card) |
299 grams |
445 grams |
245 grams |
391 grams |
|
Price ($AU) |
$1290 (ASP) |
$1449 (RRP) |
$849 (RRP) |
$749 (RRP) |
The Coolpix A has a similar menu structure to Nikon’s DSLR cameras and includes most of the standard settings provided by them. Active D-Lighting is available with an Auto setting or four levels of strength as well as the option to switch processing off completely.
Six Picture Control settings are provided: Standard, Neutral, Vivid, Monochrome, Landscape and Portrait. All can be fine-tuned, with adjustments provided for sharpening, contrast, brightness, saturation and hue. Adjusted settings can be saved for future use.
Users can set the flash exposure compensation to cover the entire frame (which adjusts both the ambient light exposure and flash exposure) or the background only (which compensates for the background alone. Multiple flash control with Nikon’s Advanced Wireless Lighting system is not supported.
The camera is compatible with the GP-1 GPS Unit, which can record EXIF data about the latitude, longitude and altitude of shooting locations and embed it in image data. The embedded data is compatible with digital mapping software and Nikon’s Image Space sharing and storage service website.
The optional WU-1a Wireless Mobile Adapter allows images from the camera to be transferred wirelessly to a smart-phone or tablet. It also enables the smart device to be used to trigger the shutter remotely from a distance while monitoring images in the smart device screen. Note: The Wireless Mobile Utility application (available free the application store of each smart device) must be installed in the smart device prior to use.
Build and Ergonomics
Like others in its category, the Coolpix A looks like a small and boxy compact camera. Its body design is very similar to the Coolpix P330 ““ particularly the front panel ““ and like the P330, it’s offered in black and white.
Front panels of the Coolpix A (top) and Coolpix P330 (below) in black, showing their design similarities. (Source: Nikon.)
Given the price differential, it’s not surprising that the build quality in the A is superior to the P330. It has an aluminium alloy chassis clad with magnesium alloy plus a leatherette-covered grip bar and dials cut from a metal block. It’s also made in Japan, whereas other Coolpixes come from China.
The front panel of the Coolpix A is dominated by the 18.5mm f/2.8 lens, which covers an angle of view equivalent to a 28mm lens on a 35mm camera. The optical design of this lens uses seven elements in five groups and includes one aspherical element to minimise spherical aberration and coma.
It has a seven-bladed diaphragm and integrated shutter mechanism that supports flash synchronisation at all shutter speeds, including the maximum 1/2000 second. The lens retracts into the camera body so it takes a second or so for the camera to power up.
The HN-CP18 lens hood can be fitted via the UR-E24 Adapter Ring, which also accepts 46 mm diameter filters (all optional).
The lens doesn’t focus closer than 50 cm from subjects unless you select the Close-up mode from the Scene pre-sets. This focuses to within 10 cm but doesn’t give you any control over aperture settings. It selected between f/7.1 and f/9 in bright outdoor lighting.
Nikon DSLR users looking to purchase the Coolpix A as a take-everywhere back-up camera will be disappointed to find the control layout is an almost complete reverse of the DSLR layout. The playback, menu and info buttons are to the right of the monitor, with the exposure compensation and ISO/Fn2 buttons on the left.
There’s another Fn button between the lens and grip on the lower part of the front panel, borrowed from the Coolpix P3xx and P7xxx designs. It’s not an ideal location and only reachable with the middle finger ““ at a stretch.
Most of the rear panel is covered by the large, high-resolution TFT LCD monitor, which has a resolution of 921,000 dots and features an integrated glass and panel structure that reduces light loss and suppresses surface reflections. There’s no viewfinder but the hot-shoe can accept an optional optical finder (DF-CP1) which covers 90% of the lens’s field of view.
The rear panel of the Coolpix A. (Source: Nikon.)
Ranged down the left side of the monitor are four buttons. Depending on the operating mode and users’ settings, these access the following functions (from the top button down):
exposure compensation/adjusting aperture/protect, ISO/Fn2, playback zoom-in, Info/thumbnails/ playback zoom-out/Help.
To the right of the monitor is a ‘rotary multi-selector’ with a central OK button and directional navigation controls. Above it are the Menu and Playback buttons, while below it lie the information display and delete buttons. A rubber thumb rest is located in the top right hand corner of the panel, while a slider for popping up the flash lies between the back and top panels on the left hand side.
The top panel of the Coolpix A with the lens extended. (Source: Nikon.)
The top panel layout includes a large mode dial located between the hot-shoe and the shutter release button/power lever and the pop-up flash is recessed into the left hand end. A large command dial with a finely-ridged rim is semi-recessed into the rear of the right hand end.
The mode dial has the same number of settings as the P330’s but includes two User-programmable memories instead of one memory and a night shot setting. Pre-sets in the Scene sub-menu include Portrait, Child, Landscape, Sports, Close-up, Night Portrait, Night Landscape, Party/Indoor, Beach/Snow, Sunset, Dusk/Dawn, Pet Portrait. Candlelight, Blossom, Autumn Colours, Food, Silhouette, High Key and Low Key.
A slider switch on the left hand side panel lets you select from three focusing modes: normal AF, ‘macro’ AF and manual focus. In the AF mode, manual focus over-ride is available when the shutter button is half pressed by rotating the ring around the lens. The view can be magnified for focus checking by pressing the magnification button and you can move the magnified area by pressing the arrow pad multi-selector in the required directions.
The battery and memory card share a compartment in the base of the camera, alongside a metal-lined tripod socket, which is located off the lens axis. A lift-up hatch on the left hand side panel protects the accessory terminal and USB connector. Below it is a focus mode selector with three positions: AF, Macro and MF. The HDMI connector sits just around the corner from the thumb rest on the right hand panel.
The built-in flash pops up from the left hand end of the top panel when the camera is set in one of the auto modes. It can be manually raised with a slider switch. Unlike the flash in the Coolpix P7700, it can’t be used to control other flashes.
Sensor and Image Processing
The Coolpix A appears to have the same Nikon-designed CMOS sensor as the revered D7000 but there’s no optical low-pass filter in front of it. This should result in sharper pictures, albeit with a risk of increased potential for moirø© in areas with close patterning. The microlens array covering the sensor has been designed to optimise the performance of the lens for edge-to-edge sharpness.
With an effective resolution of 16.2 megapixels and on-chip electronics that support 14-bit processing, the Coolpix A’s imaging system is fast enough to support Full HD video recording with contrast-based autofocusing. The camera can record NEF.RAW files alone or combine them with one of the three sizes that are available for JPEG files, each with three quality levels.
Linked to the sensor is an EXPEED 2 chip, the same image-processing engine as found in Nikon’s latest DSLR cameras. NEF.RAW files are recorded at 4928 x 3264 pixels with 14-bit colour depth and lossless compression. Coolpix A users can combine the raw files with JPEGs at the Large, Medium and Small sizes and with Fine, Normal or Basic compression.
Fine JPEGs have a compression ratio of approximately 1:4, while Normal JPEGs get 1:8 compression and Basic JPEGs are compressed to 1:16. The table below shows typical file sizes.
|
Image Size |
Compression |
Pixels |
File Size |
|
NEF.RAW |
Lossless |
4928 x 3264 |
25MB |
|
JPEG Large |
Fine |
4928 x 3264 |
9.8MB |
|
Normal |
4.9MB |
||
|
Basic |
2.5MB |
||
|
JPEG Medium |
Fine |
3696 x 2448 |
5.6MB |
|
Normal |
2.9MB |
||
|
Basic |
1.5MB |
||
|
JPEG Small |
Fine |
2464 x 1632 |
2.5MB |
|
Normal |
1.3MB |
||
|
Basic |
0.7MB |
The maximum continuous shooting frame rate is four frames/second and the buffer memory can hold up to 11 NEF.RAW frames or 10 RAW+JPEG pairs. It fills up after 31 Large/Fine JPEGs or 100 JPEGs at other sizes and quality settings.
Video
There’s no Movie button so when you want to record video clips you have to dive into the menu, select the Release mode and choose the Movie recording setting from the drop-down menu. In this mode, pressing the shutter buttons starts and ends the recording.
The movie mode setting is retained when the camera is switched off. In contrast, the self-timer defaults back to off after each shot. Seems counter-intuitive to me.
Video capabilities are focused on high-definition recording, with both 1920 x 1080 (Full HD) and 1280 x 720 (HD) resolutions available at frame rates of 30, 25 and 24 fps, all using progressive scanning. The maximum recording time is 29 minutes and 59 seconds (20 minutes for 1920 x 1080 at 30p in High quality mode), although the camera may turn off automatically beforehand to prevent over-heating. The table below shows the settings, frame rates and bit rates available with the two quality settings.
|
Frame size |
Frame Rate |
Max. Bit rate (High/Normal quality) |
|
1920 x 1080 |
30p |
18/10 Mbps |
|
25p |
||
|
24p |
||
|
1280 x 720 |
30p |
10/6 Mbps |
|
25p |
||
|
24p |
8/5 Mbps |
Focusing is almost silent, an advantage when recording movie clips. Selecting the AF-F (Full-time Servo AF) mode causes the camera to adjust focus while clips are being recorded. If AF-ON is selected for the Assign Fn1 button in the set-up menu the lens can be re-focused by pressing this button. Sensitivity defaults to between ISO 100 and ISO 6400 in all shooting modes, except for the M mode, where sensitivity can be set manually to values within this range.
Assigning AF-ON to the Fn1 button is actually a good idea as it lets you focus quickly by pressing the button with the third or fourth finger of your right hand. The shutter responds almost instantly once focus is achieved, overcoming the lag experienced when you focus by pressing the shutter button.
Playback and Software
Playback settings for still pictures are essentially the same as other Coolpix cameras and include options for displaying images with or without shooting data as well as highlight alerts and RBG histogram overlays. You can also choose whether shots are automatically displayed immediately after they are captured and select auto rotation for portrait format shots.
As well as the normal index and slideshow playback functions the Coolpix A also includes an extensive re-touch menu with 18 functions for ‘editing’ JPEG images in different ways plus a NEF.RAW-to-JPEG conversion tool. Adjustments for JPEGs include D-Lighting, red-eye correction, monochrome conversion, colour balance, filter effects, straightening and perspective control, trimming and resizing and side-by-side comparisons. Basic movie editing tools are also available.
The software disk contains Nikon’s ViewNX2, a very basic converter for NEF.RAW files however, the latest version of Adobe Camera Raw is able to process raw files from the Coolpix A. Also supplied with the camera are user manuals in both printed and electronic form (on disk), along with warranty papers.
Performance
At its fastest in bright conditions the review camera’s AF system was reasonably fast and accurate in the manually-adjusted shooting modes, although it never showed the quick and positive lock-on of the Nikon 1 cameras. In low light levels, the camera had difficulties focusing and often failed to find focus.
The system was also prone to hunting, which became very common with the Close-up setting, where it could often take a second or two for the lens to focus. The selected focus point is outlined in green when focus is achieved ““ or red when the lens isn’t focused.
Unfortunately, there is no shutter lock so you can end up with out-of-focus pictures if you don’t check focusing after each exposure. Focusing was also relatively slow when the camera was panned slowly while shooting video clips.
The review camera delivered a competent performance, producing images with natural colours and few visible artefacts. Exposures were consistently close to the optimal level and, while the default Standard Picture Control setting delivered slightly elevated saturation, this wasn’t obvious in test shots.
Imatest showed the camera to be capable of exceeding expectations for the sensor resolution with raw files (which were converted with the latest release of Adobe Camera Raw) and coming close to expectations with JPEGs. Resolution remained high throughout most of the camera’s sensitivity range, confirming our expectations for superior high ISO performance. The graph below shows the results of our Imatest tests.
The lens was also a superior performer, showing little evidence of edge softening, even at wide aperture settings. It produced its highest resolution a couple of stops down from maximum aperture, with a very gradual decline until f/11, when diffraction kicked in. The graph below shows our Imatest results.
Lateral chromatic aberration was consistently negligible, except at f/2.8 where it crept into the ‘low’ band. In the graph below, the red line separates ‘negligible’ and ‘low’ CA.
Long exposures at night showed little visible noise up to ISO 3200 without noise reduction processing. From that point, noise became increasingly evident and coloured speckling was quite obvious in shots taken at ISO Hi2 setting, although images remained relatively sharp. Shots taken with the Hi1 and Hi2 were printable at snapshot size, although some granularity was visible in prints from the latter setting.
Flash exposures were evenly balanced between ISO 100 and ISO 800 but the camera became unable to adjust beyond this point. Exposures throughout the remainder of the camera’s ISO range ranged from about 1EV over-exposure at ISO 6400 to several stops at the Hi2 setting. Colour reproduction was reasonably faithful at all settings but images became increasingly soft and flat beyond ISO 6400 and coloured blotches could be seen in shots taken at ISO Hi2.
We found some vignetting in flash shots at all sensitivity settings, although it was more noticeable at the lower sensitivities. Fortunately, it wasn’t enough to reduce image quality and could be easily corrected with editing software. The lens showed slight traces of vignetting at the two widest aperture settings but, again, they were easily correctable. Distortion was also relatively low for a wide-angle lens.
While you could force the lens to flare by pointing the camera at a very bright light source, the lens was remarkably flare-resistant when the light source was just outside of its field of view. Examples are shown in the Samples section below.
The auto white balance setting came closer than average to correcting the orange cast produced by incandescent lighting. Traces of blue remained in shots taken under fluorescent lights. Both casts were easily corrected with editing software, which is handy as the in-camera pre-sets consistently over-corrected. Manual measurement was the quickest way to obtain cast-free images.
Video quality was generally very good and we were quite impressed by the clips we shot at the Vivid Sydney Festival, an evening event involving lighting and projection effects. The camera was pushed to capture enough light to record many subjects and turned in a sterling performance at the maximum sensitivity setting (ISO 6400 equivalent) and with the widest lens aperture. Soundtracks were surprisingly clear, given the situation, and also relatively free of noises from the camera operations.
We carried out our timing tests with the 16GB Panasonic SDHC card with a Class 10 speed rating. Despite having to extend and retract the lens, the review camera powered-up in just under a second and shut down almost instantly. We measured an average capture lag of 0.45 seconds, which was reduced to less than 0.1 seconds with pre-focusing.
Shot-to-shot times averaged 0.65 seconds without flash and 2.5 seconds with flash.
Image processing times were difficult to estimate but as far as we were able to measure it took approximately 2.1 seconds to process each JPEG file, 3.2 seconds for each NEF.RAW file and 4.1 seconds for each RAW+JPEG pair.
In the continuous shooting mode, the camera was able to record 10 frames in 2.5 seconds. It took 9.3 seconds to process a burst of JPEGs, 24.5 seconds for a burst of raw files and 28.8 seconds for RAW+JPEG pairs.
Conclusion
The Coolpix A is a bit of a Curate’s egg: excellent in parts. Consequently, even though we can’t complain about the camera’s image quality, for its price we can’t justify giving it an Editor’s Choice nomination. Once you’ve overcome the counter-intuitive controls layout, worked out how to slip into and out of movie mode as quickly as possible and sorted out the focusing system, there are a few other minor irritants to contend with.
The grip is minimal and not particularly comfortable and it wouldn’t be much use when gloves were worn. In fact the overall design of the camera isn’t really suitable for one-handed operation, unlike some of its competitors. We have no idea why movie recording was buried in the release mode settings but it’s definitely sub-optimal.
It’s also difficult to understand why Nikon didn’t offer an electronic viewfinder with this camera. While the optical viewfinder wasn’t supplied, it seems to be large and awkward to use and parallax error would be significant with closer subjects. (One of the great strengths of the Fujifilm X100s is its hybrid viewfinder.)
It would also have been nice to be able to adjust aperture settings in the A mode with the dial around the arrow pad. Instead, it does nothing and you can’t assign any function to it. This isn’t helpful when the Fn1 button is so difficult to use.
You have to dive into the playback menu to turn off the automatic replay of each shot after it has been taken. And it seems you can’t turn off the monitor screen when you fit the optional viewfinder.
As mentioned, the self-timer re-sets to off after each shot, which is irritating when you want to take a series of long exposures ““ and totally contrary to the default settings in DSLRs and most high-end compact cameras.
The AF system isn’t nearly as fast or functional as the system on the Nikon 1 cameras, which have phase detection sensors embedded in the sensor chip. Why didn’t Nikon provide phase-detection sensors in the Coolpix A, which has a larger sensor?
And if you set up the camera for ‘quick grab’ street photography, using a small aperture and pre-set, mid-range focus distance, the camera doesn’t store the focus distance when power is switched off, so you’re forced to re-set. This is a pity since one of the big advantages of this camera for street photography is the ability to switch the shutter sound off for almost silent operation.
Fortunately, image quality from the review camera was up to Nikon’s standards and the Coolpix A rewards users who capture raw files. Movie quality was also very good. High ISO performance was as good as Nikon’s DX DSLR cameras and the lens was a competent performer.
However, the price tag is high for what this camera offers, particularly if you add the viewfinder and a lens hood, neither of which appears to be on sale in Australia yet. B&H has the DF-CP1 optical viewfinder listed at US$379, while the UR-E24 filter adapter and HN-CP18 lens hood together sell for US$99.
SPECS
Image sensor: 23.6 x 15.6 mm CMOS sensor with 16.93 million photosites (16.2 megapixels effective)
Image processor: EXPEED 2
A/D processing: 14-bit
Lens: 18.5mm f/2.8 Nikkor lens with 7 elements in 5 groups (28mm equivalent in 35mm format)
Image formats: Stills ““ JPEG (Exif 2.3), NEF.RAW, RAW+JPEG; Movies ““ MOV (Video: H.264/MPEG-4 AVC, Audio: Linear stereo PCM)
Image Sizes: Stills ““ L (4928 x 3264), M (3696 x 2448), S (2464 x 1632); Movies: 1920×1080 (Full HD) and 1280×720 (HD) at 30p/25p/24p
Image Stabilisation: No
Shutter speed range: 1/2000 to 30 seconds plus Bulb and Time in M mode (time requires optional ML-L3 remote control)
Exposure Compensation: +/- 5 EV in 1/3EV increments
Bracketing: Exposure – three shots, 0.3 to 2 EV; White balance – three shots, setting, +1 amber, +1 blue; ADL – three shots, off, auto, selected setting
Self-timer: 2, 5, 10 or 20 seconds delay
Focus system: Contrast-detect AF; range approx. 50 cm to infinity; macro to 10 cm
Focus area selection: Face-priority, normal area, wide area, and subject-tracking AF
Exposure metering: Matrix, Centre-weighted average and Spot
Shooting modes: Auto, Scene (Portrait, Landscape, Child, Sports, Close-up, Night Portrait, Night Landscape, Party/indoor, Beach/Snow, Sunset, Dusk/dawn, Pet portrait, Candlelight, Blossom, Autumn Colours, Food, Silhouette, High Key, Low Key), P, S, A, M, User Settings (U1, U2)
Picture Style/Control settings: Standard, Neutral, Vivid, Monochrome, Portrait, Landscape, (user adjustable)
Colour space options: sRGB, Adobe RGB
Filter Effects: Skylight, Warm filter, Red intensifier, Green intensifier, Blue intensifier, Cross screen, Soft (Retouch menu only)
ISO range: Auto: ISO 100 – 3200 set automatically; Manual expansion to to 6400, Hi 0.3 (ISO 8000 equivalent), Hi 0.7 (ISO 10000 equivalent), Hi 1 (ISO 12800 equivalent), and Hi 2 (ISO 25600 equivalent)
White balance: Auto, Daylight, Shade, Cloudy, Tungsten, White fluorescent, Flash, Custom, Color temperature setting (Approx. 2500-10000K)
Flash: TTL auto flash with monitor pre-flashes; manual flash control available; Guide Number approx. 6/21, or 6/22 when fired in manual mode at full power (ISO 100, m/ft); range: approx. 0.5 – 11.5 metres (ISO Auto)
Flash exposure adjustment: +/-3 EV in 1/3EV increments
Sequence shooting: Max. approx. 4 shots/sec. for up to 26 Large/Normal JPEGs or 9 RAW+JPEG pairs
Storage Media: Single slot for SD/SDHC/SDXC memory cards; UHS-1 compatible
Viewfinder: Optional DF-CP1
LCD monitor: 3-inch TFT colour LCD with approx. 921,000 dots; wide viewing angle, anti-reflection coating, and 9-level brightness adjustment
Playback functions: Single image display, Single image + Info display (file information, shooting data, RGB histogram, GPS data, overview with thumbnail + brightness histogram, highlight alert); 4-, 9- or 72-image index; calendar playback, up to 31x magnification with large images; protection, deletion, rotation; slideshow with adjustable intervals; movie playback with clip trimming and frame extraction; in-camera Retouch menu to create JPEG copies, includes side-by-side comparison, filter and other effects, perspective control and raw image processing; direct printing supported
Interface terminals: Digital connector (USB) HDMI mini connector (Type C) Accessory terminal
Power supply: EN-EL20 rechargeable lithium-ion battery; CIPA rated for approx. 230 shots/charge
Dimensions (wxhxd): Approx. 111.0 x 64.3 x 40.3 mm
Weight: Approx. 299 grams (including battery and card)
TESTS
JPEG image files
Raw image files converted into 16-bit TIFF format with Adobe Camera Raw.
SAMPLES
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
30 second exposure at ISO 100, f/5.6.
8 second exposure at ISO 1600, f/8.
4 second exposure at ISO 6400, f/16.
2 second exposure at ISO 12800 f/16.
2 second exposure at ISO 25600 f/22.
Flash exposure at ISO 100, 1/60 second at f/10.
Flash exposure at ISO 1600, 1/60 second at f/6.3.
Flash exposure at ISO 6400; 1/60 second at f/9.
Flash exposure at ISO 25600; 1/60 second at f/13.
Close-up shot taken with the Close-up Scene pre-set; ISO 100, 1/60 second at f/8.
Close-up shot taken with the Macro AF mode; ISO 100, 1/160 second at f/2.8.
Strong contre-jour lighting; normal AF setting; ISO 100, 1/640 second at f/9.
Strong contre-jour lighting; Close Up mode with the Scene pre-set; ISO 100, 1/250 second at f/8.
Automatic D-Lighting correction for a subject with a wide brightness range; ISO 100, 1/80 second at f/14.
ISO 100, 1/80 second at f/11.
ISO 100, 1/250 second at f/11.
ISO 560, 1/2 second at f/5.
ISO 6400, 1/25 second at f/4.5.
ISO Hi1, 1/50 second at f/5.6.
ISO 6400, 1/60 second at f/4.
Still frame from Full HD video clip shot with 30 frames/second.
Still frame from Full HD video clip shot with 25 frames/second.
Still frame from Full HD video clip shot with 34 frames/second.
Still frame from HD video clip shot with 30 frames/second.
Still frame from HD video clip shot with 25 frames/second.
19: Still frame from HD video clip shot with 24 frames/second.
Rating
RRP: n/a ASP: AU$1290; US$1100
- Build: 8.8
- Ease of use: 8.5
- Autofocusing: 8.0
- Still image quality JPEG: 8.5
- Still image quality RAW: 9.0
- Video quality: 8.8
