Nikon Coolpix P100

In summary

A compact super-zoom digicam with support for Full HD video capture plus high-speed photo and video shooting modes.Released a year after the Coolpix P90, Nikon’s Coolpix P100 is a next-generation super-zoom model with the same SLR-like styling as its predecessor. However, it adds some features and special shooting modes to attract a wider range of potential purchasers. Although sensor resolution has been (sensibly) reduced, the zoom range is longer and the adjustable LCD monitor has higher resolution. . . [more]

Full review

Released a year after the Coolpix P90, Nikon’s Coolpix P100 is a next-generation super-zoom model with the same SLR-like styling as its predecessor. However, it adds some features and special shooting modes to attract a wider range of potential purchasers. Although sensor resolution has been (sensibly) reduced, the zoom range is longer and the adjustable LCD monitor has higher resolution.

Nikon has replaced the 12-megapixel CCD sensor with a new backlit CMOS chip that supports a maximum resolution of 10 megapixels. In theory, this new sensor enables the camera to offer better low-light performance and faster continuous shooting speeds. It also allows Nikon to add a few new shooting modes, including high-speed settings for both still and video capture.

The Zoom-Nikkor ED 26x optical zoom lens on the P100 extends the tele end of the focal length range, covering the equivalent of 26-678mm in 35mm format – up from 26-624mm on the P90. Consisting of 14 elements in 11 groups, it focuses down to 50 cm in normal mode and to 10 cm with Macro focus, although you can move in to approximately one centimetre from the subject when the lens is set to the wide position.

Coupled to the lens is a re-vamped stabilisation system that combines sensor shifting with electronic stabilisation. The camera is also equipped with detectors that can sense subject movement and engage both systems to reduce blur in shots. Up to three stops of shutter speed advantage are claimed for this system.

Build and Ergonomics
The body of the P100 has changed very little from its predecessor. Both cameras are made from black plastic and reasonably solidly constructed. The front is dominated by the lens, which protrudes approximately 60 mm from the camera body and has a diameter of 62 mm at its tip. Powering up the camera extends the lens a further 15 mm to the wide position and an additional 45 mm to full tele extension.

Angled front view of the Coolpix P100 with the lens at the wide position. (Source: Nikon.)
The lens barrel provides plenty of space for cradling the camera body with your left hand, which is the most comfortable position for shooting. The tethered lens cap fits securely but you must remove it before powering up the camera to prevent an error message from being displayed.

A deep handgrip positions the index finger above the shutter release button on the top panel and makes one-handed shooting possible. The top panel also contains the pop-up flash, on/off button, shutter button and mode dial (see below).

The top panel of the Coolpix P100. (Source: Nikon.)

On top of the flash housing are two arrays of holes that represent the stereo microphone grilles for recording movie soundtracks and voice notes for still photos. The flash is popped up with a button on the side of the housing, which lifts the flash head roughly 70 mm above the camera’s optical axis. The on/off button is recessed to lie flush with the top panel and carries a green LED that glows when power is on or the battery is being charged.

The zoom lever surrounds the shutter button and moves through approximately 30 degrees as you go from wide to full tele position. Zoom movement is smooth and provides adequate precision for family snapshooters (the main target market for this camera). Optical VR stabilisation combines with five anti-blur settings to maximise the user’s chances of obtaining sharp pictures.

The mode dial on the Nikon Coolpix P100.
The mode dial carries 11 settings, which are slightly different from those on the P90. They include the standard full auto, P, S, A and M shooting modes, along with a Scene auto selector setting, which is distinct from the Scene mode. Pre-sets accessible in the Scene mode sub-menu include Portrait, Landscape, Night Portrait, Party/Indoor, Beach/Snow, Sunset, Dusk/Dawn, Night Landscape, Close-up, Food, Museum, Fireworks, Copy, Backlight, Backlit scene HDR and Panorama Assist. The mode dial also includes one user memory, a Smart Portrait mode (which includes ‘skin softening’, ‘smile timer’ and ‘blink proof’ settings) and a Sport Continuous mode for shooting at up to 120 fps (1.1 MP resolution).

Rear view of the Coolpix P100. (Source: Nikon.)

Covering most of the rear panel, the 3-inch TFT LCD monitor has a higher resolution than the P90’s, with a very acceptable 460,000 dots. However, its adjustment range is unchanged, allowing it to be tilted upwards through 90 degrees and downwards through 45 degrees for low or high-angle shooting. Full articulation, where the LCD is mounted at the side of the camera, would provide significantly more freedom.

Some adjustment options for the P100’s LCD monitor. (Source: Nikon.)

The electronic viewfinder is essentially the same as the finder in the P90. It has a reasonably large eyepiece for a digicam but suffers from low resolution and, therefore, fails to impress. The left side of the finder housing carries a knurled knob for adjusting dioptre settings. It’s easy to use and quite effective.

Just below – on the rear panel – is a button for switching between the EVF and LCD, while on the other side of the viewfinder housing (next to the Movie button) is a Display button that toggles between the various display modes. Three are provided for shooting: picture only, picture plus shooting data and picture plus shooting data and framing grids. In playback mode the choice is: picture only, picture plus shooting data and thumbnail picture plus shooting data and brightness histogram.

As in the P90, the combined battery and card compartment is situated in the base panel. The supplied EN-EL5 rechargeable lithium-ion battery is the same as the P90 but power management has been improved as the P100’s battery is rated for 250 shots/charge while the P90 offered only 200.

Unlike most digital cameras, the P100 is not supplied with a separate AC Adapter/battery charger. Instead, it comes with the Charging AC Adapter EH-68P plus a plug adapter that varies, depending on where the camera is sold. The plug adapter connects the EH-68P to the mains and the battery is charged in the camera by connecting both devices with the supplied USB cable. An LED in the centre of the on/off button indicates charging is taking place.

You don’t really need the charging adapter because the battery can be charged by connecting the camera to a computer with the USB cable since it has a standard plug that should fit most computer USB ports. You can also charge the battery outside the camera with the optional Nikon MH-61 Battery Charger for Coolpix, which sells for approximately $70. (Interestingly, Nikon doesn’t list it as an accessory for the P100 on its website despite it being potentially useful for travelling photographers who carry spare batteries.)

Like its predecessor, the P100 uses SD or SDHC memory cards – but apparently not the new SDXC media. Beside the battery/card compartment is a metal-lined tripod socket, which is close to the centre of the base panel (but just over 20mm off the camera’s optical axis). A compartment on the left side panel lifts up to reveal USB/AV and HDMI ports for connecting the camera to a computer or TV screen.

Sensor and Image Processing
The sensor in the P100 is one of the new backlit CMOS chips. We haven’t been able to discover whose foundry the sensor came from but Nikon has traditionally favoured Sony’s sensors. It’s certainly not the same as the sensors in the TX1, TX7 and WX1 Cyber-shots, which are smaller in size (but have the same resolution). Whether it’s the same sensor as in the Ricoh CX3 or Fujifilm HS10, which are similarly specified, is impossible to say.

Linked to the sensor is Nikon’s EXPEED image processor, which underpins standard functions like the VR image stabilisation system, Active D-Lighting function as well as new additions like the Smart Portrait System. (More on these functions below.)
Like its predecessor, the P100 is a JPEG-only camera, with 11 image sizes and three compression ratios selectable. Eight of the sizes are in 4:3 aspect ratio with one at each of the 16:9, 3:2 and 1:1 aspect settings. Typical file sizes are shown in the table below.

Aspect ratio	Image size	Pixels	File size
			Fine	Normal	Basic
4:3	10M	3648 x 2736	6.4MB	3.2MB	1.1MB
	8M	3264 x 2448	4.27MB	2.13MB	1.06MB
	5M	2592 x 1944	2.69MB	1.35MB	0.67MB
	3M	2048 x 1536	1.68MB	0.84MB	0.42MB
	2M	1600 x 1200	1.03MB	0.52MB	0.26MB
	1M	1280 x 960	0.68MB	0.37MB	0.20MB
	PC	1024 x 768	0.46MB	0.25MB	0.15MB
	TV	640 x 480	0.20MB	0.14MB	0.08MB
3:2	3:2	3648 x 2432	5.69MB	2.84MB	1.44MB
16:9	16:9	3584 x 2016	4.65MB	2.38MB	1.19MB
1:1	1:1	2736 x 2736	4.88MB	2.38MB	1.20MB

Unlike the P90, which offers sensitivity settings from ISO 64 up to ISO 6400, the P100 has a smaller range that begins at ISO 160 and tops out at ISO 3200, where full image resolution is retained. Using the Fixed Range Auto function in the ISO sub-menu, photographers can limit the sensitivity span for the auto ISO mode to ISO 160-200 (the default setting) or ISO 160-400.

In the full auto shooting mode, sensitivity is kept to ISO 160-800. The High ISO sensitivity auto mode enables the camera to extend this up to ISO 1600. Alternatively, users can choose individual settings from ISO 160, 200, 400, 800, 1600 or 3200.
Movies
Movie options are significantly better than the P90, which could only record VGA and QVGA clips. In contrast, the P100 has a wealth of movie settings; the default setting being HD 1080p (1920 x 1080 pixels). Interestingly, the angle of view of the lens is reduced for movie capture, compared with still picture shooting.

Movies are triggered by a dedicated button on the rear panel. It’s surrounded by a ring switch with two settings: HD and HS. HD represents the standard movie recording settings, while HS allows the user to record in slow or fast motion. You can use the optical zoom function while recording movie clips, although the movement of the lens mechanism may be picked up by the microphone.

The same applies to autofocusing. The autofocusing mode defaults to Single AF and focus is locked when recording starts. Only electronic stabilisation, which crops the frame to eliminate camera shake, is available for movie capture and it can be switched off if desired. Wind noise reduction is available.

Four options are available in HS mode: 240 fps, 120 fps, 60 fps and 15 fps. In the first three modes, the recording is carried out at high speed for normal playback, which results in slow motion. Clips can be up to 10 seconds long in these modes. When 15 fps is set, you can shoot up to two minutes of movie for playback at twice the normal speed. Slow motion and high-speed playbacks are silent.

The maximum length for a single HD movie clip is 29 minutes, regardless of the resolution setting. Typical capacities for a 4GB card are shown in the table below.

Movie setting	Resolution	Bit rate	Maximum length on 4GB card
HD 1080p	1920 x 1080 pixels	14 Mbps	34 minutes
HD 1080p	1920 x 1080 pixels	12 Mbps	39 minutes 25 seconds
HD 720p	1280 x 720 pixels	9 Mbps	50 minutes
VGA	640 x 480 pixels	3 Mbps	2 hours 5 minutes
QVGA	320 x 240 pixels	640 kbps	4 hours 45 minutes

In each case, the frame rate is 30 frames/second. As the camera records with a variable bit rate (depending on how rapidly the recorded picture is changing), the speed at which movie clips are recorded varies automatically. Consequently, movies of frequently-moving subjects occupy more card space than those of static subjects.

New Shooting Modes
Nikon has utilised the sensor/image processor system’s ability to support fast capture rates to introduce a couple of new multi-exposure shooting modes. The first is the Backlit Scene HDR scene mode which sets the camera to record a rapid sequence of shots at different exposure levels. These are combined in the camera to provide a single image with a broader dynamic range.

The result should be better retention of detail in highlights and shadows, even when the subject is backlit. However, because the brightness levels of the monitor and EVF don’t represent a true picture of the way the subject is being rendered, users can only confirm exposure levels are adequate when they have uploaded images to a computer.

The second multi-exposure mode is the Night Landscape scene mode, which also captures several images and then combines them to create a single optimised photo. The objective is to enable the camera to record scenic shots at night (or in very dim lighting) with reduced noise and minimal blurring. Hand-holding the camera produced unsharp results, suggesting this mode works best when the camera is tripod-mounted.

The third mode is the Sport Continuous mode, which supports the fastest capture frame rates. Three options are provided in the camera’s menu: Auto, 120 fps and 60 fps. The default Auto setting enables the camera to record up to 25 frames at 2-megapixel resolution (1600 x 1200 pixels) to be captured at 60 frames/second. The frame rate will vary, depending on the brightness of the subject.

The 120 fps setting reduces resolution to 1-megapixels (1280 x 960 pixels) but increases the frame rate to 120 fps for 60 frames. The 60 fps setting records 25 frames in sequence at 60 frames/second. Resolution is fixed at 2-megapixels. This mode also offers a pre-shooting cache, which starts recording when the shutter button is half-pressed. The frame rate is fixed at 15 fps but increases when the shutter is fully pressed. However the buffer only holds 25 frames.

Continuous shooting at higher resolutions is only available in the P, A, S and M shooting modes, where two options are available. The Continuous H mode can record 10-megapixel (3648 x 2736) images with Normal compression at 10 fps. Up to six frames can be captured before the buffer fills.

The Continuous L mode also records 10M/Normal shots but at a slower rate of up to 2.8 fps. The buffer limit is 200 frames. In addition, Nikon’s Best Shot Selector (BSS) and Multi-shot 16 modes, which have been around for several years, are also provided. The P100 also comes with the same interval timer features as its predecessor.

Subject tracking is another new setting on the mode dial. In this mode, a white square appears on the monitor, showing the AF frame. Pressing the OK button registers the subject in this frame and the camera will continue to track it as it moves. The frame glows red when focus can’t be achieved while you’re registering a subject and blinks if the camera is unable to focus in tracking mode.

Finally, the P100 comes with a panorama shooting mode for capturing a sequence of shots that will be subsequently combined to make a single picture. The sequence can be shot in any direction, from left to right or up to down or vice versa. An outline of the previous shot is displayed on the monitor to help users position the next shot. There appears to be no limit to the number of shots you can take in a sequence.

Focus, exposure, ISO, white balance, image size/quality and flash are locked with the first shot in the sequence and all shots must be taken within the specified time frame. Images are stitched together with the Panorama Maker software supplied with the camera.

The camera also blocks access to certain settings that could be otherwise useful in several situations. For example, bracketing is inaccessible when the self-timer has been set, which will be seen as annoying by some users.

Playback and Software
Playback options haven’t changed much since the P90 (INSERT LINK). However, Nikon has added a Skin Softening function to the in-camera editing options. Up to 12 faces in an image can be processed with this function and processed images are saved as separate files. There’s also the option of viewing continuously-shot pictures individually and deciding on the Key picture to represent the burst of shots.
The software disk contains Nikon’s standard bundle of applications, which includes Nikon Transfer for uploading images to a computer, ArcSoft Panorama Maker and Apple QuickTime 7. Microsoft DirectX 9 is also provided for Windows users. We’ve covered these in our review of the Coolpix S710.
Performance
Many performance aspects of the Coolpix P100 were typical of most super-zoom digicams. However, autofocusing in bright lighting was surprisingly fast for this type of camera when shooting stills, although it flagged seriously low light levels. Since the camera will still take pictures when the focus is slightly off in such conditions, many of our test shots were slightly unsharp.

Metering was generally good, although exposures tended to favour shadow detail over highlights, resulting in outdoor shots being over-exposed by 1/3 or 2/3 of an f-stop. Bright areas were frequently blown-out in outdoor shots unless exposure compensation was used to bring exposures back to normal exposure levels. Another way to pull highlights back and boost shadows was to set the Active D-Lighting to Normal or High (depending on the contrast in the scene). However, this wasn’t always successful.

Test pictures weren’t particularly colour-accurate and both contrast and saturation were high for a modern digicam. These problems were confirmed by our Imatest tests, which showed saturation significantly boosted in all warmer hues. Skin hues were also off-the-mark and colour shifts were seen in blues and greens.

Imatest also showed resolution to be slightly below expectations for a 10-megapixel camera for the best results we obtained in our shooting tests – and way below expectations for most of the aperture and focal length settings. From about f/5 on, there was a steep decline that levelled out at around f/7.1 – but only for shorter focal lengths.

Edge softening was revealed at most focal lengths throughout the zoom range – and evident in test shots. Noise artefacts could be seen in shots from ISO 400 on when noise-reduction processing was switched off. Switching it on resulted in image softening, particularly with long exposures. The graph below shows the results of our tests across the camera’s focal length and aperture ranges.

Interestingly, the review camera turned in an above-average performance in our Imatest tests across its sensitivity range. Resolution remained relatively high up to (and including) ISO 1600 and only plunged for the ISO 3200 setting. The graph below shows the results of our tests.

However, this performance was only borne out in actual shooting tests for flash exposures. Long exposures showed visible image noise from ISO 400 on with shots taken at ISO 1600 and ISO 3200 soft and effectively unusable. This softness was reflected – although to a lesser degree – in flash shots at ISO 3200. However, sharpness was retained in flash shots at all other ISO settings.

Lateral chromatic aberration was a serious issue across the camera’s aperture and focal length spans. Aside from two points where our measurements showed a dip into the ‘low’ CA band, all other measurements showed moderate chromatic aberration, which was evident in test shots taken in bright, contrasty lighting. The graph below shows the results of our tests.

Although the zoom lens didn’t suffer from noticeable vignetting, barrel distortion was evident at the wide-angle settings. However, it was largely resolved by the middle of the zoom range. Slight pincushion distortion could be seen at full tele zoom but it would not affect normal shooting. (Distortion Correction can be turned on or off in the P, A, S and M modes.)

The auto white balance delivered similar results to most digicams we’ve tested, failing to correct the orange cast from incandescent lighting but producing close-to-natural colours with fluorescent lights. The pre-sets tended towards slight over-correction, while manual measurement produced neutral colours.

Recording movies was slightly awkward because you have to focus the camera by half-pressing the shutter button before you start recording a video clip. When shooting video clips, the focus proved rather slow to track subjects and produced slightly jerky results.

In addition, there’s a delay of two to three seconds between when you press the video button (which displays the framing guide) and when recording actually begins. A similar delay occurs when you press the button again to end the recording.

Video quality from the review camera wasn’t as good as we expected from the specifications. Clips weren’t quite as sharp – or as colour-rich – as other cameras have produced in the high-definition modes, although VGA clips were of a similar standard to most digicams we’ve reviewed. Using the zoom lens when shooting video clips produced no obvious effects on the soundtrack. The stereo soundtracks were clearer and had more ‘presence’ than the mono audio recorded by most digicams.

We measured an average capture lag of 0.4 seconds, which was eliminated by pre-focusing. Shot-to-shot times averaged 1.6 seconds without flash and 2.5 seconds with. It took 1.7 seconds, on average, to process each Large/Fine JPEG file.

In the low-speed continuous shooting mode the camera recorded 10 frames in 3.3 seconds. It took 2.3 seconds to process this burst. With the high-speed mode, frame rates averaged 11.5 frames/second for shots taken with the highest resolution setting. Processing a burst of six shots took 1.8 seconds. The Sports Continuous shooting modes performed to specifications. Processing appeared to be on-the-fly as last shot taken was displayed almost instantaneously on the monitor screen.

Buy this camera if:
– You’d like an ultra-zoom camera with an adjustable LCD screen.
– You want an ultra-zoom camera for time-lapse recording.
– You want to shoot widescreen, Full HD video with stereos soundtracks.
Don’t buy this camera if:
– You want high image resolution across the camera’s adjustment range.
– You want to shoot raw files (this camera is JPEG only).
– You require high-quality images in dim lighting.

IMATEST GRAPHS

SAMPLE IMAGES

Auto white balance with incandescent lighting.

Auto white balance with fluorescent lighting.

4.6mm focal length, ISO 160, 1/472 second at f/8.

120mm focal length, ISO 160, 1/468 second at f/6.3.

Digital zoom; 480mm focal length, ISO 160, 1/447 second at f/7.1.

Close-up at 4.6mm; ISO 160, 1/216 second at f/5.

Close-up at 120mm; ISO 160, 1/103 second at f/5.

ISO 160; 6.4mm focal length, 8 seconds at f/3.5.

ISO 3200; 6.4mm focal length, 2 seconds at f/3.5.

Flash exposure at ISO 160; 23mm focal length, 1/30 second at f/4.5.

Flash exposure at ISO 3200; 23mm focal length, 1/30 second at f/4.5.

Distortion at 4.6mm.

Bright scene with Active D-Lighting set to Normal; 6.6mm focal length, ISO 160, 1/500 second at f/7.1.

100% crop from the above image showing coloured fringing.

Backlit subject at 120mm; Active D-Lighting off; ISO 160, 1/2000 second at f/8.

100% crop from the above image showing coloured fringing.

Backlit subject at 16.9mm; ISO 160, 1/1372 second at f/8.

Bright subject photographed with -0.3EV of exposure compensation and Active D-Lighting set to High to preserve highlight details. 120mm focal length, ISO 160, 1/611 second at f/8

120mm focal length, ISO 160, 1/476 second at f/7.1.

Still frame from video clip shot with the Full HD (1080p) setting.

Still frame from video clip shot with the HD (720p) setting.

Still frame from VGA video clip.

 

Specifications

Image sensor: 6.16 x 4.62 mm CMOS sensor with 10.6 million photosites (10.3 megapixels effective)
Lens: Nikkor 4.6-120.0mm f/2.8-5.0 zoom lens (26-678mm in 35mm format)
Zoom ratio: 26x optical, up to 4x digital
Image formats: Stills – JPEG (EXIF 2.2); Movies – QuickTime (MOV)
Image Sizes: Stills – 3648 x 2736, 3264 x 2448, 2592 x 1944, 2048 x 1536, 1600 x 1200, 1280 x 960, 1,024 x 768, 640 x 480, 3648 x 2432 (3:2), 3584 x 2016 (16:9), 2736 x 2736 (1:1); Movies – 1920 x 1080, 1280 x 720, 640 x 480, 320 x 240 all at 30 fps; HD movies recorded with stereo sound
Shutter speed range: 8 to 1/2000 second
Self-timer: 2 and 10 seconds delay
Image Stabilisation: Combination image sensor shift & Electronic VR
Exposure Compensation: +/- 2EV in 1/3EV steps
Focus system/range: Contrast-based TTL autofocus; range – 50 cm to infinity; macro to 10 cm
Exposure metering/control: Matrix metering, Centre-weighted metering, Spot metering, Spot AF area
Shooting modes: Auto mode, Scene modes, Scene auto selector, Smart portrait mode, Sport continuous mode, Movie mode, Subject tracking mode, P, S, A, and M exposure modes
ISO range: Auto (auto gain ISO 160 to 800),Fixed range auto (ISO 160 to 200, ISO 160 to 400), High ISO Sensitivity auto (ISO 160 to 1600), Manual selection: ISO 160, 200, 400, 800, 1600, 3200
White balance: Auto, Preset manual, Daylight, Incandescent, Fluorescent, Cloudy, Flash
Flash modes/range (ISO auto): Auto, Auto with red-eye reduction, Off, Fill flash, Slow sync, Rear-curtain sync; range –
Sequence shooting: Continuous (approx. 10 fps up to 6 shots), BSS (Best Shot Selector), Multi-shot 16 (16 frames with a single burst), Interval timer shooting
Storage Media: Approx. 43MB internal memory plus SD/SDHC expansion slot
Viewfinder: 0.24-inch EVF with 230,000 dots
LCD monitor: 3.0-inch, 460,000-dot Vari-angle TFT LCD with anti-reflection coating
Power supply: EN-EL5 rechargeable Li-ion battery; CIPA rated for approx. 250 shots/charge
Dimensions (wxhxd): Approx. 114.4 x 82.7 x 98.6 mm (excluding projections)
Weight: Approx. 481 grams (without battery and card)

 

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Rating

 

RRP: $599

Rating (out of 10):

• Build: 8.5
• Ease of use: 8.0
• Autofocusing: 8.0
• Image quality: Stills 8.0; Video 8.0
• OVERALL: 8.0

Buy