In summary
The new camera isn’t a substantial upgrade to the D5200, although it could be attractive to potential purchasers who want to step up from one of the entry-level D3*** series models or the lower-resolution D5100 (provided they can use the higher resolution, which is another story). It could also be a handy second body for a D7100 or even a D300S owner.
Photographers who enjoy shooting video with a DSLR will find the D5300 ticks most of the necessary boxes and comes with a jack for an optional external microphone. The slight improvements to video recording may appeal to some. But, like its predecessor, the small battery is relatively low in capacity, which means a back-up battery will be needed when you want to shoot a lot of footage.
Connected generation photographers will appreciate the built-in Wi-Fi, while travellers could enjoy the integrated GPS functions. But the penalty for using either is a faster depletion of the battery.
With all of Nikon’s DX cameras now having 24-megapixel sensors, most potential purchasers will be wondering whether it’s worthwhile paying extra for the D5300, when there’s a cheaper D3300 available. The size and weight differences between the two camera bodies are marginal but the D5300 gives you an adjustable monitor plus Wi-Fi and GPS, although both drain battery capacity.
Twenty-four megapixels is more than most potential purchasers of this camera actually need and it’s significant over-kill for those who only shoot to share pictures on social networks. For serious enthusiasts, particularly landscape photographers, the removal of the AA filter provides a lot of potential and will make the D5300 worth considering.
To utilise that potential, you need a suitable lens and, although the lenses we tested with the D5300 could reach expectations with at least one aperture/focal length setting, across the full aperture and focal length range their performance was rather uneven. On the basis of current and previous tests we suspect there aren’t many wide-angle lenses in Nikon’s DX line-up that can make the most of the camera’s sensor over a wide aperture and focal length range.
Photographers may need to turn to third-party manufacturers like Tamron and Sigma for alternatives. After some initial compatibility problems when the D5300 was first released, Sigma is now offering firmware updates for their lenses to D5300 owners wherever possible. (Firmware upgrades cannot be applied to lenses without an internal motor.) Lenses that are compatible with Sigma’s recently-released USB dock can be updated via Sigma Optimisation Pro, which is available as a free download from Sigma’s website.
Full review
Doing away with the optical low-pass filter (OLPF) in front of image sensors has become fashionable of late and Nikon’s recently-released D5300 joins the trend. Released roughly a year after the D5200, it offers the same 24.2-megapixel resolution but seems to use a different sensor if online reports are correct. It also comes with a new high-performance EXPEED 4 image-processing engine and is the first Nikon DLSR with built-in Wi-Fi and GPS functions.
Angled view of the new Nikon D5300 in black with the 18-55mm kit lens. (Source: Nikon.)
Like the D5200, the D5300 is offered in three colours. The black and red versions are similar for both models but the bronze version of the D5200 is replaced by grey for the D5300. ISO 12800 has become a ‘real’ setting in the D5300, rather than the one EV step expansion provided in the previous model. Both cameras support a maximum sensitivity equivalent to ISO 25600, although in the D5300 it’s at the ‘Hi 1’ setting, while the D5200 puts it at ‘Hi 2’.
Who’s it For?
The new camera isn’t a substantial upgrade to the D5200, although it could be attractive to potential purchasers who want to step up from one of the entry-level D3*** series models or the lower-resolution D5100 (provided they can use the higher resolution, which is another story). It could also be a handy second body for a D7100 or even a D300S owner.
Photographers who enjoy shooting video with a DSLR will find the D5300 ticks most of the necessary boxes and comes with a jack for an optional external microphone. The slight improvements to video recording may appeal to some. But, like its predecessor, the small battery is relatively low in capacity, which means a back-up battery will be needed when you want to shoot a lot of footage.
Connected generation photographers will appreciate the built-in Wi-Fi, while travellers could enjoy the integrated GPS functions. But the penalty for using either is a faster depletion of the battery.
D5300 vs D5200
Differences between the D5300 and its predecessor are relatively small and probably not enough to induce current D5200 owners to upgrade. They are listed in the table below.
|
|
D5300 |
D5200 |
|
Sensor total photosites |
24.78 million |
24.71 million |
|
Optical low-pass filter |
no |
yes |
|
Image processor |
EXPEED 4 |
EXPEED 3 |
|
Native ISO range |
100-12800 |
100-6400 |
|
ISO expansion |
to ISO 25600 |
|
|
Continuous shooting |
Max. 5 fps |
|
|
AF sensor |
Multi-CAM 4800DX, 39 points (including 9 cross-type) |
|
|
Metering |
2016 pixel RGB metering sensor |
|
|
Connectivity |
Built-in Wi-Fi & GPS |
External devices only |
|
Viewfinder magnification Viewfinder eyepoint |
0.82x 18 mm |
0.78x 17.9 mm |
|
Monitor size / resolution |
3.2-inch / 1,037,000 dots |
3-inch / 921,000 dots |
|
Battery |
EN-EL14a |
EN-EL14 |
|
Battery capacity |
600 shots/charge |
500 shots/charge |
|
Dimensions |
125 x 98 x 76 mm |
129 x 98 x 78 mm |
|
Weight (body only) |
480 grams |
505 grams |
Build and Ergonomics
Marginally smaller and lighter than its predecessor but with a larger monitor, the D5300 is constructed from the same materials: mainly polycarbonate plastic. Visually and mechanically, the D5300 is almost identical to its predecessor and it also comes from the Nikon factory in Thailand. We’ve covered most aspects of the camera design in detail in our review of the D5200, which was published in March 2013.
Front, back and top views of the Nikon D 5300 with no lens fitted. (Source: Nikon.)
Build quality is generally good and the D5300 has a generous textured grip that is comfortable to hold. Despite a slight reduction in body size and weight, the D5300’s monitor is slightly larger and has higher resolution than its predecessor’s. The viewfinder also provides a larger field of view with a magnification of 0.82x compared with 0.78x in the D5200. Its eye cup also seems to be more comfortable to use with glasses.
The Live View lever switch now has a sloping top with a prominent ‘LV’ label, which makes it easier to use. Otherwise, the only significant difference in the control layout is the removal of the drive button from the top panel. It’s now located on the front panel just below the lens release button, which makes it less accessible. (The focus mode selector, which formerly sat here, is accessed via the menus.)
Like its predecessor, the D5300 has relatively few external controls, with only one command dial and no buttons that provide quick access to the AF mode, white balance, metering or sensitivity. The Fn button can be re-programmed for one of these functions but the others must to be set via the main data screen.
The Info display on the LCD monitor. (Source: Nikon.)
Fortunately, there’s a work-around solution of a kind. Pressing the Info button just behind the shutter release calls up a display of 14 key settings on the monitor (shown above). If you then press the ‘i’ button just above the monitor you can toggle through them and adjust each in turn. But it can still involve a lot of time-wasting toggling.
What’s New?
Integrated Wi-Fi and GPS are two of the headline features of the new camera and represent the first time Nikon has actually built them into a camera instead of requiring users to purchase optional extras. This alone saves you just over $500 if both were purchased in Australia at current street prices.
Wi-Fi has been implemented nicely and is reasonably easy to set up and use, although it would be simpler if the camera had NFC connectivity and/or a touch screen. The first step is to install Nikon’s Wireless Mobile Utility app, a free download from the Google Play or Apple App Store services, on the smart device you want the camera to work with. The Nikon app is quite basic but supports push-button and pin entry WPS as well as View SSID connections.
Getting the camera to work with our Nexus 7 tablet was straightforward, although it took a couple of minutes for the devices to ‘find’ each other on the home wireless network. However, once this happened, the view from the D5300’s screen was displayed on the tablet and it was possible to use the tablet’s touch screen to access the camera’s controls. The Wireless Mobile Utility icon was added to the tablet’s screen automatically, making it easy to launch subsequently.
The first page on the GUI (shown above) lets you choose between taking and viewing pictures. If you touch the ‘Take photos’ bar, it opens the camera interface and displays the scene from the camera’s monitor along with thumbnails of previous shots you’ve taken.
Touching the camera icon captures the image.
When you touch the ‘View photos’ bar, the images in the camera’s memory are displayed as thumbnails. You can select the ones you want to upload to a social networking site or blog. Most popular services are supported.
The GUI also allows you to choose the size at which images are transferred and provides three options: Original, Recommended size or VGA. Users can also select images to be uploaded to a smart device using the D5300’s monitor display by displaying them in the thumbnail or calendar views and selecting the wanted images with the arrow pad controls. Pictures selected for uploading are tagged with a ‘double arrow’ icon.
The built-in GPS function enables location data to be embedded in the image metadata. Latitude, longitude and altitude are logged and can be accessed at any time. As usual, however, both the Wi-Fi or GPS reduce the battery capacity. Fortunately, both default to the off setting when the camera is switched off.
The Effects shooting mode, which was introduced in the D5100, now provides nine selectable settings: night vision, colour sketch, toy camera effect, miniature effect, selective colour, silhouette, high key, low key and HDR painting. New additions are HDR painting and toy camera effect.
Most effects can be used when recording movies, although with the colour sketch mode, movies play back like a slide show of stills. Soundtracks aren’t recorded in the miniature effect mode and the flash and AF-assist lamp are disabled. The flash is also switched off in the remaining modes. When HDR painting is selected, the effect can’t be previewed on the camera’s monitor.
ISO 12800 becomes a ‘real’ sensitivity selection in the D5300, instead of being indicated with the ‘Hi 1′ label as it is in the D5200. Both cameras’ top sensitivities remain at ISO 25600, although it’s labelled ‘Hi 1’ in the D5300 and ‘Hi 2’ in the D5200.
What’s Missing?
There are a couple of features we would like to have seen in a camera of this calibre. For starters, to compete with Canon’s EOS 700D (which is targeted at the same market sector), the D5300 needs a touch screen and also an eye-proximity sensor that automatically switches off the rear screen when you’re using the viewfinder.
We don’t understand why the Auto ISO sensitivity settings is blocked by default in the P, S A and M modes. To access it, users are forced to switch the Auto ISO control to on in the ISO sensitivity settings section of the camera’s menu. You can then define the sensitivity limits on the same page. It seems counter-intuitive to make such a simple task so complex.
The battery in the D5300 has marginally greater capacity than the D5200’s but if you use the Wi-Fi and/or GPS functions and/or shoot a lot of video, you’ll probably need at least one spare. The buffer memory is also restricted so if you shoot bursts containing NEF.RAW files it will fill within 5 or 6 frames (12 or 13 frames if you opt for 12-bit compression), or a second or two. (Nikon seems to want you to shoot JPEGs with this camera.)
Sensor and Image Processing
Although there’s reason to believe the D5300’s sensor chip is not the same Toshiba chip as used in the D5200, nobody seems to have discovered the name of its manufacturer. The actual differences in resolution are too small to be significant and the new camera offers the same image format, size and quality settings. Some file sizes are slightly different, as shown in the table below, which also shows the approximate number of pictures that can be stored on a 16GB SanDisk Extreme Pro SDHC UHS-I card.
|
Image quality |
Image size |
File size |
No. of images |
Buffer capacity |
|
NEF (RAW) Compressed 14-bit |
– |
23.8 MB |
437 |
6 |
|
NEF (RAW) Compressed 12-bit |
|
19.0MB |
524 |
13 |
|
JPEG fine |
Large |
12.0 MB |
1000 |
100 |
|
JPEG normal |
Large |
6.3 MB |
2000 |
100 |
|
JPEG basic |
Large |
2.7 MB |
3900 |
100 |
Video
As well as dropping the interlaced option from the movie mode, Nikon has also removed the Movie Crop setting, although you can see how much of the frame is cropped in movie mode by pressing the Info button. This leaves the D5300 with a more sensible set of progressively-scanned frame rates: 50p and 25p for PAL system users and 60p and 30p for NTSC with 24p thrown in for when you want a cinematic look. The table below shows bit rates and maximum recording capacities.
|
Frame size (pixels) |
Frame rate PAL |
Frame rate NTSC |
Max. bit rate |
Max. clip length (High/Normal) |
|
1920 x 1080 |
50p |
60p |
24/12 |
10 min/20 min. |
|
25p |
30p |
20 min./29 min. 59 s |
||
|
24p |
||||
|
1280 x 720 |
50p |
60p |
||
|
640 x 424 |
25p |
30p |
8/5 |
29 min. 59 s |
Matrix metering is used by default and sensitivity and shutter speed settings are adjusted automatically unless the camera is in M mode and Manual movie settings are switched to On in the camera’s menu. In M mode, shutter speeds can be set anywhere between 1/30 and 1/4000 second and the full range of ISO settings is accessible.
The camera is able to deliver uncompressed video via its HDMI out port. But we weren’t able to test this feature through lack of a suitable recording device.
Playback and Software
Both are virtually identical to those provided for the D5100.
Performance
Nikon Australia provided us with three lenses to use with the D5300 body: the AF-S Nikkor 18-140mm f/3.5-5.6 G ED VR, which is one of the kit lenses, the AF-S Nikkor 18-35mm f/3.5-4.5G and the AF-S Nikkor 70-200mm f/4 G ED VR. All three are reviewed separately. We’ve based our Imatest tests on shots taken with the 18-140mm f/3.5-5.6 G ED VR kit lens but some sample images included in this review have been taken with the other two lenses.
Not unexpectedly, still images from the review camera were similar to those from the D5200. Exposure metering was similar to the D5200’s, regardless of the metering pattern selected and exposures were mostly well-positioned, although we found some corrections were needed for subjects with wide brightness ranges. In normal light levels, the Active D-Lighting function ensured highlight and shadow details were recorded adequately in most JPEG shots.
Colour rendition showed the characteristic slight warming and skin tones had a slightly chalky appearance. But saturation was modest in JPEG shots and slightly low in NEF.RAW files, which we converted into 16-bit TIFFs with Adobe Camera Raw. Imatest showed reds, oranges and blues to have elevated saturation in JPEG shots and revealed a few colour shifts.
Autofocusing speeds were similar to those of the D5200 and the camera was able to focus accurately with all three lenses. Lock-on was significantly faster when the viewfinder was used but slowed perceptibly in live view mode.
Tracking AF was fast for shooting stills but the video footage we shot showed a noticeable lag, particularly with moving subjects that changed their position within the frame. In bright conditions, once the camera locked onto a subject, focus tended to be maintained. In low light levels, lock-on was often unreliable.
Imatest showed resolution to be above expectations for a 24-megapixel camera for both JPEG and NEF.RAW files. This is no mean feat for a camera of such high resolution and could probably be attributed to the new sensor, which has no anti-aliasing filter.
Imatest also showed the camera performed well at high sensitivity settings, particularly with raw files. A steady, gradual decline in resolution was recorded as sensitivity was increased, as shown in the graph of our Imatest results below.
Long exposures at night showed little noise right up to ISO 6400. The higher settings became progressively more noise-affected with exposures of a second or two. Interestingly the review camera produced flash shots with no visible noise at sensitivities up to ISO 6400 and little apparent noise but slight softening and loss of contrast at the two higher settings.
The built-in flash was able to record almost evenly balanced exposures across the camera’s sensitivity range with the lens at 140mm. There was slight under-exposure at the lowest ISO settings and about 0.3EV of over-exposure at the two highest sensitivity settings. The top three settings were also a little soft and lacking in contrast. But all these flaws could be easily rectified with a capable image editor.
The auto white balance setting provided good correction for daylight-balanced fluorescent lighting in our controlled tests but was unable to correct the fluorescent lighting we found in one subject we shot in our general tests. With incandescent lighting, the warm cast remained in both the controlled tests and, to a lesser extent in the general shooting tests.
Video quality was generally very good with a noticeable improvement in quality in the HD 720/60p mode when compared with clips from the D5200. We found no aliasing, moire, rolling shutter or tearing in clips at the higher resolutions.
As with the D5200, video clips shot in bright conditions tended to be contrasty, although shadows and highlights were only slightly clipped. Colours tended to be more intense than they were in still shots. Soundtracks recorded by the built-in microphones were relatively clear with more stereo ‘presence’ than we expected.
We carried out our timing tests with the same 32GB SanDisk Extreme Pro SDHC UHS-1 card as we used for testing the D5200. Like its predecessor, the review camera powered-up in less than a second and shut down almost instantly. However, response times were generally faster than the D5200’s.
When the viewfinder was used for shot composition, we measured an average capture lag of 0.2 seconds, which eliminated with pre-focusing. In Live View mode, capture lag was a consistent 1.2 seconds.
Shot-to-shot times averaged 0.65 seconds when the viewfinder was used and 4.1 seconds with Live View. Shot-to-shot times with flash averaged just 4.6 seconds when the viewfinder was used.
Image processing times were marginally faster than those we recorded for the D5200, particularly for bursts of shots. It took 0.85 seconds on average to process each JPEG file, 1.6 seconds for each NEF.RAW file and 2.5 seconds for each RAW+JPEG pair.
In the continuous high-speed shooting mode, the review camera recorded 10 high-resolution JPEGs in 1.8 seconds. It took 9.3 seconds to process this burst. With the continuous low-speed mode, the review camera recorded 10 high-resolution JPEGs in 2.8 seconds. Processing of this burst was completed within seven seconds of the last shot being captured.
The buffer memory filled after five NEF.RAW files, which were recorded in 0.9 seconds in the continuous high mode. Processing time for this burst was 10.4 seconds. The same buffer limit of five frames applied to RAW+JPEG pairs, which were also captured in 0.8 seconds. It took 12.3 seconds to process this burst.
Conclusion
With all of Nikon’s DX cameras now having 24-megapixel sensors, most potential purchasers will be wondering whether it’s worthwhile paying extra for the D5300, when there’s a cheaper D3300 available. The size and weight differences between the two camera bodies are marginal but the D5300 gives you an adjustable monitor plus Wi-Fi and GPS, although both drain battery capacity.
Twenty-four megapixels is more than most potential purchasers of this camera actually need and it’s significant over-kill for those who only shoot to share pictures on social networks. For serious enthusiasts, particularly landscape photographers, the removal of the AA filter provides a lot of potential and will make the D5300 worth considering.
But to utilise that potential, you need a suitable lens and, although the lenses we tested with the D5300 could reach expectations with at least one aperture/focal length setting, across the full aperture and focal length range their performance was rather uneven. On the basis of current and previous tests we suspect there aren’t many wide-angle lenses in Nikon’s DX line-up that can make the most of the camera’s sensor over a wide aperture and focal length range.
Photographers may need to turn to third-party manufacturers like Tamron and Sigma for alternatives. After some initial compatibility problems when the D5300 was first released, Sigma is now offering firmware updates for their lenses to D5300 owners wherever possible. (Firmware upgrades cannot be applied to lenses without an internal motor.) Lenses that are compatible with Sigma’s recently-released USB dock can be updated via Sigma Optimisation Pro, which is available as a free download from Sigma’s website.
SPECS
Image sensor: 23.5 x 15.6 mm CMOS sensor with 24.78 million photosites (24.2 megapixels effective)
Image processor: EXPEED 4
A/D processing: 12 or 14 bit
Lens mount: Nikon F mount (with AF contacts)
Focal length crop factor: 1.5x
Image formats: Stills ““ NEF-RAW, JPEG (Exif 2.3), RAW+JPEG; Movies ““ MOV (H.264/MPEG-4 Advanced Video Coding) with Linear PCM stereo audio
Image Sizes: Stills ““ 6000 x 4000, 4496 x 3000, 2992 x 2000; Movies: 1920 x 1080, 60p /50p/30p/25p/24p, high/normal 1280 x 720, 60p/50p, high/normal 640 x 424, 30p/25p, high/normal Frame rates of 30p (actual frame rate 29.97 fps) and 60p (actual frame rate 59.94 fps) are available when NTSC is selected for video mode. 25p and 50p are available when PAL is selected for video mode. (Actual frame rate when 24p is selected is 23.976 fps.)
Image Stabilisation: Lens-based
Dust removal: Image sensor cleaning, Image Dust Off reference data (optional Capture NX 2 software required)
Shutter speed range: 1/4000 to 30 seconds plus Bulb and Time, X-sync at 1/200 sec.
Exposure Compensation: +/- 5EV in 1/3- or 1/2-EV increments in P, S, A, and M modes
Exposure bracketing: 3 shots in steps of 1/3 or 1/2 EV White balance bracketing: 3 shots in steps of 1 Active D-Lighting bracketing: 2 shots
Self-timer: Delays of 2, 5, 10 or 20 seconds; 1-9 exposures
Focus system: Nikon Multi-CAM 4800DX autofocus sensor module with TTL phase detection, 39 focus points (including 9 cross-type sensor), and AF-assist illuminator (range approx. 0.5-3 m/1 ft 8 in.-9 ft 10 in.); Contrast-detect AF anywhere in frame
Focus modes: Autofocus (AF): Single-servo AF (AF-S); continuous-servo AF (AF-C); auto AF-S/AF-C selection (AF-A); predictive focus tracking activated automatically according to subject status Manual focus (MF): Electronic rangefinder can be used; Single-point AF, 9-, 21-, or 39- point dynamic-area AF, 3D-tracking, auto-area AF modes
Exposure metering: TTL exposure metering using 2016-pixel RGB sensor; 3D colour matrix metering II (type G, E, and D lenses); colour matrix metering II (other CPU lenses) Centre-weighted metering: Weight of 75% given to 8-mm circle in centre of frame Spot metering: Meters 3.5-mm circle (about 2.5% of frame) centred on selected focus point
Shooting modes: Auto modes (auto; auto (flash off)); programmed auto with flexible program (P); shutter-priority auto (S); aperture-priority auto (A); manual (M); scene modes (portrait; landscape; child; sports; close up; night portrait; night landscape; party/indoor; beach/snow; sunset; dusk/dawn; pet portrait; candlelight; blossom; autumn colours; food); special effects modes (night vision; colour sketch; toy camera effect; miniature effect; selective colour; silhouette; high key; low key; HDR painting)
Picture Style/Control settings: Standard, Neutral, Vivid, Monochrome, Portrait, Landscape; selected Picture Control can be modified; storage for custom Picture Controls
In-camera Effects: Night vision; colour sketch; toy camera effect; miniature effect; selective colour; silhouette; high key; low key; HDR painting
Colour space options: sRGB, Adobe RGB
Custom functions: 22
ISO range: ISO 100-12800 in steps of 1/3 EV. Can also be set to approx. 0.3, 0.7, or 1 EV (ISO 25600 equivalent) above ISO 12800; auto ISO sensitivity control available
White balance: Auto, Daylight, Shade, Cloudy, Tungsten, White fluorescent, Flash, Custom, Colour temperature setting (Approx. 2500-10000K)
Flash: Built-in pop-up flash GN 12 (m/ ISO 100, 20 °C)
Flash exposure adjustment: +/-3EV to +1EV in 1/3- or 1/2-EV increments
Sequence shooting: Max. approx. 5 fps for JPEG and 12-bit NEF/RAW or 4 fps for14-bit NEF/RAW; buffer limit 100 JPEG or 6 raw
Other features: Advanced Wireless Lighting supported with SB-910, SB-900, SB-800, or SB-700 as a master flash or SU-800 as commander; Flash Colour Information Communication supported with all CLS-compatible flash units
Storage Media: Single slot for SD/SDHC/SDXC memory cards; UHS-1 compatible
Viewfinder: Eye-level pentamirror with approx. 95% FOV coverage, approx. 0.82 x magnification (50 mm f/1.4 lens at infinity, -1.0 m-1), 18 mm eyepoint, Type B BriteView Clear Matte Mark VII screen, dioptre adjustment of -1.7 to +1.0 dpt
LCD monitor: 3.2-inch vari-angle TFT colour LCD with approx. 1.037 million dots; 170 ° viewing angle, approx. 100% frame coverage, and brightness adjustment
Playback functions: Full-frame and thumbnail (4, 12, or 80 images or calendar) playback with playback zoom, movie playback, photo and/or movie slide shows, histogram display, highlights, auto image rotation, picture rating, and image comment (up to 36 characters)
Interface terminals: Hi-Speed USB, HDMI Type C mini-pin, Stereo mini-pin jack (3.5mm diameter), Accessory terminal for optional Wireless remote controllers, Remote cords, GPS units
Power supply: EN-EL14a rechargeable lithium-ion battery; CIPA rated for approx. 600 shots/charge
Dimensions (wxhxd): Approx. 125 x 98 x 76 mm (body only)
Weight: Approx. 480 grams (body only)
Nikon Australia www.nikon.com.au
TESTS
Based on JPEG files
Based on NEF.RAW files converted with Adobe Camera Raw
SAMPLES
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
30-second exposure at ISO 100, 24mm focal length, f/3.8.
10-second exposure at ISO 800, 24mm focal length, f/6.3.
8-second exposure at ISO 1600, 24mm focal length, f/8.
5-second exposure at ISO 6400, 24mm focal length, f/13.
4-second exposure at ISO 12800, 24mm focal length, f/16.
2-second exposure at ISO Hi 1 (ISO 25600), 24mm focal length, f/16.
Flash exposure at ISO 100, 140mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 800, 140mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 1600, 140mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 6400, 140mm focal length, 1/60 second at f/8.
Flash exposure at ISO 12800, 140mm focal length, 1/60 second at f/10.
Flash exposure at ISO Hi 1 (ISO 25600), 55mm focal length, 1/60 second at f/11.
Strong backlighting; 75mm focal length, ISO 100, 1/1000 second at f/8.
140mm focal length, ISO 800, 1/15 second at f/5.6.
140mm focal length, ISO 1600, 1/80 second at f/5.6.
45mm focal length, ISO 400, 1/125 second at f/5.6.
Mixed lighting; note the uncorrected colour cast from the fluorescent lights. 140mm focal length, ISO 800, 1/125 second at f/5.6.
135mm focal length, ISO 6400, 1/320 second at f/8.
185mm focal length, ISO 800, 1/1000 second at f/7.1.
112mm focal length, ISO 1600 Hi 1 (ISO 25600), 1/1250 second at f/9.
18mm focal length, ISO 8000, 1/500 second at f/11.
38mm focal length, ISO 200, 1/40 second at f/4.2.
56mm focal length, ISO 640, 1/60 second at f/4.8.
Still frame from Full HD (1920 x 1080 pixels) video clip recorded in 50p mode.
Still frame from Full HD video clip recorded in 25p mode.
Still frame from Full HD video clip recorded at 24 fps.
Still frame from HD (1280 x 720 pixels) video clip recorded in 50p mode.
Still frame from VGA (640 x 424 pixels) video clip recorded at 25 fps.
Additional image samples can be found with our reviews of the the AF-S Nikkor 18-140mm f/3.5-5.6 G ED VR, the AF-S Nikkor 18-35mm f/3.5-4.5G and the AF-S Nikkor 70-200mm f/4 G ED VR lenses.
Rating
RRP: n/a ASP: AU$1350; US$1150 (as reviewed with 18-140mm lens)
- Build: 8.5
- Ease of use: 8.5
- Autofocusing: 8.8
- Still image quality JPEG: 9.0
- Still image quality RAW: 9.0
- Video quality: 8.8
