Nikon D750

      Photo Review 8.8

      In summary

      For about $600 more than the price of the D610, the Nikon D750 gives you the EXPEED 4 processor, the AF and metering systems and shutter/mirror mechanism of the D810 and throws in Wi-Fi and a tilting monitor screen with higher resolution.

      This camera could work well as a back-up body for an existing Nikon DSLR system. It might also suit Nikon buyers who want an FX camera but can’t justify the additional $1000+ for a D810 and are happy with a consumer-level body.

      Full review

      Nikon’s D750 ‘full frame’ DSLR camera, which was announced on 12 September just before the opening of Photokina, brings the number of FX models released in the past 12 months to five. Camera buyers must now choose from the D750, D610, Df, D810 and D4s, to list the models currently offered. With its 24-megapixel sensor and EXPEED 4 processor, the new camera appears to slot in above the D610, which has the older EXPEED 3 processor but below the more professionally-orientated D810.


      The Nikon D750, pictured with the AF-S 24-120mm f/4G ED VR lens. (Source: Nikon.)

      The lightweight, rugged body and built-in Wi-Fi are among the advantages Nikon is promoting for its latest camera. The EXPEED 4 processor also rates highly in promotional material, along with the new camera’s speed, versatility and agility.

      Photo Review was offered one of the first review units to be released in Australia for this review. Unfortunately, the only lens that could be provided was the AF-S Nikkor 24mm f/1.4G ED lens, which we reviewed in March 2010. It’s a nice enough lens and a competent performer but quite unsuitable for use for a technical review because it severely restricts the types of subjects that can be photographed, particularly so for shooting movies.

      We struggled to adapt our reviewing system to enable this lens to be used but there are some tests we simply couldn’t manage. Our normal tests of flash exposure accuracy and the adjustability of the flash exposure system were impossible because we couldn’t allow adequate distance between the camera and the subject. So the samples posted represent crops from images that were roughly four times the size.

      Who’s it For?
       The release of the D750 splits the Nikon’s FX (‘full frame’) offerings into three categories, with two models pitched at upgrading hobbyists, two at serious enthusiasts and the D4s a purely professional camera. If you eliminate the D4s, separating the rest is not quite that simple. Aside from the ‘retro’ styled Df model, the practical differences between the D750, D610   and D810 are relatively slight.

      Photo enthusiasts contemplating Nikon’s FX line-up will probably find it quite difficult to decide which model will actually meet their requirements for the money they are prepared to invest. The table below can assist you to evaluate the main differences between the four cameras.

      D750 D610 Df D810
      Body composition Metal chassis, carbon fibre front Metal top & rear panels, plastic elsewhere Magnesium alloy Magnesium alloy
      Weather sealing




      Dimensions (wxhxd) 140.5 x 113 x 78 mm 141 x 113 x 82 mm 143.5 x 110 x 66.5 mm 146 x 123 x 81.5 mm
      Weight (body only) 750 grams 760 grams 765 grams 880 grams
      Effective resolution

      24.3 megapixels

      16.2 megapixels 36.3 megapixels
      Image processor EXPEED 4

      EXPEED 3

      EXPEED 4
      File formats JPEG, NEF.RAW


      Shooting modes (mode dial)

      Auto, Flash off, P, A, S, M, Scene, Effects, U1, U2

      P, A, S, M

      Shutter speeds

      30 to 1/4000 seconds + bulb

      30 to 1/8000 seconds + bulb
      Shutter durability

      150,000 cycles

      200,000 cycles
      Max. Burst speed 6.5 fps 6 fps 5.5 fps 6 fps
      Buffer capacity 87 JPEG, 15 NEF.RAW (14-bit) 51 JPEG, 14 NEF.RAW (14-bit) 100 JPEG, 25 NEF.RAW (14-bit) 100 JPEG, 23 NEF.RAW (14-bit)
      AF system CAM3500FX (51 points, 15 cross-type)

      CAM4800FX (39 points, 9 cross-type)

      CAM3500FX (51 points, 15 cross-type)
      Metering system 91,000-pixel Colour Matrix

      2016-pixel Colour Matrix

      91,000-pixel Colour Matrix
      Movie resolution / frame rates 1080p and 720p at 60/50/30/25/24 fps 1080p at 30/25/24 fps; 720p at 60/50/30/25 fps No movie mode 1080p at 30/25/24 fps; 720p at 60/50/30/25 fps
      ISO range 100-12800, Lo1, Hi1, Hi2, Auto 100-6400, Lo1, Hi1, Hi2, Auto 100-12800, Lo1, Hi1, Hi2, Hi3, Hi4, Auto 64-12800, Lo1, Hi1, Hi2, AUTO
      Media storage

      Dual SD slots

      One SD slot One CF & one SD slot

      GN 12 (m/ISO 100)

      External only GN 12 (m/ISO 100)
      Monitor Tilting 3.2-inch TFT, 1,300,000 dots

      Fixed 3.2-inch TFT, 921,000 dots

      Fixed 3.2-inch TFT, 1,300,000 dots
      Wi-Fi Integrated

      Via optional WU-1a/b unit

      Average selling price body only ($AU) $2600 $2000 $3000 $3700

      Build and Ergonomics
       Nikon describes the D750’s body as a having ‘monocoque’ structure in which its strength is a result of a curved design (much like an eggshell). A one-piece casing of carbon-fibre composite wraps around the front and side panels and covers most of the base plate. Magnesium-alloy panels on the top and rear sections of the camera body complete a shell that is described as ‘weather resistant’.


      Diagrammatic front and rear views of the D750 showing the positions of the weatherproof sealing. (Source: Nikon.)

      This structure allows for a relatively large hand grip, which should suit users with larger hands and/or longer fingers. Nikon claims the D750 is lighter than its entry-level sibling, although the actual weight difference between the D750 and the D610 is only 10 grams, which is negligible.


      Front panel of the D750 with no lens fitted. (Source: Nikon.)

      The front panel of the D750 is almost identical to the D610’s although the new camera is slightly more boxy looking, partly because the base of the lens mount moulding is a little wider. All the button controls and the LED AF-assist/self-timer light are virtually identical in both cameras.


      Top view of the D750 with no lens fitted. (Source: Nikon.)

      The same applies to the top panel, where the control layout is essentially identical to the D610’s. The profiles of the two cameras are slightly different because the body slopes inwards a little more in the D750, but it’s a minor cosmetic change.

      The mode dial indicates the new camera is pitched at consumer levels because it carries two Auto modes (one without flash) and Scene and Effects exposure modes. But it also provides two user-programmable U1 and U2 settings.


      Angled view of the D750’s rear panel, showing the tilting monitor. (Source: Nikon.)

      The tilting monitor provides a point of difference on the rear panel. Two fingernail cut-outs make it easy to pull the screen out from the camera body, after which it can be tilted up through a little over 90 degrees or down through slightly less than 90 degrees, even when the camera is tripod mounted. Users can adjust the colour rendition of the screen along A/B and   G/M axes, much as they can tweak white balance settings.

      The viewfinder provides the same magnification and eyepoint as the D810’s but it lacks an eyepiece shutter and the eyepiece itself is rectangular, indicating it’s consumer-orientated. The D810 has a circular, pro-style eyepiece with a built-in shutter to excluse stray light during long exposures.

      There’s been some re-organisation of the buttons along the left side of the monitor. The Menu button is unchanged but the D610’s Retouch/Picture Control button has been replaced with a Help/ Protect button that also accesses the White Balance sub-menu.

      The Playback Zoom In button below it also accesses Quality settings while, further down the Playback Zoom Out button doubles as an ISO sensitivity button. A new i-button, similar to the button provided in several DX cameras, is used to call up the information display or adjust settings in the live view recording modes.

      More button shuffling has taken place on the right hand side of the monitor, where the Info button has jumped above the arrow pad, pushing both it and the Live View button with surrounding still/movie switch close to the lower edge of the rear panel. Three tiny holes between these controls mark the position of the speaker grille. A card access LED is located to its right.


      The D750’s dual SD card slots. (Source: Nikon.)

      The dual SD card slots are located under a slide-off cover on the right hand side of the camera, as they are in the D610. All the interface ports are situated on the left side panel below three lift-up rubber covers.


      The illustration above shows the microphone and HDMI ports in use.  (Source: Nikon.)

      The top port is the accessory terminal for connecting the WR-1 and WR-R10 wireless remote controllers, the MC-DC2 remote cord or the GP-I/1A GPS units. Below it are 3.5 mm stereo mini-pin jacks for headphone and external microphone connection. The lowest compartment houses the USB and HDMI terminals.

      A metal-lined tripod socket is located on the base plate in line with the optical axis of the lens. The battery compartment is orientated along the length of the base plate, rather than across it to allow for changes to the grip design.

      Nikon offers an add-on battery grip, the MB-D16, which enables users to add a second EN-EL15 battery or power the camera with six AA batteries.  The grip carries the standard vertical release button, arrow pad, dial controls and AE/AF lock button. It sells for around AU$530 locally or US$370 online.

      Sensor and Image Processing
       Nikon claims the D750’s sensor is a new chip, although it provides the same 24.3-megapixel resolution as the sensor in the D610 and, as in the D610, it has a standard optical low-pass filter. The sensor is partnered with the same   EXPEED 4 image processor as used in the D810, a step up from the EXPEED 3 chip used in the D600/D610 models.

      The faster, more powerful processor enables the new camera to support a wider native ISO range of 100 to 12800 and offer expansion downwards to ISO 50 and upwards to ISO 51200. In comparison, although their upper limits are the same, the D810 has a native ISO range starting at ISO 64, with a low setting equivalent to ISO 32.

      Image sizes are the same as we listed in our review of the D600  so there’s no real need to duplicate that information. But the EXPEED 4 processor enables the D750 to support a maximum continuous shooting speed of 6.5 frames/second, which is slightly faster. The new camera’s buffer memory is also slightly larger and can accommodate up to 87 JPEGs or 15 NEF.RAW (14-bit) files, compared with 51 JPEGs or 14 NEF.RAW for the D610.

      Photographers who require even more buffer capacity for raw files can switch to 12-bit Lossless Compressed mode, which increases the buffer capacity to 25 shots, or 12-bit Compressed mode, which extends it to 33 files. Alternatively, the D750 provides a DX crop mode that can store up to 48 14-bit Lossless Compressed raw files or 100 files with any other setting. (You will need a UHS-I card with a write speed of 95MB/second to achieve those capacities.)

      Focusing, Metering and Shooting Modes
       The autofocusing and metering systems in the D750 are based upon their equivalents in the D810 and a cut above the D610’s. The Multi-CAM 3500FX phase detection AF module has 51 sensor points, of which 15 are cross types, 11 of them operational with apertures as small as f/8. Nikon has tweaked its performance to support autofocusing down to -3EV, a full stop lower than the D810 can guarantee.

      As well as supporting 3D tracking, Auto-area AF and Group-area AF modes are selectable for photographing moving subjects and users can choose between 9 and 21 sensor points when they don’t require the full array. Single-point AF is also available and the camera can be set to switch to a point adjacent to the selected one if the subject moves off the selected point. Unfortunately, there’s no AF-ON button, like you get in Nikon’s more professional cameras, which lets users lock focus on a pre-determined distance to minimise hunting and stop the AF system from shifting to another point on the subject.

      Focusing modes include the normal single-servo, continuous-servo modes with normal, wide-area, face-priority and subject tracking options. Face priority and full-time servo AF are available in the live view and movie modes. Manual focusing is supported in both normal and live view modes.

      The set-up menu contains a function that lets you fine-tune focus for popular Nikon lenses and the camera automatically recognises lenses that are attached. The AF-assist light can cover subjects between 50 cm and about 3 metres from the camera in dim lighting.

      Also adopted from the D810 is the 91,000 pixel RGB metering system, which supports centre-weighted and spot with all lenses and either 3D Colour Matrix Metering III, Colour Matrix Metering III or Colour Matrix Metering, depending on the lens in use. The highlight-weighted metering pattern, which minimises loss of detail in highlights,   also carries across from the D810.

      Shooting modes are the same as in the D610 and accessed via the mode dial, which uses a consumer-orientated design. Options include two fully automatic settings (one with flash off), the normal Program, Aperture-priority, Shutter-priority and Manual modes, a Scene position with 16 pre-sets, an Effects setting with seven special effects and two User modes for storing combinations of frequently-used settings. Shutter speeds are the same as the D610’s, as is the shutter rating of 150,000 cycles.

      The EXPEED 4 processor also adds the new Flat picture control to the Picture Control settings. It’s used to preserve details across a wide range of tones and can make adjustments easier when images are extensively edited.

      A new Clarity adjustment is added to the options for tweaking Picture Control settings, which are now adjustable in quarter steps. It supports fine-tuning of contrast in mid-tones to bring out or obscure image detail but is only usable with still images.

      Movie Options
       Movies can be recorded with Full HD (1,920 x 1,080 pixel/progressive) resolution and with frame rates of 60, 50, 30, 25 or 24 frames/second using the popular MPEG-4 AVC / H.264 compression format and .MOV container. Soundtracks are recorded in stereo using Linear PCM audio format and the D750 provides jacks for both external microphones and headphones. A significant advantage over the D610 is the ability to output uncompressed 8-bit, 4:2:2 to an external recorded linked to the HDMI port at the same as recording 8-bit compressed 4:2:0 video to an internal card.

      In movie mode, shutter speeds can be set between 1/25 and 1/4000 second; exposure compensation is available in the P, A, S and Scene modes and all metering patterns except spot metering (but including highlight-priority) are supported. A Power Aperture function can be assigned to the Fn button to support stepless adjustments as the button is pressed. But it’s only supported in A and M modes. And can’t be used with some lenses.

      Users can switch between FX (full-frame) and DX (APS-C) formats in movie mode in the same way as when shooting stills. Other options carried over from stills shooting include adjustments for white balance, Picture Control settings and ISO sensitivity.

      Auto and manual adjustments are also provided for microphone sensitivity and a wind noise reduction filter is available   for the built-in microphone. Exposure indicators (including the standard ‘Zebra’ display) can be displayed in live view mode for both movie and still image capture.

      Time-lapse photography is supported in all shooting modes, producing a silent movie the frame rate and resolution for which can be selected in the movie menu. Users can set the intervals between shots, total recording time and apply an exposure smoothing option to prevent abrupt changes in exposure.

      You can record still pictures in movie mode and if the camera is set for RAW+JPEG capture both file types will recorded. The aspect ratio defaults to 16:9 for both JPEGs and raw files but image size and quality parameters are dictated by the camera settings when the shot was captured.

      Built-in Wi-Fi is the other ‘selling proposition’ for the D750. But it’s difficult to rate it as a fully functional ‘professional’ system that can meet serious users needs because only JPEG files can be transferred. They can be uploaded at full size or down-sampled in the camera. Movies can’t be transferred.

      To use Wi-Fi, you must install Nikon’s Wireless Mobile Utility (WMU) on an iOS or Android device. The WMU app provides a few basic controls over camera settings, including triggering the shutter and self-timer and replicating the camera’s Live View screen.

      But if you require full control over wireless shooting you will need the WR-R10 Wireless Transceiver and WR-T10 Wireless Transmitter. And if you want to connect to devices linked to Ethernet and wireless LAN you’ll need the optional UT-1 Data Transmitter together with the WT-5 Wireless Transmitter.

      Nikon’s system doesn’t use QR codes to speed up inter-connections between the camera and smart device. Instead, you have to work your way through a series of steps to establish a connection, either by SSID (Android or iOS) or WPS (Android only). Then it’s a matter of entering the PIN displayed by the smart device (Android) or selecting the camera’s SSID from the displayed list.

      It took us roughly five minutes to establish a link to an Android tablet and, even then, we had to keep the camera and tablet within about 10 metres of each other to maintain connection. You can tell when Wi-Fi is enabled by the flashing icon on the camera’s LCD data panel. It stops flashing when the camera and smart device are connected and while files are being transferred.

      Nikon claims a transmission distance of  about 30 metres, but we feel that may be optimistic in most situations. The system isn’t particularly sophisticated and we found it flaky at times. Interrupted downloads had to be re-done from the start, for example, instead of picking up where they left off.

       Although having only a 24mm prime lens limited what we could accomplish in this review, we were able to run most of our routine performance tests, including Imatest assessments of resolution performance. Imatest showed the review camera and supplied lens came close to meeting expectations for the 24-megapixel image sensor with 14-bit uncompressed NEF.RAW files that were converted into 16-bit TIFF files with Nikon’s Capture NX-D software.

      JPEG files captured with Optimal Quality compression were slightly below expectations. Both results are very good for a sensor with such high resolution and Imatest showed resolution remained high throughout the review camera’s full sensitivity range, particularly with raw files at the highest sensitivities. The graph below shows the results of our tests.


      Superior high-sensitivity performance was confirmed by test shots taken at night, which involved relatively long exposure times. No noise was evident in shots taken at ISO settings up to 6400, although we could see a gradual increase in the visibility of granularity thereafter.

      Although noise was evident in shots taken at ISO 12800, images were printable to A4 size without being obviously noise-affected. By the Hi.2 setting, the grain structure had become more noticeable and it was easy to discern colour pixels, particularly in shadowed areas. Nevertheless, we found no breaking up of the image structure and no blotches of unnatural colours and shots taken with this setting were printable at small output sizes.

      Highlight and shadow details were generally well retained at high sensitivity settings and we found no loss of colour intensity or contrast in shots. Although shadow noise could be seen quite easily, we found no instances of blown-out highlights in high-ISO shots.

      Imatest showed colours to be mostly accurately recorded with the default Standard Picture Control setting. In fact the colour error graphs were very similar for both raw and JPEG test files. This isn’t surprising as Nikon’s software would probably replicate the adjustments made in-camera when JPEGs were produced from raw image data.

      Saturation was slightly below average for both JPEGs and converted raw files with greater suppression in the green band of the colour spectrum and an equally slight increase in saturation for purplish-blues. Reds, fortunately, were close to the ideal settings, which augurs well for portrait photographers. Most out-of-camera JPEGs were usable with very minimal post-processing and both JPEGs and converted raw files were very easy to tweak when there was a need for post-capture editing.

      The wide-angle lens prevented us from carrying out our normal tests of flash coverage but we have included crops from larger images taken at a typical camera-to-subject distance for these tests as an indicator of flash performance. At all ISO settings, exposures were very even, indicating the ability of the camera’s exposure system to compensate effectively for a very wide range of light levels.

      Metering was generally accurate, regardless of the metering pattern selected and the system worked equally well for shooting stills and recording movie clips. The button just behind the shutter release provided a quick and easy to adjust exposure compensation on-the-fly in situations where it was required, which only happened a couple of times.

      The wide-angle lens made it impossible for us to make definitive comments about AF performance because the AF system was never challenged in any way. Suffice it to say that we encountered no focusing problems in low light levels and for close-up shots.

      White balance performance was generally good. The auto setting delivered almost neutral colour rendition under fluorescent lighting and removed most of the warm cast imparted by incandescent lights. Both presets over-corrected slightly, the various fluorescent lighting settings imparting slightly different colour casts. Manual measurement produced neutral colour rendition and there are plenty of in-0camera adjustments for tweaking colours on-the-fly.

      We added to the already difficult challenge of shooting movies with a 24mm lens by carrying out our tests of movie performance at a busy intersection that was part brightly lit and part in shadow. The review camera handled this tricky situation with aplomb.

      Although the amount of data captured in each file varies according to the different settings, even with close examination we couldn’t see much difference in the quality of any of the clips recorded with Full HD resolution and the differences between them and the clips recorded at 1280 x 720 pixels was effectively negligible. The main differences were in the frame rates, with the highest frame rates being more able to capture sharp images of vehicles moving past the camera.

      Adjustments to focus and exposure took place with minimal delay, although the lag was slightly more noticeable with exposure corrections.   Soundtracks were clear and uncluttered by artefacts and the wind filter provide effective at suppressing noise created by vehicles moving close to the camera. (We were unable to test performance with an external microphone.)

      Our timing tests were carried out with an 8GB SanDisk Ultra SDHC U1 memory card, which claims a transfer speed of 30 MB/second. The review camera took 1.3 seconds on average to power-up ready for the first shot. It took approximately two seconds to switch from the viewfinder to the live view mode.

      Capture lag was negligible when the viewfinder was used but extended to an average of 1.2 seconds in live view mode. This could be reduced to 0.3 seconds by pre-focusing. Shot-to-shot times averaged 0.35 seconds with the viewfinder and 3.5 seconds in live view mode.

      On average, it took 3.4 seconds to process each Large/ Fine JPEG, 4.2 seconds for each NEF.RAW file and 5.1 seconds for each RAW+JPEG pair.

      With the fastest continuous shooting mode, the review camera could record a burst of 10 Large/ Fine JPEGs in 1.4 seconds. It took 21.6 seconds to process this burst. Frame rates remained the same for raw file capture and with RAW+JPEG pairs but processing times extended several seconds beyond half a minute for raw files and to almost three quarters of a minute with RAW+JPEG pairs.   Tests of buffer capacity confirmed Nikon’s specifications.


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      Image sensor: 35.9 x 24.0 mm CMOS sensor with 24.93 million photosites (24.3 megapixels effective)
      Image processor: EXPEED 4
      A/D processing: 14-bit
      Lens mount: Nikon F mount, (with AF coupling and AF contacts)
      Focal length crop factor: 1.5x
      Image formats: Stills ““NEF.RAW, JPEG (DCF V. 2.0, Exif V. 2.3), RAW+JPEG; Movies ““ MOV H.264/MPEG-4 Advanced Video Coding, Linear PCM audio
      Image Sizes: Stills ““ FX (36×24) image area, (L) 6016 x 4016, (M) 4512 x3008, (S) 3008 x 2008, 1.2x (30×20) image area, (L) 5008 x 3336, (M) 3752 x504, (S) 2504 x 1664, DX (24×16) image area, (L) 3936 x 2624, (M) 2944 x 1968, (S) 1968 x 1312, FX-format photographs taken in movie live view, (L) 6016 x 3376, (M) 4512 x 2528, (S) 3008 x 1688, DX-format photographs taken in movie live view, (L) 3936 x 2224, (M) 2944 x 1664, (S) 1968 x 1112, Photographs taken in movie live view have an aspect ratio of 16:9; Movies: 1920 x 1080 at 60p (progressive), 50p, 30p, 25p, 24p; 1280 x 720 at 60p, 50p; high and normal image quality
      Image Stabilisation: Lens based
      Dust removal: Image sensor cleaning, Image Dust Off reference data (Capture NX-D software required)
      Shutter speed range: 30 to 1/4000 second in steps of 1/3 or 1/2 EV, bulb, time, X synch at 1/200 sec.
      Exposure Compensation: +/- 5EV in 1/3- or 1/2-EV increments in P, S, A, M, Scene and night vision modes
      Exposure bracketing: 2 ““ 9 frames, in steps of1/3, 1/2, 2/3 or 1EV, 2″“5 frames in steps of 2 or 3 EV
      Other bracketing options: ADL bracketing, Flash bracketing, White balance bracketing
      Self-timer:   2 s, 5 s, 10 s, 20 s delays; 1″“9 exposures at intervals of 0.5, 1, 2, or 3 s
      Focus system: Nikon Advanced Multi-CAM 3500 II AF sensor module with TTL phase detection, fine-tuning, 51 focus points (including 15 cross-type sensors; f/8 supported by 11 sensors) 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
      Exposure metering:  TTL exposure metering using RGB sensor with approximately 91K (91,000) pixels;  3D colour matrix metering III, Center-weighted (75% in centre of frame), Spot (4 mm circle on selected focus point),   Highlight-weighted: Available with type G, E, and D lenses
      Shooting modes: Auto 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); special effects modes (night vision; colour sketch; miniature effect; selective colour; silhouette; high key; low key); programmed auto with flexible program (P); shutter-priority auto (S); aperture-priority auto (A); manual (M); U1 (user settings 1); U2 (user settings 2)
      Picture Controls: Standard, Neutral, Vivid, Monochrome, Portrait, Landscape, Flat; selected Picture Control can be modified; storage for custom Picture Controls
      ISO range: Auto,ISO 100-12800, in steps of 1/3 or 1/2EV; extension to approx. 0.3, 0.5, 0.7, or 1 EV (ISO 50 equivalent) below ISO 100 or approx. 0.3, 0.5, 0.7, 1, or 2 EV (ISO 51200 equivalent) above ISO 12800
      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), choose colour temperature (2500 K”“10000 K), all with fine-tuning
      Colour space: sRGB and Adobe RGB
      Flash: Built-in flash, GN approx. 12 (m/ISO100)
      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 compensation: -3 to +1 EV in steps of 1/3 or 1/2 EV
      Sequence shooting: Max. approx. 6 shots/sec.
      Buffer memory depth: 100 JPEGs, 25 raw files, 15 RAW+JPEG
      Storage Media: Dual card slots for SD/SDHC/SDXC memory cards; UHS-1 compliant
      Viewfinder: Eye-level pentaprism with >97% frame coverage; 21mm eyepoint, -3 to +1 dpt adjustment,   Type B BriteView Clear Matte Mark III screen with AF area brackets (framing grid can be displayed)
      LCD monitor: Tilting 3.2-inch low-temperature polysilicon TFT LCD with 1,228,800 dots, 170 degree viewing angle, approx. 100% frame coverage and brightness and angle adjustment
      Live View shooting: Live view photography (still images), Movie live view (movies)
      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: USB 2.0, Type C HDMI, 3.5 mm stereo mini-pin jacks for audio input, accessory terminal for optional remote controllers or GPS unit: GP-1/GP-1A (available separately)
      Wi-Fi function: IEEE 802.11b, IEEE 802.11g at 2412″“2462 MHz (channels 1″“11); Open system, WPA2-PSK Encryption: AES, Supports WPS; range approx. 30 m
      Power supply: EN-EL15 rechargeable lithium-ion battery; CIPA rated for approx. 1230 shots/charge
      Dimensions (wxhxd): Approx. 140.5 x 113 x 78   mm
      Weight: Approx. 750 grams (body only); 840 grams with battery and memory card


       Based on JPEG files.


      Based on NEF.RAW files processed with Adobe Camera Raw.




      Auto white balance with incandescent lighting.  


      Auto white balance with fluorescent lighting.  


      Auto white balance with flash illumination.


      30-second exposure at f/2.8, ISO Lo.1.


      30-second exposure at f/4, ISO 100.


      10-second exposure at f/9, ISO 1600.


      6-second exposure at f/13, ISO 6400.


      3-second exposure at f/10 ISO 12800.


      2-second exposure at f/11, ISO Hi.1.


      1.3-second exposure at f/16, ISO Hi.2.


      Flash exposure at ISO Lo.1;1/60 second at f/2.5.


      Flash exposure at ISO 1600; 1/60 second at f/5.6.


      Flash exposure at ISO 12800;1/60 second at f/10.


      Flash exposure at ISO Hi.2;1/60 second at f/14.


      Close-up; 1/100 second at f/11, ISO 100.


      Close-up; 1/640 second at f/8. ISO 200.


      1/400 second at f/8, ISO 100.  


      1/250 second at f/9, ISO Lo.1.


      1/2500 second at f/3.5, ISO 100.


      1/3200 second at f/4.5, ISO 400.  


      1/13 second at f/13, ISO 100.


      Still picture captured at 6016 x 3376 pixel resolution while recording a 1080p movie clip; 1/250 second at f/8, ISO 100.


      Still frame from movie clip recorded in Full HD (1920 x 1080) mode at 50p.


      Still frame from movie clip recorded in Full HD (1920 x 1080) mode at 30p.


      Still frame from movie clip recorded in Full HD (1920 x 1080) mode at 25p.


      Still frame from movie clip recorded in Full HD (1920 x 1080) mode at 24p.


      Still frame from movie clip recorded in HD (1280 x 720) mode at 50p.


      RRP: n/a  ASP: AU$2600; US$2300 (body only)

      • Build: 8.8
      • Ease of use: 8.5
      • Autofocusing: 8.5
      • Still image quality JPEG: 8.5
      • Still image quality RAW: 8.8
      • Video quality: 9.0