Nikon D7500 – Photo Review
Photo Review
8.8
Mục lục
In summary
The D7*** line-up sits between the consumer-orientated D5*** models and the more professional D5** models where it provides some of the automated features common to the former plus technologies incorporated in the latter.
The use of the D500’s 20-megapixel sensor and EXPEED 5 processor enables Nikon to capitalise upon volume production cost savings while offering the benefits of faster processing for 4K video and continuous shooting.
The tilting LCD monitor is also an improvement, although a fully-articulated screen would have been preferable.
For ‘connected generation’ photographers, the D7500 joins the SnapBridge-enabled line-up, offering Wi-Fi connectivity via low-power Bluetooth.
The D7500 provides some of the exposure controls missing from the D5600, along with 4K video and also throws in the in-camera effects modes and scene pre-sets from the lower-priced camera. Its slightly slimmer and lighter body includes a deeper, more comfortable hand grip, which should suit the majority of potential users.
Sports shooters will certainly appreciate the increase in the buffer memory, particularly for NEF.RAW files. The slimmer, lighter body will also be welcomed by anyone who has to carry the camera for extended periods of time.
Full review
Announced in early January, the D7500 is the latest model in a long line of DSLRs for photo enthusiasts that began with the D70 back in January 2004. The new model replaces the D7200 and uses the 20-megapixel sensor from the D500 to enable 4K video and a faster continuous frame rate, albeit with a slight drop in resolution. The tilting monitor is long overdue in this series but its resolution is down on the D7200’s and the D7500 has only one card slot, where the D7200 has two.
The Nikon D7500, shown with the AF-S 18-140mm f/3.5-5.6G ED VR lens, a popular bundled option. (Source: Nikon.)
Other features that have changed are outlined below. We received the review camera with the AF-S Nikkor 58mm f/1.4G lens, which we reviewed in April 2016 with the Nikon D5 camera. Re-sellers typically bundle the D7500 with the AF-S 16-80mm f/2.8-4E ED VR lens (reviewed in October 2015) or the AF-S 18-140mm f/3.5-5.6G ED VR lens (reviewed in January 2014).
Who’s it For?
The D7*** line-up sits between the consumer-orientated D5*** models and the more professional D5** models where it provides some of the automated features common to the former plus technologies incorporated in the latter. Pricing is a critical issue for cameras at this level as most buyers will concentrate upon the price vs value/performance ratio.
The use of the D500’s 20-megapixel sensor and EXPEED 5 processor enables Nikon to capitalise upon volume production cost savings while offering the benefits of faster processing for 4K video and continuous shooting. Unfortunately, the tilting monitor (an advantage over the fixed screen on the D7200) is neither as versatile nor as high in resolution as the fully articulated screen on the lower-priced D5600. Given the volume savings argument, it’s hard to understand why that monitor wasn’t used in the D7500.
For ‘connected generation’ photographers, the D7500 joins the SnapBridge-enabled line-up, offering Wi-Fi connectivity via low-power Bluetooth. We reported on the current iteration of SnapBridge in our review of the D5600 in February 2017.
The D7500 provides some of the exposure controls missing from the D5600, along with 4K video and also throws in the in-camera effects modes and scene pre-sets from the lower-priced camera. Its slightly slimmer and lighter body includes a deeper, more comfortable hand grip, which should suit the majority of potential users.
Is it worth updating? Probably, if you’re a D7000 or D7100 owner and definitely if you want to shoot 4K video. But maybe not if you’re happy with the previous generation D7200, which should appeal to photographers who mainly shoot stills and want all the resolution they can get.
What’s Changed?
The table below shows the main differences between the D7500 and its predecessor, the D7200. It’s important to note that the 51-point Advanced Multi-CAM 3500 II DX autofocusing system is not listed in this table because it carries over from the D7200.
D7500
D7200
Dimensions (wxhxd)
135.5 x 104 x 72.5 mm
135.5 x 106.5 x 76 mm
Weight (body only)
640 grams
675 grams
Battery capacity
950 shots/charge
1110 shots/charge
Card slots
1
2
Max. burst rate
8 frames/sec.
6 frames/sec.
Buffer capacity
100 JPEG, 50 RAW files or RAW+JPEG pairs
100 JPEG, 18 RAW files or RAW+JPEG pairs
Effective resolution
20.9 megapixels
24.2 megapixels
Image processor
EXPEED 5
EXPEED 4
Movie sizes
3840 x 2160 (4K UHD); 30p, 25p, 24p 1920 x 1080; 60p, 50p, 30p, 25p, 24p 1280 x 720; 60p, 50p
[Full HD] 1920 x 1080: 50p, 30p, 25p, 24p; [HD] 1280 x 720 50p
Metering
180,000-pixel RGB sensor
2016-pixel RGB sensor
ISO range
100 to 51200 + extension to ISO 50 and ISO 1640000
ISO 100 to 2560 + extension to ISO 102400
Monitor
Tilting 3.2-inch TFT touch-sensitive LCD with 922,000 dots (VGA)
Fixed 3.2-inch TFT LCD with 1,228,800 dots
Viewfinder
Pentaprism with 100% frame coverage, 0.94 x magnification, 18.5mm eyepoint, -2 to +1 dpt adjustment
Pentaprism with 100% frame coverage, 0.94 x magnification, 19.5 mm eyepoint, -2 to +1 dpt adjustment
Connectivity
Wi-Fi plus low-power Bluetooth (SnapBridge)
Wi-Fi plus NFC
There’s also a new Auto Picture Control, which is based upon the Standard Picture Control but promises that ‘portrait subjects will appear softer and the foliage and sky in outdoor shots more vivid’. The D7500 also includes the 3D-tracking, Group-area Autofocus and Auto AF Fine Tune settings found in higher-featured models.
Group-area AF activates five focus points to track subjects, thereby speeding up initial focus acquisition and tracking of subjects. It’s ideal for tracking birds in flight or other erratically -moving subjects. Auto AF Fine Tune enables users to calibrate the AF settings for each lens automatically and make AF micro adjustments to improve focus accuracy. With only one prime lens supplied for our review, we weren’t able to test this function on the D7500.
As in the D7200, Live View autofocus relies on contrast detection but the touch screen allows users to move the AF point anywhere in the frame. AF modes exclusive to Live View include wide-area AF, normal-area AF, subject-tracking AF and Face-Priority AF as well as the AF-A full-time servo AF option.
Users of old Nikon lenses, who rely on the mechanical AI coupling lever for connecting the lens to the body to enable light metering should also be aware that there’s no pin on the D7500. Consequently, Non-CPU Lens Data isn’t available so wide-aperture metering with these lenses is not supported although manual exposure without metering remains possible.
Build and Ergonomics
Aside from the reductions in size and weight, enlarged grip and removal of the second card slot, there’s not much difference between the bodies of the D7500 and its predecessor. A relatively minor labelling adjustment on the front panel buttons sees the depth-of-field preview button re-labelled Fn1.
Front view of the Nikon D7500 with no lens fitted. (Source: Nikon.)
Interestingly, although you can assign several different functions to this button, depth-of-field preview is not among them. We think this is a serious omission, although you can get around it by shooting in Live View mode, which displays the image with the selected lens aperture setting. It’s not good enough to assess DOF in bright shooting conditions and gets noisy in low light levels, but it’s better than nothing.
Top view of the Nikon D7500 with no lens fitted. (Source: Nikon.)
On the top panel, the D7200’s metering button is replaced by an ISO button, which is moved closer to the shutter button/on-off lever. No hot-shoe cover is supplied with the new camera The data LCD panel is slimmer in the vertical dimension and some of the displays have been removed (or moved to the monitor). Other controls are essentially unchanged.
The rear panel of the Nikon D7500. (Source: Nikon.)
On the rear panel, the info and i buttons have traded places and the metering controls now share the zoom-in button. The arrow pad has also slipped down a little, which makes it less easy to shoot one-handed.
One of the port covers has been removed from the left hand side panel, leaving the larger upper cover to protect the USB and HDMI ports plus the microphone connection, while the lower one shields the headphone and accessory terminals.
The camera strap feeds straight through loops on the side panels, with the left hand side loop forward of the one on the right, slightly disrupting the overall balance. Finally, unlike the D7200, the D7500 has no vertical grip option.
Sensor and Image Processing
The sensor and EXPEED 5 processor are the same as used in the D500 and covered in our review of that camera, which was posted in July 2016. Like the D500, the D7500 offers two cropped formats (24 x 16 mm and 1.3x crop), three image sizes (large, medium and small) and 12- or 14-bit lossless compressed or compressed NEF.RAW. Simultaneous RAW+JPEG capture is offered at each of the three JPEG file sizes supported.
The D7500 also supports the same ISO range, with a base range of ISO 100 to ISO 51200 and extensions down to ISO 50 equivalent and up to ISO 1640000 equivalent available (although we wouldn’t bother with the ‘Hi’ settings above Hi1 ““ and that have reservations about the usability of that setting). However, the continuous shooting frame rate is slower at 8 fps, compared with 10 fps in the D500.
Since the sensor/processor combination makes 4K video possible, the movie resolutions and frame rates supported in the D7500 are essentially the same as the D500’s. Electronic VR stabilisation is available for the FHD and HD resolution modes. It crops the frame a little when active.
Microphone sensitivity levels is adjustable for both the built-in and accessory mics and a sound level indicator is provided. Wind noise reduction is also available.
The D7500 also includes the same 1.3x crop mode as the D500, which increases the effective focal length by 1.3x. It’s only available in the FHD and HD resolution modes; 4K frames are not cropped.
Time-lapse recording is also available with a similar range of settings to those in the D500, including support for 4K resolution. Exposure smoothing can reduce exposure differences between frames to produce flicker-free silent movies.
Playback and Software
The D7500 offers the standard playback options, including full-frame and thumbnail (4, 9, or 72 images or calendar) playback, zoom of up to 21x for large DX images and movie playback. Its touch-screen monitor supports the standard gestural controls, including swipe, pinch and spread.
The camera can display photo and movie slide shows, brightness and RGB histograms, highlight alerts, photo information and location data (obtained from a connected GPS-enabled device). Auto image rotation is also available and users can delete and protect selected frames and the camera can be set to embed copyright information. Pressing the ‘i’ button allows users to apply star ratings to shots, select images to send to a connected device, access the options in the retouch (for still photos) and edit (for movies) menus and choose the folder for storing shots.
No software was supplied with the review camera but the printed user’s manual provides URLs for linking to downloads for the SnapBridge app and a user manual that can be installed on a smart device. Nikon’s download centre provides links to ViewNX-i and Capture NX-D, the recommended programs for file management and raw file processing as well as the Picture Control Utility 2 for editing and managing Picture Controls and copies of the user manual in PDF format.
NEF.RAW files are supported by Adobe Camera Raw, our preferred raw file converter, which is an integrated plug-in for Photoshop and Lightroom.
Performance
Subjective assessments of shots taken with the review camera showed them to be similar in appearance to shots we took with the D500 (which isn’t surprising since both cameras have the same sensor and processor). As with the D500, we found Auto D-Lighting control was needed to obtain usable JPEGs in bright, contrasty lighting.
Autofocusing was acceptably fast and accurate when shooting stills when the viewfinder was used for shot composition. But it remained noticeably slower in the Live View mode.
When recording movie clips, autofocusing performance was erratic, particularly when re-focusing upon subjects moving within the frame. Having face detection sometimes added to the delay as the system switched from one subject to another. As with the D7200, many clips had to be carefully cut to produce a watchable sequence.
Imatest testing showed saturation levels in JPEG files were nicely balanced with only minor shifts in colour balance affecting the yellow, red and purple hues. Converted raw files had slightly lower saturation and slightly better colour accuracy.
Imatest showed the resolution of JPEG files to slightly exceed expectations in the centre of the frame and fall slightly below expectations at the edges. (This fall-off is due to the lens.) With NEF.RAW files converted into 16-bit TIFF format with Adobe Camera Raw (our preferred file converter), both centre and edge resolutions were well above expectations.
Resolution remained high between the Lo1 ISO setting and ISO 6400, after which it began a gradual decline. There was a significant drop in resolution, particularly for JPEG files, with each step in the ‘Hi’ range, with shots taken at settings above Hi2 so fragmented we were unable to measure them. The graph below plots the results of our Imatest tests on JPEG and NEF.RAW files for ISO settings up to Hi2.
Long exposures at night were detailed and colour-accurate, right up to ISO 25600, after which softening and noise became progressively more noticeable. Colour saturation declined at ISO 51200 and granularity was obvious. Shots taken with the Hi1 setting would be usable at small output sizes but by Hi3 the image was very soft and flat looking. The Hi5 setting the image was seriously noise-affected and effectively unusable.
Flash shots fared better than long exposures in the main, although some loss of contrast was evident in shots at ISO 12800. By ISO 51200 images appeared both rather soft and flat. Quality deteriorated further from that point, although shots taken at ISO settings up to Hi3 appeared increasingly soft and noisy. They might be usable at small output sizes but shots taken with the Hi4 and Hi5 settings were effectively unusable.
Auto white balance performance was similar to other Nikon cameras we’ve tested and. like the D500, the D7500 provides two auto settings: Auto 1 the ‘normal’ setting and Auto 2 which keeps the warm lighting colours. We didn’t bother with the Auto 2 in our tests, which aimed to evaluate the camera’s ability to correct colour casts.
The Auto 1 setting failed to completely remove the warm casts of our incandescent and LED lights, although it came close enough to make it relatively easy to obtain a neutral colour rendition in Photoshop. Shots taken under fluorescent lighting were very close to neutral and flash shots were acceptably colour neutral.
The manual pre-sets over-corrected slightly, imparting a slight blue cast to shots taken under both fluorescent and incandescent lights but providing good corrections for shots taken under LED lights. Manual measurement produced neutral colour rendition and there are plenty of in-camera adjustments for tweaking colours on-the-fly.
Video clips were similar in appearance to those from the D500, and of acceptable quality once the frames blurred by re-focusing were eliminated. This blurring occurred regardless of the resolution setting, although frame rates of 25 fps were the worst affected.
Our timing tests were carried out with a Lexar Professional 64GB SDXC UHS-II memory card, which claims a transfer speed of 300 MB/second and is fast enough for recording 4K movies and fast bursts of high-resolution stills. The review camera powered-up almost instantaneously.
When the viewfinder was used, capture lag times averaged 0.2 seconds without pre-focusing, reducing to an average of less than 0.1 seconds when shots were pre-focused. In Live View mode, average capture lag times extended to 0.5 seconds on average. It took 1.2 seconds to process each JPEG or NEF.RAW file or a RAW+JPEG pair.
Shot-to-shot times in the single-shot mode averaged 0.4 seconds with the viewfinder. In Live View mode, shot-to-shot times averaged 1.85 seconds, the delays being attributable to the mirror having to rise and fall more slowly between shots.
With flash, shot-to-shot times extended to almost three seconds, on average when the viewfinder was used. We didn’t measure shot-to-shot times with flash in Live View mode.
In the high-speed continuous shooting mode, the camera recorded 16 Large/Fine JPEG frames with maximum quality in 2.1 seconds, which is in line with specifications. It took 5.5 seconds to process this burst. Losslessly compressed 14-bit raw files filled the buffer memory at 41 frames, which were recorded in 5.6 seconds. Capture was slightly erratic, which accounts for the lower-than-specified frame rate. Buffer clearing took 24.4 seconds.
Swapping to RAW+JPEG capture, we recorded 36 frames in 4.6 seconds, which is also in line with specifications. It took 31 seconds to clear the buffer memory. The camera also offers a Continuous L mode in which users can choose frame rates from one to seven frames/second. The default setting is three frames/second.
Conclusion
The D7500 represents a small, but significant in some ways, update over the D7200 but a down-grading in others. In adopting the D500’s sensor and processor it gains 4K video and a slightly faster continuous shooting frame rate at a very marginal loss of overall resolution when shooting stills. It’s a pity the AF system wasn’t improved.
The tilting LCD monitor is also an improvement, although a fully-articulated screen would have been preferable. Unfortunately, the monitor’s resolution is reduced but at the same time it gains touch controls. Some inexplicable micro-management has seemingly taken place.
We doubt most potential buyers would notice the one millimetre decrease in the viewfinder eyepoint (18.5 mm vs 19.5 mm in the D7200). But most will probably regret the return to a single card slot, despite it being compatible; with faster SDXC cards (which are needed for 4K movie recordings).
On the plus side, sports shooters will certainly appreciate the increase in the buffer memory, particularly for NEF.RAW files. The marginally slimmer body and lighter weight will also be welcomed by anyone who has to carry the camera for extended periods of time.
Owners of older Nikon DX cameras have more incentives to upgrade and should probably give the D7500 full consideration, particularly if they want higher resolution. However, if 4K movies aren’t your thing and the inconveniences of shooting movies with a DSLR put you off, the D7200 is well worth a look and will cost you roughly AU$500 less (for the body) than the D7500.
Nikon is bundling the D7500 with a number of popular, general purpose zoom lenses, among them the AF-P 10-20mm f/4.5-5.6G VR, AF-S 16-80mm f/2.8-4E ED VR and AF-S 18-140mm f/3.5-5.6G ED VR. If you’re interested in one of these lenses and plan to upgrade to the D7500, you can save quite a bit by purchasing one of these kits.
A search of local online resellers shows the asking price of the D7500 body to be somewhere between AU$1600 and AU$2000. The most popular kit bundle, which pairs the D7500 with the AF-S 18-140mm f/3.5-5.6G ED VR lens ranges from just under AU$1800 to about AU$2600 so it pays to shop around.
B&H, which markets aggressively into Australia has the D7500 body for US$1246.95 (=AU$1561.02 on 1/8/17) and the body + AF-S 18-140mm f/3.5-5.6G ED VR lens at US$1546.95 (= AU$1936.47). You’ll need to add roughly AU$60-65 for the cheapest shipping, which will make the US prices higher than the best available for local re-sellers.
Buying off-shore will mean you forego Australian consumer protection and have to wait for the equipment to arrive. You’ll also be liable for 10% GST as the package passes through Customs. We’d definitely recommend shopping at your local camera store, which will provide the advantage of a hands-on trial of the gear before you buy plus informed advice to assist you.
SPECS
Image sensor: 23.5 x 15.7 mm CMOS sensor with 21.51 million photosites (20.9 megapixels effective)
Image processor: EXPEED 5
A/D processing: 12 or 14 bit, lossless compressed or compressed JPEG
Lens mount: Nikon F mount (with AF coupling and AF contacts)
Focal length crop factor: 1.5x
Image formats: Stills: JPEG (DCF 2.0, EXIF 2.31, PictBridge), NEF.RAW, RAW+JPEG; Movies: MOV, MP4 (H.264/MPEG-4 Advanced Video Coding with Linear PCM, AAC stereo audio)
Image Sizes: Stills ““ 5568 x 3712, 4176 x 2784, 2784 x 1856; Movies: 3840 x 2160 (4K UHD); 30p (progressive), 25p, 24p 1920 x 1080; 60p, 50p, 30p, 25p, 24p 1280 x 720; 60p, 50p
Image Stabilisation: Lens based
Dust removal: Image sensor cleaning, Image Dust Off reference data (Capture NX-D software required)
Shutter (speed range): Electronically-controlled vertical-travel focal-plane mechanical shutter; electronic front-curtain shutter available in mirror up release mode (1/8000 to 30 seconds plus Bulb, Time; flash synch at 1/250 sec.)
Exposure Compensation: +/- 5EV in 1/3EV or 1/2EV steps in P, S, A, M, SCENE, and EFFECTS modes (+/-EV for movies)
Exposure bracketing: 2, 3, 5, 7 frames across +/- 5EV in 1/3EV, 1/2EV, 2/3EV, 1EV, 2EV steps
Other bracketing options: Flash, White balance, ADL
Self-timer: 2, 5, 10 or 20 seconds delay; 1 to 9 exposures at intervals of 0.5, 1, 2, or 3 sec.
Focus system: Nikon Advanced Multi-CAM 3500 II sensor with TTL phase detection, 51 focus points (including 15 cross-type sensors; f/8 supported by 1 sensor);
Focus modes: 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; Group AF mode and Auto AF Fine Tune
Exposure metering: TTL exposure metering using RGB sensor with approx. 180,000 pixels; 3D colour matrix metering III (type G, E, and D lenses); colour matrix metering III (other CPU lenses), Centre-weighted and Spot metering patterns
Shooting modes: Auto modes (auto; auto, flash off); scene; effects; programmed auto with flexible program (P); shutter-priority auto (S); aperture-priority auto (A); manual (M); U1/U2 (user settings)
Scene presets: 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: Night vision; super vivid; pop; photo illustration; toy camera effect; miniature effect; selective colour; silhouette; high key; low key
Colour space options: Adobe RGB, sRGB
ISO range: Auto, ISO 100 to 51200 in steps of 1/3 or 1/2 EV, extension to ISO 50 and ISO 1640000 equivalent available
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 color temperature (2500 K to 10,000 K), all with fine-tuning
Flash: Built-in pop-up flash; GN 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. 8 frames/sec.
Buffer capacity: 100 JPEG, 50 RAW files or RAW+JPEG pairs
Storage Media: SD, SDHC, SDXC cards (UHS-I compliant)
Viewfinder: Eye-level pentaprism with approx. 100% frame coverage, approx. 0.94x magnification, 18.5mm eyepoint, -2 to +1 dpt adjustment
LCD monitor: 3.2-inch tilting TFT touch-sensitive LCD with 922,000 dots (VGA), 170 ° viewing angle, approximately 100% frame coverage, manual brightness control, eye-sensor
Playback functions: Full-frame and thumbnail (4, 9, or 72 images or calendar) playback with playback zoom, playback zoom cropping, movie playback, photo and/or movie slide shows, histogram display, highlights, photo information, location data display, picture rating, and auto image rotation
Interface terminals: Hi-Speed USB 2.0 with Micro-B, Type C HDMI, 3.5 mm stereo mini-jacks for audio in/out, accessory terminal for optional WR-1, WR-R10 wireless remote controllers, MC-DC2 remote cord, GP-1/GP-1A GPS unit
Wi-Fi function: IEEE 802.11b, IEEE 802.11g supported; SnapBridge with low energy Bluetooth
Power supply: EN-EL15a rechargeable Li-ion Battery Pack; CIPA rated for approx. 950 shots/charge
Dimensions (wxhxd): 135.5 x 104 x 72.5 mm
Weight: Approx. 640 grams (body only); 720 grams with battery and memory card
Distributor: Nikon Australia,1300 366 499; www.nikon.com.au.
TESTS
Based upon JPEG files.
Based upon NEF.RAW files (14-bit, uncompressed) converted into 16-bit TIFF format with Adobe Camera Raw.
SAMPLES
All images captured with the AF-S DX Nikkor 580mm f/1.4G lens.
Auto white balance with incandescent lighting, Auto 0 setting (retain white).
Auto white balance with incandescent lighting, Auto 1 setting (normal).
Auto white balance with fluorescent lighting.
Auto white balance with LED lighting.
Auto white balance with flash lighting.
30 second exposure at ISO Lo1, f/4.
30 second exposure at ISO 100, f/5.6.
15 second exposure at ISO 1600, f/10.
10 second exposure at ISO 6400; f/11.
5 second exposure at ISO 12800; f/11.
2.5 second exposure at ISO 25600; f/11.
1.3 second exposure at ISO 51200; f/11.
1/8 second exposure at ISO Hi1; f/16.
1/13 second exposure at ISO Hi3; f/22.
1/30 second exposure at ISO Hi5; f/22.
Flash exposure, ISO Lo1, 1/60 second at f/2.5.
Flash exposure, ISO 100, 1/60 second at f/2.8.
Flash exposure, ISO 1600, 1/60 second at f/5.6.
Flash exposure, ISO 6400, 1/60 second at f/8.
Flash exposure, ISO 12800, 1/60 second at f/10.
Flash exposure, ISO 25600, 1/80 second at f/11.
Flash exposure, ISO 51200, 1/125 second at f/14.
Flash exposure, ISO Hi1, 1/160 second at f/16.
Flash exposure, ISO Hi3, 1/250 second at f/16.
Flash exposure, ISO Hi5, 1/250 second at f/16.
ISO 100, 1/200 second at f/4.5. P mode.
ISO 100, 1/8000 second at f/1.4. A mode.
ISO 100, 1/160 second at f/3.2. P mode.
ISO 400, 1/500 second at f/3.5. P mode.
ISO 400, 1/500 second at f/5. P mode.
ISO 400, 1/500 second at f/2.8. P mode.
ISO 1600, 1/250 second at f/2.8. P mode.
ISO 900, 1/250 second at f/2.8. P mode.
ISO 51200, 1/2000 second at f/7.1. P mode.
ISO 6400, 1/320 second at f/4.5. P mode.
ISO 1100, 1/250 second at f/2.8. P mode.
ISO 800, 1/200 second at f/3.2. P mode.
Hi5 setting, 1/8000 second at f/11.
Hi3 setting, 1/8000 second at f/9.
Hi1 setting, 1/8000 second at f/7.1.
ISO 51200, 1/5000 second at f/7.1.
Still frame from 3840 x 2160 (4K UHD) video clip recorded at 25p in MOV format.
Still frame from 3840 x 2160 (4K UHD) video clip recorded at 25p in MP4 format.
Still frame from 1920 x 1080 video clip recorded at 50p in MOV format.
Still frame from 1920 x 1080 video clip recorded at 50p in MP4 format.
Still frame from 1920 x 1080 video clip recorded at 25p in MP4 format.
Still frame from 1280 x 720 video clip recorded at 50p in MOV format.
Still frame from 1280 x 720 video clip recorded at 50p in MP4 format.
Rating
RRP: AU$ n/a; US$1249.95
- Build: 8.7
- Ease of use: 8.7
- Autofocusing: 8.4
- Still image quality JPEG: 8.8
- Still image quality RAW: 9.0
- Video quality: 8.5
Buy
