In summary
Like its predecessor, the D7200 is targeted at photo enthusiasts who want the benefits a DX-crop sensor can provide. Essentially, it offers the same advantages as the earlier camera. Photographers looking for a ‘full-frame’ (FX) model with similar functions and capabilities will choose the slightly pricier D610.
Carry-over features from the D7100 include the absence of a low-pass filter over the image sensor, the bright full frame view viewfinder, superior high-ISO performance and capable noise-reduction processing, the support for Nikon’s Advanced Wireless lighting and ability to record movie clips with Full HD resolution with full-time autofocusing and manual control over exposure and recording levels plus the ability to connect an external microphone and headphone to the camera.
There have been a few tweaks to some of the camera’s capabilities in the D7200 that may attract potential upgraders but, overall, the differences between the two models are quite small.
Full review
Nikon appears to be releasing D7*** cameras on a roughly 18 month rota with the latest model, the D7200, announced in March this year. It’s a very modest update with a body that is virtually identical to the D7100, along with the same viewfinder and monitor. The review camera was supplied with the AF-S DX Nikkor 18-105mm f/3.5-5.6G ED VR lens, which we reviewed in September 2008.
The Nikon D7200, pictured with the AF-S DX Nikkor 18-105mm f/3.5-5.6G ED VR lens used for our review. (Source: Nikon.)
While the D7200 might be ‘the most advanced DSLR in Nikon’s DX range’ (a quote from the company’s Australian website), it’s not a replacement for the D300s, which has been seen as due for replacement since early 2013 (and which we reviewed in October 2009. Back in May 2013 (and again in July), rumours were suggesting a D400 would be announced late in 2013 or early in 2014.
But by January 2014, the D7200 was on the horizon as ‘the next DSLR camera from Nikon…. not the long rumoured Nikon D400’ on the Cameraegg website, a good place to track rumours of up-coming equipment. Another ‘impending D400’ rumour was published on Cameraegg listing the D400 (or D500) as the flagship DX (APS-C) in line to succeed the D300s ‘in early 2015’.
The end of the first quarter of 2015 has passed and we’re still waiting. In the meantime, the D7200 sits a step below the D300s (and any successor) because it doesn’t have the build quality and the pro buttons and menus of the ‘flagship’ models. But it has a similar buffer capacity and (not unexpectedly) almost double the resolution of the D300s.
Who’s it For?
Like its predecessor, the D7200 is targeted at photo enthusiasts who want the benefits a DX-crop sensor can provide. Essentially, it offers the same advantages as the earlier camera. Photographers looking for a ‘full-frame’ (FX) model with similar functions and capabilities will choose the slightly pricier D610.
Carry-over features from the D7100 include the absence of a low-pass filter over the image sensor, the bright full frame view viewfinder, superior high-ISO performance and capable noise-reduction processing, the support for Nikon’s Advanced Wireless lighting and ability to record movie clips with Full HD resolution with full-time autofocusing and manual control over exposure and recording levels plus the ability to connect an external microphone and headphone to the camera.
There have been a few tweaks to some of the camera’s capabilities in the D7200 that may attract potential purchasers but, overall, the differences between the two models are quite small.
What’s New?
Physically, nothing much has changed since the D7000. The new camera has the same magnesium alloy chassis as its siblings and a similar control layout, as illustrated in the photographs of the D7200 below.
Front, back and top views of the D7200. (Source: Nikon.)
The most significant improvement in our opinion is the extension of the buffer depth, which enables the D7200 to accommodate 100 high-resolution JPEGs or 18 losslessly-compressed NEF-RAW files at 14-bit quality. If you opt for 12-bit compressed raw files, the buffer can store up to 35 NEF.RAW files. This is more than twice the capacity of the D7100’s buffer memory.
The other major improvement is to the image processor, which in the D7200 is the latest EXPEED 4 chip, itself an update on the previous-generation EXPEED 3. Although the new processor doesn’t improve frame rates or the available ISO range, it lifts the capacity of the EN-EL15 battery (the same battery as used in the D7100) from 920 shots/charge to 1110 shots/charge.
The Picture Control system has been upgraded and now includes the Flat Picture Control and the Clarity adjustment, putting it on a par with the D5500. These settings can now be adjusted in quarter-steps and the Brightness range has been expanded to cover +/- 1.5 steps.
But the Effects options haven’t been updated, with only seven options selectable. They include Night Vision, Colour Sketch Miniature Effect, Selective Colour, Silhouette, High Key and Low Key.
Autofocusing has also been updated with the latest Multi-CAM 3500II DX phase-detection module replacing the Multi-CAM 3500 DX module in the D7100. Nikon claims it provides improved low light AF performance. The array still contains 51-points with 15 cross-type sensors but now all points can focus down to -3EV, a one-stop improvement on the D7100.
Users can choose between single-point AF and dynamic-area AF, the latter providing a choice between nine, 21 and 51 point detection. Manual focus point selection is accessed via the multi-selector ( arrow pad).
The Group-area AF mode provided in the D750, which allows users to select a group of focus points, is not included. However, the 3D tracking and Auto-area modes are available in the AF-A (area) and AF-C (continuous) modes. Subject-tracking AF is also supported. Face-priority AF and wide-area AF are available with live view shooting. Manual focus is available for non-AF lenses.
The D7200 is also Nikon’s first DSLR with both Wi-Fi and NFC (Near-Field Communications) built in. But so far NFC only works with Android devices. Other improvements include the addition of the Flat Picture Control and Clarity adjustment to the Picture Control system. There have also been a few tweaks to AE bracketing that increase the range of selectable steps to 1/3EV, 2/3EV, 1EV, 2EV and 3EV and the maximum number of shots in a sequence to nine.
Movie capabilities have been improved with the addition of zebra-striping support and an Auto ISO function in movie capture mode. The D7200 also supports Full HD video at 1080 50p ““ but only when the 1.3x image area is selected. Exposure smoothing has been added to the time-lapse photography settings.
Sensor and Image Processing
The sensor in the D7200 appears to be subtly different from the chip in the D7100, even though its resolution is virtually the same. But Nikon lists it as having 24.72 million photosites, with an effective resolution of 24.2 megapixels. The D7100’s sensor has 24.69 million photosites, with an effective resolution of 24.1 megapixels. Both CMOS chips measure 23.5 x 15.6 mm, which suggests either different masking or a different manufacturer.
Either way, image sizes and quality settings are the same as for the D7100. Raw files continue to be recorded in 14-bit compressed form and three image size settings are available for JPEGs. The table below shows typical image sizes and compression ratios, along with the improved and buffer capacities for images recorded in DX (24 x 16 mm) format. (Buffer capacities for the D7100 are shown in brackets for comparison.)
|
Image quality |
Image size |
File size |
Buffer capacity |
|
NEF.RAW Lossless compressed 14-bit |
6000 x 4000 pixels |
28.5MB |
18 (6) |
|
NEF.RAW Lossless compressed 12-bit |
22.7MB |
27 (7) |
|
|
NEF.RAW compressed 14-bit |
24.9MB |
26 (8) |
|
|
NEF.RAW compressed 12-bit |
20.2MB |
35 (9) |
|
|
JPEG Fine |
L |
12.0MB |
100 (33) |
|
M |
7.4MB |
100 (100) |
|
|
S |
3.8MB |
||
|
JPEG Normal |
L |
6.2MB |
|
|
M |
3.7MB |
||
|
S |
1.9MB |
||
|
JPEG Basic |
L |
2.9MB |
|
|
M |
1.9MB |
||
|
S |
1.0MB |
The D7200 provides the same 1.3x crop mode as its predecessor, recording images at 18 x 12 mm. With this crop, the Large files are recorded at 4800 x 3200 pixels, Medium at 3600 x 2400 pixels and Small at 2400 x 1600 pixels. The table below shows typical image sizes, compression ratios and buffer capacities for this setting, again with the D7100 buffer capacities in brackets.
|
Image quality |
Image size |
File size |
Buffer capacity |
|
NEF.RAW Lossless compressed 14-bit |
4800 x 3200 pixels |
18.8MB |
29 (8) |
|
NEF.RAW Lossless compressed 12-bit |
15.1MB |
44 (12) |
|
|
NEF.RAW compressed 14-bit |
16.3MB |
46 (11) |
|
|
NEF.RAW compressed 12-bit |
13.4MB |
67 (14) |
|
|
JPEG Fine |
L |
8.2MB |
100 (73) |
|
M |
5.0MB |
100 (100) |
|
|
S |
2.7MB |
||
|
JPEG Normal |
L |
4.1MB |
|
|
M |
2.5MB |
||
|
S |
1.4MB |
||
|
JPEG Basic |
L |
2.0MB |
|
|
M |
1.3MB |
||
|
S |
0.7MB |
The D7200 supports the same ISO range as its predecessor, supporting a native ISO 100 to 25600, adjustable in steps of 1/3 or 1/2 EV for colour images. Movie sensitivity is set automatically within this range, although it is adjustable in Manual mode.
Nikon has added two ‘Hi’ settings at the top end of the range: Hi BW1 and Hi BW2, which offer the equivalent of ISO 51,200 and 102,400, respectively. Images are recorded in monochrome and appear very granular and with a magenta colour cast. (Examples are provided in the Samples section below.)
Video
Aside from the changes mentioned above, the D7200’s movie mode is identical to the D7100’s and movie shooters encounter all the problems associated with having to frame shots on the monitor screen. It’s basically point-and-guess shooting in bright outdoor lighting; like all other DSLRs with optical viewfinders.
Movie mode is selected by rotating the Live View lever to the movie setting and pressing the central button to raise the reflex mirror. Full HD (1920 x 1080 pixels) users have a choice of 30, 25 and 24 frames/second (fps) using progressive scanning, along with frame rates of 50 and 60 fps for Full HD in the 1.3x crop mode and at HD resolution (1280 x 720 pixels) with the DX frame size.
The built-in microphone is stereo-capable and there’s a headphone out jack to allow monitoring of soundtracks during recording. 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 |
|
1920 x 1080 1.3x crop |
50p |
60p |
42 Mbps |
10 minutes |
|
1920 x 1080 |
25p |
30p |
24 Mbps |
20 minutes |
|
24p |
||||
|
1280 x 720 |
50p |
60p |
||
When shooting movies with the aperture-priority and manual shooting modes, you must set the aperture before pressing the Live View button. The P, A and S modes support exposure compensation and metering adjustments; the Scene mode only allows exposure compensation to be changed. Shutter speed and ISO sensitivity are adjustable in the M mode. You can record a still frame while shooting a movie, but only with a 16:9 aspect ratio. Available image sizes are shown in the table below.
|
Image area |
Size/quality setting |
Pixels |
|
DX (24 x 16) |
Large |
6000 x 3368 |
|
Medium |
4496 x 2528 |
|
|
Small |
2992 x 1680 |
|
|
1.3x (18 x 12) |
Large |
4800 x 2696 |
|
Medium |
3600 x 2024 |
|
|
Small |
2400 x 1344 |
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
Playback settings have scarcely changed since the D7100 and include all the normal basic settings as well as an extensive in-camera retouch menu that includes functions like D-Lighting adjustments, red-eye correction, trimming, monochrome conversion (B&W, sepia and cyanotype), four filter effects and image overlay, which allows two raw files to be combined to create a single picture.
Resizing, straightening and distortion control are also available, along with a quick retouch setting that enables saturation and contrast to be boosted. Auto and manual distortion controls are provided as well as a fisheye setting, colour outlining, colour sketch filter, perspective control, a miniature effect and selective colour copying.
Raw files can be converted into JPEGs and saved separately in the camera. Side-by-side before and after comparisons of retouched images can also be displayed. Movie clips can be trimmed and individual frames can be saved as JPEGs.
No software was provided with the review camera but it’s easy enough to download from Nikon’s support website. You can also download the detailed user manual here.
Nikon updated its ViewNX2 to become View NX-i, which improves interconnectivity facilities. The new software includes an improved image browser (with better side-by-side comparisons and a temporary storage ‘tray’), along with the ability to pass raw files directly to Capture NX-D for conversion then back to View NX-i. Video files are stored with ‘sidecar’ files, similar to those produced by ACR. But there’s no standard applied so they may not be accessible in some third-party video editors.
Performance
Not unexpectedly, images from the review camera were similar in quality, tonality and the amount of detail recorded to the files we obtained from the D7100 we reviewed. The default colour saturation for JPEG files was a lot lower than we found in files from the D7100 and closer to the level we expect from enthusiast DSLRs. This was confirmed by our Imatest tests.
Since the D7200 was not supported by Adobe Camera Raw when we conducted our tests, we had to use Nikon’s Capture NX-D software. Interestingly, we had to update this software, since the version we downloaded when reviewing the D5500 couldn’t handle the NEF.RAW files from the newer camera.
(ACR was updated just before we returned the review camera so we processed our raw files with it and compared the results with those we obtained from Capture NX-D. They were very similar so we have published the initial Capture NX-D, as was our original intention.)
Imatest showed resolution to be slightly above expectations for the sensor’s resolution with JPEG files and somewhat higher for NEF.RAW files converted with Capture NX-D, where even samples from near the edge of the frame matched expectations for the sensor’s resolution. The graph below shows the results we obtained across the camera’s ISO range for full-colour images.
Resolution held up well through most of the camera’s sensitivity range, with little noise detectable up to ISO 6400 but a visible increase in granularity plus a slight softening at ISO 12800. At ISO 25600, noise was visible but shots would be usable at modest output sizes. Noise levels in the two monochrome high ISO settings were similar to the ISO 12800 and ISO 25600 settings and, therefore lower than we would expect from such expansion. But we can’t think of many applications for images taken with such high sensitivities, particularly given their magenta bias.
The built-in flash was able to record evenly balanced exposures across most of the camera’s sensitivity range with the 105mm focal length. Very slight under-exposure occurred at ISO 100 but for the remaining ISO settings ““ including the two Hi BW modes ““ exposures were evenly balanced and nicely positioned.
Auto white balance performance was similar to other Nikon cameras we’ve tested. Very good correction was provided for daylight-balanced fluorescent lighting. No correction was required for shots taken with the camera’s built-in flash. Shots taken under incandescent lighting retained some of its inherent warm cast.
The pre-sets over-corrected to varying degrees with all types of lighting and the camera provides the standard in-camera correction facilities for JPEG shots, enabling users to tweak colour balance at will. Manual measurement is also supported and delivers good results in most situations.
Despite the improvements to the autofocusing module and microprocessor, we didn’t notice significant improvements in AF speed or accuracy, compared with the D7100. The new camera continues Nikon’s tradition of fast and accurate autofocusing when the viewfinder is used for shot composition. But it remains noticeably slower in the Live View mode.
Slow autofocusing affected the overall quality of movie clips. The camera often took up to half a second to re-focus upon moving subjects within the frame. Having face detection sometimes added to the delay as the system switched from one subject to another. Most clips required considerable editing to produce a watchable sequence.
Otherwise, image quality in movies was generally acceptable, although not outstanding. We found no significant artefacts in clips at the higher resolutions. As before, the 1.3x crop setting provided a default zooming effect, which slightly reduced resolution, although probably not enough to trouble the average user.
The dynamic range in video mode was similar to the stills mode, which meant shadows contained a fair amount of detail while highlights could be slightly clipped in contrasty conditions. Soundtracks recorded by the built-in microphones were relatively clear with more stereo ‘presence’ than we expected ““ and audio levels can be adjusted before recordings commence. There’s still no wind-reduction filter to suppress wind noise when recording outdoors.
We carried out our timing tests with a 16GB Panasonic Gold Series SDHC Class 10/UHS Class 3 card which supports a read speed of up to 95MB/s and write speeds up to 45MB/s. This is the fastest card in our current collection and was a good match for the review camera which, like its predecessor, powered-up and shut down almost instantly.
When the viewfinder was used for shot composition, we measured an average capture lag of 0.2 seconds, which was eliminated with pre-focusing. In Live View mode, capture lag was extended to 0.9 seconds, reducing to an average of 0.25 seconds with pre-focusing. Shot-to-shot times averaged 0.3 seconds when the viewfinder was used 1.9 seconds with Live View. Shot-to-shot times with flash averaged 4.2 seconds. On average, it took 0.3 seconds on average to process a single JPEG file or one 14-bit NEF.RAW file, 0.35 seconds for a 14-bit raw file and between 0.5 and 0.6 seconds for each RAW+JPEG pair, depending on whether they were 12- or 14-bit files.
In the continuous high-speed shooting mode, the review camera recorded 30 Large/Fine JPEGs in just over five seconds without slowing. It took 5.2 seconds to process this burst. The capture speed slowed after 18 NEF.RAW files, which were recorded in 3.6 seconds in the continuous high mode. Processing time for this burst was 5.8 seconds. For RAW+JPEG pairs, the buffer limit was 11 frames, which were captured on 2.3 seconds. It took 5.9 seconds to process this burst.
With the 1.3x crop mode, the review camera recorded 30 Large/Fine JPEGs in 4.4 seconds, which equates to approximately seven frames/second. It took 4.6 seconds to process this burst. Changing to NEF.RAW files, we recorded 18 frames in 3.1 seconds. It took just under 6.8 seconds to process this burst.
Conclusion
It’s tempting to compare Nikon and Canon DSLRs since these brands dominate the market. Canon’s closest competitor to the D7200 is the just-released 24.2-megapixel EOS 760D, which can match most of the D7200’s specifications in a smaller and lighter body that is roughly $300 cheaper.
Nikon’s current flagship, the D300s, is almost six years old and desperately in need of refreshing with a camera that is targeted at the overlap between really serious enthusiasts and pro shooters. Canon’s EOS 7D II slots into that gap; the D7200 doesn’t. The anticipated Nikon D400 will probably challenge the EOS 7D Mark II ““ when it arrives. At least we hope so.
In the interim, the D7200 is a serviceable DX format DSLR that will suit some photo enthusiasts. It’s a step up from the D5500 we reviewed in March 2015 but the differences lie mainly in build quality, since both cameras use the same 24.2-megapixel CMOS chip and use the same EXPEED 4 image processor. Whether that’s enough to induce consumers to choose the D7200 is questionable.
Unfortunately, neither Nikon nor Canon is currently doing much in the way of innovation, which this market sector really needs. That’s been left to smaller players like Olympus and Pentax-Ricoh and newcomers like Samsung.
SPECS
Image sensor: 23.5 x15.6 mm CMOS sensor with 24.72 million photosites (24.2 megapixels effective)
Image processor: EXPEED 4
Lens mount: Nikon F mount, (with AF coupling and AF contacts)
Focal length crop factor: 1.5x
Image formats: Stills – JPEG: Baseline compliant with fine (approx. 1:4), normal (approx. 1:8), or basic (approx. 1:16) compression, NEF.RAW (12- or 14-bit, compressed), RAW+JPEG; Movies – MOV, H.264/MPEG-4 Advanced Video Coding with Linear PCM audio
Image Sizes: Stills ““ 6000 x 4000, 4496 x 3000, 2992 x 2000; ‘Movie Live View’ – 6000 x 3368, 4496 x 2528, 2992 x 1680; 1.3x crop – 4800 x 2696, 3600 x 2024, 2400 x 1344; Movies: [Full HD] 1920 x 1080: 50p, 30p, 25p, 24p; [HD] 1280 x 720 50p
Image Stabilisation: Lens based
Dust removal: Image sensor cleaning, Image Dust Off reference data (Capture NX-D software required)
Shutter (speed range): 1/8000 to 30 seconds in steps of 1/3 or 1/2 EV plus bulb and time, X-synch at 1/250 second
Exposure Compensation: +/- 5 EV in 1/3EV or 1/2EV steps in P, S, A, M, SCENE and night vision modes
Exposure bracketing: 3 frames, in steps of 1/3 or 1/2EV
Other bracketing options: Exposure, Flash, White balance, ADL
Self-timer: 2, 5, 10 or 20 seconds delay; 1″“9 exposures at intervals of 0.5, 1, 2, or 3 s
Focus system: Nikon Advanced Multi-CAM 3500 II sensor module with TTL phase detection, fine-tuning, 51 focus points (including 15 cross-type sensors; f/8 supported by 1 sensor) and AF-assist illuminator
Focus modes: 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 (M):, Electronic rangefinder can be used; Single-point AF; 9-, 21- or 51-point dynamic-area AF, 3D-tracking, auto-area AF
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 and Spot metering patterns
Shooting modes: Auto; auto (flash off)); 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), P, A, S, M plus U1 and U2 (user settings)
Picture Control modes: Standard, Neutral, Vivid, Monochrome, Portrait, Landscape, Flat; selected Picture Control can be modified; storage for custom Picture Controls
Colour space options: sRGB and Adobe RGB
Special effects modes: Night vision; colour sketch; miniature effect; selective colour; silhouette; high key; low key
ISO range: Auto, ISO 100 to 25600 in steps of 1/3 or 1/2 EV; in P, S, A, and M modes, can also be set to approx. 1 or 2 EV (ISO 102400 equivalent; monochrome only) above ISO 25600
White balance: Auto (2 types), incandescent, fluorescent (7 types), direct sunlight, flash, cloudy, shade, preset manual (up to 6 values can be stored, spot white balance measurement available during live view), colour temperature (2500 K”“10,000 K), all with fine-tuning
Flash: Built-in pop-up flash, GN Approx. 12 (m/ ISO 100); i-TTL flash control using 2016-pixel RGB sensor
Flash modes: Auto, auto with red-eye reduction, auto slow sync, auto slow sync with red-eye reduction, fill-flash, red-eye reduction, slow sync, slow sync with red-eye reduction, rear-curtain with slow sync, rear-curtain sync, off; Auto FP High-Speed Sync supported
Flash exposure adjustment: -3 to +1 EV in steps of 1/3 or 1/2 EV
Sequence shooting: Max. 6 shots/sec. for DX, 7 fps for 1.3x crop
Buffer capacity: Max. 100 Large/Fine JPEGs, 18 RAW files or RAW+JPEG pairs
Storage Media: Dual slots for SD, SDHC, SDXC cards (UHS-I compliant)
Viewfinder: Eye-level pentaprism with approx. 100% coverage, approx. 0.94 x magnification, 19.5 mm eyepoint, -2 to +1 dioptre adjustment, Type B BriteView Clear Matte Mark II screen with AF area brackets
LCD monitor: 3.2-inch TFT monitor with approx. 170 degree viewing angle, approx.1,229,000 dots, approx. 100% frame coverage and brightness adjustment
Playback functions: Full-frame and thumbnail (4, 9, or 72 images or calendar) playback with playback zoom, movie playback, photo and/or movie slide shows, histogram display, highlights, photo information, location data display, and auto image rotation
Interface terminals: Hi-Speed USB, Type C HDMI connector, 3.5 mm stereo mini-pin jacks for audio in/out, accessory terminal for optional MC-DC2 Remote cord, WR-1, WR-R10 remote controllers, GP-1/GP-1A GPS unit
Wi-Fi / NFC: IEEE 802.11b/g, 2412 MHz – 2462 MHz (1-11 ch), Wi-Fi / WPS / WPA2, Infrastructure mode; NFC Forum Type 3 Tag
Power supply: EN-EL15 Rechargeable Li-ion Battery Pack; CIPA rated for approx. 1110 shots/charge
Dimensions (wxhxd): Approx. 135.5 x 106.5 x 76 mm
Weight: Approx. 675 grams (body only); 765 grams with battery and card
TESTS
Based on JPEG files.
Based on 14-bit NEF.RAW converted into 16-bit TIFF format with Nikon Capture NX-D.
SAMPLES
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
Auto white balance with flash lighting.
30-second exposure at ISO 100; 26mm focal length, f/4.5.
12-second exposure at ISO 800; 26mm focal length, f/5.6.
6-second exposure at ISO 3200; 26mm focal length, f/6.3.
3-second exposure at ISO 6400; 26mm focal length, f/6.3.
3-second exposure at ISO 12800; 26mm focal length, f/8.
1-second exposure at ISO 25600; 26mm focal length, f/11.
Flash exposure at ISO 100;1/60 second at f/5.6, 105mm focal length.
Flash exposure at ISO 800; 1/60 second at f/5.6, 105mm focal length.
Flash exposure at ISO 3200; 1/60 second at f/7.1, 105mm focal length.
Flash exposure at ISO 6400; 1/60 second at f/8, 105mm focal length.
Flash exposure at ISO 12800; 1/60 second at f/10, 105mm focal length.
Flash exposure at ISO 25600; 1/60 second at f/11, 105mm focal length.
Flash exposure at ISO Hi BW1 (51200); 1/60 second at f/14, 105mm focal length.
Flash exposure at ISO Hi BW2 (102400); 1/60 second at f/16, 105mm focal length.
ISO 100, 18mm focal length, 1/320 second at f/9.
ISO 100, 105mm focal length, 1/320 second at f/5.6.
Strong backlighting; ISO 100, 18mm focal length, 1/500 second at f/11.
Strong backlighting; ISO 140, 105mm focal length, 1/160 second at f/7.1.
Close-up with strong backlighting; ISO 500, 105mm focal length, 1/160 second at f/5.6.
ISO 100, 90mm focal length, 1/320 second at f/5.6.
ISO 100, 90mm focal length, 1/800 second at f/5.6.
ISO 450, 18mm focal length, 1/30 second at f/3.5.
Crop from the above image at 100% magnification showing recorded detail.
ISO 4500, 38mm focal length, 1/60 second at f/8.
ISO 6400, 26mm focal length, 1/40 second at f/8.
ISO 400, 45mm focal length, 1/100 second at f/5.
ISO 720, 105mm focal length, 1/500 second at f/8.
ISO 1100, 105mm focal length, 1/160 second at f/7.1.
Close-up; ISO 100, 105mm focal length, 1/200 second at f/5.6.
Still frame from video clip taken with Full HD (1920 x 1080 pixels) 50p resolution, High quality.
Still frame from video clip taken with Full HD (1920 x 1080 pixels) 50p resolution, Normal quality.
Still frame from video clip taken with Full HD (1920 x 1080 pixels) 25p resolution, High quality.
Still frame from video clip taken with Full HD (1920 x 1080 pixels) 24p resolution, High quality.
Still frame from video clip taken with HD (1280 x 720 pixels) 50p resolution, High quality.
Still frame from video clip taken with HD (1280 x 720 pixels) 50p resolution, Normal quality.
Rating
RRP: AU$1350; US$1200 (body only)
- Build: 8.6
- Ease of use: 8.6
- Autofocusing: 8.5
- Still image quality JPEG: 8.8
- Still image quality RAW: 8.8
- Video quality: 8.5
