Unlike the Canon company, which is increasingly moving away from the spring ideas of photography into the hybrid jungle of photo-video photography, and the Sony corporation, which has finally relied on mirrorless systems, Nikon continues to work for the benefit of real photographers - connoisseurs of high-quality photographic equipment with the traditional advantages of classic solutions. However, Nikon simply has nowhere to go - it does not have parallel developed markets for office equipment or consumer electronics.
Made with Five: first look at Nikon D5 and Nikon D500 cameras
Over the past couple of years, Nikon's efforts have become visible not only on paper and in company reports. An increasing number of photographers who have been in this business for decades are selling off their stock of lenses and Canon flashes and switch to a competitor's system.
Nikon’s clear successes in recent years include the launch of “budget” full-frame cameras D600/D610 on the market, the iconic appearance of the retro Nikon Df camera, the release of a well-balanced full-frame camera D750 and the successful and timely update of the amateur D7x00, D5x00 and D3x00 lines.
By and large, by the end of 2015, Nikon’s photographic equipment fleet was almost ideal: it consisted of modern, easy-to-use, high-quality models of various classes and a wide range of prices. The hierarchy lacked only two elements: worthy of the current technical requirements flagship. More precisely, two flagships: full-frame and “amateur” - on an APS-C size matrix. Almost immediately after the end of the New Year and Christmas holidays, Nikon presented both required cameras.
Nikon D5
Nikon's new flagship full-frame camera is called as expected - D5. It replaces the Nikon D4s, introduced in February 2014, and marks the next generation of cameras in relation to the Nikon D4 (released back in 2012). An update cycle of 2-4 years is the norm for flagship-class devices.
It’s interesting that the formal competitor to the Nikon D5, the Canon EOS 1D X, was released at the end of 2011 and nothing has yet been heard about the appearance of the camera’s successor.
However, competition in the flagship market is largely conditional. Top cameras are rarely purchased as debut cameras. They usually appear in the hands of a photographer who has already acquired a significant fleet of optics and accessories - as a replacement for a lower-level device. The manufacturer has been nurturing the need to purchase “his own” flagship in the user for several years, if not decades. That is why we first drew our attention to the trend of many photographers switching to Nikon equipment.
What do “defectors” and die-hard fans of the Nikon brand get in the form of the Nikon D5? Let's go over the design first.
As befits a flagship, the Nikon D5 has a full-size body design, including an integrated vertical grip, an additional mini-display for working with the file structure, a powerful magnesium alloy chassis and protection from dust and moisture. The lion's share of the functions are located on mechanical buttons and switches; two control dials (the second is duplicated on the vertical grip handle) and an eight-position joystick are used to correct shooting conditions.
Important innovations in the Nikon D5 include a touchscreen information display with a resolution of 2.36 megapixels (3.2-inch diagonal), a USB 3.0 port, the ability to control the camera from a smartphone and a dual memory card slot. Nikon plans to release two different versions of the device: in a simpler model, ComactFlash (CF) cards can be installed in the slots, and in a more “advanced” one, high-speed cards of the XQD standard can be installed.
Finally, I would like to point out Good work Nikon engineers to optimize power consumption of new items: on fully charged Nikon D5 batteries are capable of taking 3780 frames (according to the CIPA calculation system).
Since the ergonomics of flagship cameras was honed back in ancient film times, the main thing that Nikon D5 has is, of course, not the design and layout of controls, but functionality. Compared to its predecessor (Nikon D4s), there are many changes here.
Firstly, Nikon D5 has a new sensor. Naturally full-frame, measuring 36 by 24 millimeters. The sensor is made using CMOS technology and has a resolution of 20.8 megapixels. Maximum detail - 5588 by 3712 pixels. Engineers have achieved a sensitivity range from 100 to 102,400 ISO for this matrix. Thanks to the Nikon D5's EXPEED 5 processor, the range is software-expanded to ISO 50-3,280,000.
The same EXPEED 5 processor fully supports the focus of the Nikon D5 on the reporter audience (for which a fairly low-pixel matrix is used), providing continuous shooting speeds of up to 14 frames per second (up to 12 in the autofocus tracking and exposure recalculation mode) and video shooting in the format Ultra HD (at 30 frames per second).
Secondly, Nikon D5 has an unprecedentedly large clipboard, which, according to the camera designers, allows it to shoot 200 frames in a row in 14-bit RAW format. Of course, the buffer capacity is not so large that 200 frames can be taken using any memory card - but if its recording speed is high, then the Nikon D5 promises not to let you down.
Thirdly, Nikon D5 uses latest system Nikon Multi-CAM 20K AF phase detection autofocus with 153 sensors. 99 of these 153 sensors are cross-shaped. At the same time, the central one has a sensitivity of -4 EV (the remaining 152 - -3EV), 15 of the 99 cross-shaped sensors retain their full functionality even when using the F/8 aperture. Of course, the latter is not Nikon’s gift to owners of “dark” budget-class lenses, of which Nikon D5 users probably will not be. The “cross-shaped sensor and F/8 aperture” combination is needed for precise focusing through telephoto lenses, which, due to the laws of optics, are not “bright” enough.
Nikon Multi-CAM 20K module structure.
Squares - sensors available for user selection, dots - not available
It should be noted that the declared scattering of focusing sensors on the Nikon Multi-CAM 20K is rather a technical issue than a practical one. The fact is that direct control of focus points is available to the user for only 55 sensors out of 153. At the same time, there are 35 cross-shaped sensors among them, and only 9 are fully functional with an aperture of F/8. However, 153 sensors provide the device with quite reliable focusing in in almost any lighting conditions and support high-quality and smooth “tracking” of the subject in autofocus tracking mode.
The updated TTL RGB exposure metering sensor, which in the Nikon D5 has a resolution of 180 kilopixels and supports the 3D Color Matrix algorithm, also contributes to accuracy.
Otherwise, the Nikon D5 demonstrates the usual flagship-class characteristics: the range of available shutter speeds starts from 1/8000th of a fraction and ends at 30 seconds, the flash synchronization threshold is 1/250th of a second, the device has an audio input and headphone output, and can simultaneously shoot video and take photos, compatible with the entire fleet of Nikon optics produced since 1987. The cost of Nikon D5 is expected to be 6,500 thousand US dollars.
Nikon D500
I would really like to say about the flagship Nikon D500 that it is a complete analogue of the Nikon D5 with an APS-C size matrix. Unfortunately (or fortunately), everything is not so simple: the Nikon D500 is an original device that embodies many of the Nikon D5's developments, but also contains market-driven features.
In particular, the market for APS-C DSLR cameras is much more competitive than in exclusive niche full-frame flagships. Even without taking into account some assumptions, when purchasing a Nikon D500, it will be considered next to the cheaper Nikon D7200 and in comparison with the Canon EOS 7D Mark II.
The Canon EOS 7D Mark II is, of course, the main counterpart to the Nikon D500. The new camera occupies the same niche of reportage cameras, where much has been done for the sake of photographic speed and autofocus accuracy. Note that the Canon EOS 7D Mark II has been on the market for almost a year and a half and costs 10 percent less than the stated price for the Nikon D500 ($1,800 versus $2,000).
Let's start the comparison with matrices. The Nikon D500 has the latest APS-C size sensor (crop factor 1.5) with a resolution of 21 megapixels (maximum detail - 5568 by 3712 pixels). In the Canon EOS 7D Mark II we see an APS-C sensor (crop factor 1.6) with a resolution of 20 megapixels. In practice, the detail differs by a hundred pixels on one side and in a real photograph you will hardly find any differences. But the differences in operation will certainly be noticeable due to the difference in the sensitivity ranges of the Nikon D500 and Canon EOS 7D Mark II matrices: the first allows you to select a value from 100 to 51,200 ISO units (from 50 to 1,640,000 ISO units - in the program extended range) , and the second - only from 100 to 16,000 ISO (100-51,200 ISO - in the program extended range).
“At first glance it’s similar, but upon examination it’s noticeably better” is generally the central principle of the difference between the Nikon D500 and the Canon EOS 7D Mark II.
For example, the speed characteristics of the devices are completely subordinate to him. Both the new Nikon D500 and Canon EOS 7D Mark II can shoot up to 10 frames per second. At the same time, the Nikon D500 engineers claim a clipboard sufficient to shoot a series of 200 RAW frames in a row, while the creators of the Canon EOS 7D Mark II claim only 31. In addition, the Nikon D500 allows you to shoot videos in Ultra HD resolution at up to 30 frames per second. The Canon EOS 7D Mark II has only mastered video shooting in Full HD.
Another important aspect of a reporter's camera is the design and functionality of the autofocus. In the Nikon D500, it is responsible for the Nikon Multi-CAM 20K module received from the flagship Nikon D5, which we wrote about just above. All characteristics remained unchanged during the transfer: 153 sensors, 55 of which can be selected, 99 cross-shaped... and so on. The only thing worth paying attention to: in the Nikon D500, the Multi-CAM 20K module serves the APS-C matrix - which means, in fact, it provides coverage across the entire frame.
In addition to the Multi-CAM 20K module installed in the Nikon D500 from the flagship Nikon D5, the new camera also received a TTL RGB exposure metering sensor with a resolution of 180 kilopixels. In conjunction with the EXPEED 5 processor, it provides the device with identical accuracy in assessing scene lighting and speed of subject tracking during focus tracking.
Comparing these still bare figures (Nikon D500 will be available for sale in March 2016) with the characteristics of the Canon EOS 7D Mark II, we again see “parity with superiority” on the side of the Nikon device: the autofocus of the Canon EOS 7D Mark II operates with only 65 sensors. True, they are all cross-shaped and all of them can be selected manually and grouped. The Canon EOS 7D Mark II exposure metering module has a resolution of 150 kilopixels and operates in the RGB space with an extension to the infrared range (RGB+IR).
When it comes to the ergonomics and design of the Nikon D500 compared to the Canon EOS 7D Mark II, there are three main things the future user needs to know. The new Nikon product does not have a built-in flash, but it has a rotating touch screen and a capacious battery. The latter guarantees shooting 1240 frames.
Hello visitors to the site wedding-video01.rf and today we will talk about a new product from Nikon.
Nikon d5 is 4K video? Touch screen? Nikon's bold decisions shocked me with the new d5.
Nikon has released a lot of DSLRs over the last couple of decades, when you pick up the Nikon D5 it feels like something you already know.
Especially if you've worked with cameras like the D4 and D4S, this camera fits comfortably in your hand, like wearing jeans fashionably. The handle has the same structure, almost the same shape, and the chamber is weighted and balanced in all the same ways.
I wouldn't go so far as to call it super-usable - it's an absolute behemoth of a camera, after all, but for any shooter the Nikon will still feel great. It's about about 2mm taller than its predecessor, but the only noticeable difference is the top plate, where several controls have been moved around.
The biggest change is that the mode button has been moved to the left of the control cluster, with the ISO button (previously on the rear) replacing it. Innocent passerby flash button, which is currently a secondary function of the Zoom Out button to the left of the LCD. The ISO button has been replaced by a button that controls continuous drive functions.
The rest of the changes are minor, but welcome. There's a new "I" menu button on the right side of the LCD monitor, a second customizable Fn button on the front of the camera next to the lens, a very visible LAN indicator on the back next to the Ethernet jack, and a third Fn button right next to it.
But the new addition has nothing to do with buttons. It's a new 3.2-inch touchscreen with a fixed XGA LCD display that supposedly works even when you're wearing gloves. It's not used for menu navigation, but it does have smartphone-esque functions for things like choosing an AF point, zooming in on photos to check focus, and even, eventually! -Use Spot White Balance in Live Mode.
It is absolutely clear thatNikon wanted to give us photographers andvideographers new functionality to make their life easier without making radical changes that Nikon has worked on for years. The D5 walks this line with aplomb—there's not one change here that I think detracts from the shooting experience. Considering how popular the D4S was, I don't think many Nikon shooters will be unhappy.
Characteristics
Something old, something new, something borrowed from most best characteristics. The D5 features two major upgrades: a new 20.8 megapixel full frame sensor and an EXPEED 5 processor.
This high-caliber combo allows 12fps of continuous shooting in RAW while recording RAW photos with continuous autofocus, with a maximum buffer of around 200 frames according to Nikon. Lock up mirror and she can hit 14fps. It's exceptional and all, but matches the Canon EOS-1D X.
To others important change is a new 153-point autofocus sensor that has 99 cross-type points scattered around the center and edge of the frame. The center cluster of points are sensitive down to -4 EV, which comes in handy when shooting at the absurd maximum sensitivity of d5 at ISO 3,280,000 (native max "only" ISO 102400).
It's so sensitive that with my hand in front of the lens and the aperture set to F/22, it still shoots at 1/1000 sec and returns a visible (if super noisy) image of my palm.
The new autofocus system also has some neat new features, like using a moving image contrast detect system to quickly make precise AF micro-adjustments. These micro-adjustments are nothing new, but making them easier and more precise is a big step forward. We look forward to testing it in our video studio.
Manufacturers of full frame digital cameras mirror type is rarely updated by top models - they have a very long life cycle. For example, Nikon D4 was released 4 years ago, a slightly updated modification D4s appeared two years later. During this time, technology managed to leap forward - and Nikon responded to this in a logical way. First, let's talk about the new focusing module with 153 sensors. For comparison, the D4 has only 51 focus points, while its main competitor from the Canon camp has 61.
A new sensor has also appeared - with a resolution of 21 megapixels and a natural sensitivity range of up to 102,400 ISO (the predecessor had up to 25,600 ISO). In the extended range, the numbers are simply gigantic - up to 3,280,000 ISO, almost a night vision device. In addition, the main display has also significantly increased its resolution and acquired a touch layer. The burst shooting speed has also increased – now it’s faster Nikon DSLR can snap 14 frames per second with the mirror up and 12 frames when autofocus is in tracking mode. The exposure metering sensor has also grown in muscle, receiving 180 thousand points, versus 91 thousand points for its predecessor. Of course, we cannot help but note the new ability to shoot video with a resolution of 3840 × 2160 pixels. As you can see, there are truly a lot of changes - this is completely new camera, which should become the working tool of the pros for years to come.
Specifications
| Nikon D5 | |
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| Image sensor | 35.9 x 23.9 mm CMOS sensor (FX format), 21.33 |
| Effective number of points, MP | 20,8 |
| Image save format | Photo frame: JPEG (EXIF 2.3, DCF 2.0), RAW 12/14 bit |
| Video: MOV (H.264/MPEG-4 Advanced Video Coding) | |
| Lens | Nikon F mount (with AF pairing and AF contacts) |
| Frame size in pixels | Photo frame: |
| FX (36 × 24): 5568 × 3712; 4176x2784; 2784 × 1856; | |
| 1.2x (30 × 20): 4640 × 3088; 3472x2312; 2320 × 1544; | |
| DX (24 × 16): 3648 × 2432; 2736x1824; 1824×1216 | |
| 5:4 (30 × 24): 4640 × 3712; 3472x2784; 2320 × 1856; | |
| Video FX: 5568 × 3128; 4176 × 2344; 2784 × 1560; | |
| Video DX: 3648 × 2048; 2736 × 1536; 1824 × 1024; | |
| photos taken while recording movies at a frame size of 3840 × 2160: 3840 × 2160 | |
| Video: 3840×2160, 1920×1080, 1280×720 | |
| Sensitivity, units in ISO equivalent | ISO 100 to 102400 in 1/3, 1/2 or 1 EV increments; you can also set the values to 0.3; 0.5; 0.7 or 1 EV (ISO 50 equivalent); less than ISO 100 or a value of 0.3; 0.5; 0.7; 1; 2; 3; 4 or 5 EV (ISO 3,280,000 equivalent); more than ISO 102,400 |
| Shutter speed range, seconds | 1/8000–30; |
| Flash shutter speed synchronization: 1/250 | |
| Exposure metering, operating modes | TTL exposure metering with 180,000 pixel RGB sensor; |
| matrix, center-weighted, spot | |
| Exposure compensation | −5 to +5 EV in steps of 1/3, 1/2 or 1 EV |
| Built-in flash | No |
| Self-timer, s | 2, 5, 10, 20; 1 to 9 exposures at 0.5, 1, 2 or 3 s intervals |
| Storage device | CompactFlash (CF) memory cards (Type I, UDMA 7 compliant) |
| LCD display | 8.0 cm (3.2 inches), 2359k dots resolution |
| Viewfinder | Direct reflex viewfinder with pentaprism; |
| frame coverage – 100% (FX), 97% (DX); | |
| magnification – 0.72x | |
| Interfaces | HDMI, USB 3.0, 10-pin connector remote control, audio output (mini-jack 3.5 mm), microphone connector (mini-jack 3.5 mm), Ethernet port |
| Nutrition | Li-ion battery EN-EL18a, 27 Wh |
| Dimensions, mm | 160 × 158.5 × 92 |
| Weight, g | 1415 (with battery and CF memory card, but without protective cover and accessory shoe cover); |
| 1240 (camera body only) | |
Appearance and usability
ALASKA. NIKON D5, 400/2.8, 1/2500 SEC AT F/7.1 AND ISO 3200
FALKLAND ISLANDS. NIKON D5, 600/4.0 + 1.4X EXTENDER, 1/5000 SEC AT F/7.1 AND ISO 2500
ALASKA. NIKON D5, 600/4.0 + 2.0X EXTENDER, 1/640 SEC AT F/10 AND ISO 25 600
ALASKA. NIKON D5, 600/4.0, 1/2500 SEC AT F/6.3 AND ISO 1250
SVALBARD. NIKON D5, 600/4.0, 1/3200 SEC AT F/6.3 AND ISO 640
NIKON D5, 600/4.0, 1/1600 SEC AT F/8.0 AND ISO 2000
Here I will show in detail what distinguishes it from all its predecessors, designed for reporting in any conditions. To begin with, here is a picture of the camera itself, one:
The rest are below, there are quite a lot of them, and they will be in front of the table from then on. characteristics.
In the meantime, let’s talk about the real advantages of the camera in operation, about what you won’t read in detail in the instructions and won’t see in “tests” done in one day at one point.
Yes, let me remind you once again that clicking/tapping on the picture will give in the next tab a frame with full EXIF and 1920 on the long side (more than enough for looking at details on the Internet), and hovering the mouse over the frame will show the name of the frame, which is preceded in this series color temperature, ISO and aperture value. If you are viewing from a tablet or smartphone, the name will appear in the address bar of the adjacent bookmark with a large frame.
For those who want to feel everything with their own hands - links to JPG and NEF from camera(almost GB) and all initial Mov(2 GB).
The first thing that greatly distinguishes the Nikon D5 camera from others that have already been in my hands is the white balance setting (also known as BB or WB) - the photographer can set the color temperature (Temperature) and tint (Tint) himself, as in the RAW processor, then there is a balance between red and green. Accordingly, the default value is 5000K and 0. Here is the frame taken first (ISO 28,800, f8) in a small, poorly lit room with cheap lamps of unknown properties, conditionally white (they were not visible due to the ceiling canopy and reflectors):
The overabundance of red-yellow is clearly visible (the wall is red-brown, there is a lot of red and orange in the design), so I set the temperature to 3500K and shoot at different ISOs and apertures, shooting both the illuminated part (people speaking at the table) and not lit at all (journalists, where there are already white walls and a low ceiling) in order to get the limit at which portrait reporting will no longer be possible due to noise:
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It is clearly visible that frames shot at ISO from 5,000 to 32,000 do not lose color, the camera’s noise reduction is very gentle - the frames are sharp, and the color corresponds to what lighting was in the place where the subject was photographed, and what was conventionally visible with the eyes - well, it’s dark! I would especially like to note the quite decent skin tone in the shot of the man in the black baseball cap - to the eye he was practically completely in the shadow and barely visible.
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The last frame was shot at ISO 80,000. Light soap on the face is almost entirely my fault - the microphone and chain are sharp, and the person was just turning his head quickly, and a shutter speed of 1/1000 was not enough. So the noise reduction even at this ISO is still quite accurate, especially since I set the value to “Normal”, that is, very insignificant - the second step from the bottom (it is set automatically, and I deliberately did not touch it in this test - it was interesting to look at factory settings for such a powerful camera).
Well, since we're talking about ISO in the camera, let's look at the full range. I changed the ISO every stop/step, and still I got a lot of pictures, but they are very revealing.
So, just like with the Nikon D4s camera, I went to the Museum of Industrial Culture,
where the management (Zheleznyakov Lev Naumovich) is very loyal to people like me, and you can find a corner with the lighting and the objects that will allow you to show the full range of capabilities of serious cameras.
This is the place I chose after walking for a long time - in other places it was too light, and the microstructure of most of the exhibits was not suitable for test work.
The shooting was carried out, naturally, from a tripod, self-timer after 10 seconds and 3 frames in a series after 5 seconds.
The first series was shot with a Nikkor D50/1.8 lens with three apertures - 1.8, 4 and 8 - each with its own column at each ISO. Below is a full shot of what was filmed.
The distance is the minimum for this lens, as I tried to show how the rather complex texture of the book spine is drawn and when and how noise and other distortions appear on it. Each frame is cropped from the center of the frame with 100% resolution - that is, everything in detail is immediately visible. ISO is shown before each three:
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100 (first full-time)
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102,400 (last regular)
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It is clearly visible that in the dark (the frame of the hall was shot at ISO 28,800, f4, 1/125) the cover of a book with a conventional skin tone color is quite decent at 51,200, with a resize of up to 10 megapixels 102,400 is quite workable, then you can use both a stronger resize and stronger noise reduction at values up to 204,800, but this is still quite suitable for the Internet, but the loss of color is already clearly visible, and even higher in ISO - a notebook “Vasya was here”, with an open aperture on a fast lens, which performed poorly at low working ISOs, unexpectedly began to play at additional high ones.
Well, I wasn’t too lazy to shoot black on white with a darker Nikkor 24-120 lens, which is the everyday work lens for many photographers.
But here I will show only additional high ISOs, since the sheet of music with Oginsky’s polonaise borrowed from the next room turned out to be printed on an inkjet and on fairly cheap paper, and in order not to be embarrassed by the creeping ink, which is perfectly visible at low ISOs, there will only be an additional part that shows that you can still work up to 204,800 if you understand what you are shooting and how. I present as starting frames at 102,400 - the spreading ink is still clearly visible there. There are two speakers with apertures 4 and 8. Dark gray instead of white - well, it was seriously dark, and everything looked exactly like that. It was impossible to pull it out with exposure compensation - at the boundary values I was stuck with the maximum and minimum shutter speeds of 30 seconds and 1/8000 of a second. We understand that during non-test, but working filming, everything would look exactly black on white.
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We see what I wrote a little higher - up to ISO 102,400 - a completely workable option with the right light, a small resize and other settings, but up to 204,800 you can still try hard and get quite working shots with proper modification - I shot the way I never shoot in real conditions - this is an artificial test, made specifically in order to strengthen and show where the working capabilities are real, and where they are no longer. But above 204,800 - alas, it will not work - and the color is completely wrong, and on any lens, ISO and aperture - only something for recording a small picture for history. But, if we remember what and how it happened quite recently, this is a great victory. My Nikon D800E confidently shoots in decent light up to a maximum of ISO1200, with a stretch of up to 2000, then - alas... And here it’s 1000 times more! There is something to pay money for if you need to seriously shoot in the dark or quickly moving objects!
Now let's look at a series of photos in the same museum - three on the street, the sun, and the rest - the main hall of the museum, where I tried to get frames at maximum ISO, so mode A, aperture 8, shutter speed 1/125 (there were no fast movements)) And automatic control ISO. The frames are arranged by increasing ISO - from 100 at the first to 102,400 at the last. As I have said more than once, these are simply in-camera JPGs of the highest quality that the camera allows, and the modification was only in the form of a very small crop (very rarely - well, there wasn’t enough zoom everywhere, but there were a lot of objects to fit everywhere) and a weak intellectual sharp ( also not everywhere, and only at low ISOs for this camera - the frames are multi-subject, and the depth of field at short distances was small)
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Well, behavior varies lights-colors We took it apart and looked at the behavior on the full ISO range, so we can look at the photo of the camera itself, where you can see all the buttons, wheels and what the photographer sees in the viewfinder.
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The right frame above shows all types of connectors - the camera can be connected to external storage devices and to external devices that pick up and transmit captured frames immediately to the consumer.
As you can see, Nikon D5 can have either two Compact Flash cards or 2 XQD. The latter are more modern, more convenient, noticeably faster, but also more expensive, and it is difficult to get a card reader for them. So if you are not a sports photographer, and you don’t need to do very fast and long series, then the old CF cameras will do just fine, which, although noticeably expensive, if fast, are cheaper, and there are no problems with the card reader. And it’s much easier to buy them.
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The top screen is normal, everything is familiar and in place, as on all the latest Nikon cameras. The ISO button is placed under the right finger and it is easy to change it by pressing and turning the wheel with your thumb. Well, it’s very convenient, I used it regularly.
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Now let's look at that small screen, convenient when we use either a rotated camera for full-length portraits or other vertical shots, or we are in LV mode.
What we see in the viewfinder depends on how many dots are set as active.
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Well, the bottom line of the viewfinder is convenient, clear, there are enough buttons and wheels, without looking up from the viewfinder you can thoroughly and quickly adjust the camera.
Below we see what the durable Nikon D5 camera body looks like.
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In conclusion, I note that I have NOT TESTED the shooting modes with reduced frames and DX lenses - this, KMK, was made only for photographers who need to get easier frames for immediate transfer to the editorial office or other consumers. Also, in the old fashioned way, I only used AF-S and AF-C autofocuses with different numbers of points involved - these are my habits, and I get what I want. I immediately believe that other modes will be very useful when sports filming or when shooting fast and chaotically moving birds and animals - I don’t have such objects)
Yes, and I’ll add on my own behalf - there were NO mistakes due to the camera’s autofocus - absolutely, absolutely! If anything turned out blurry, the fault was 100% mine - either the shutter speed was wrong, or the lens was too dark/light, or I set the wrong aperture... And since almost everything (except for the missing lenses) could be corrected immediately - autofocus is the best from those that I had to use. It seems to be the same in the D500 camera, but there is a crop and the upper working ISOs are much weaker, so you can’t get rid of smears in a difficult situation, but here everything is decided with your head and hands, if you are not lazy.
Well, I’ll repeat the summary once again - if I had the money, I would definitely buy it for myself - JPGs immediately ready for transfer to the client - a great blessing. I am sure that the camera will be in demand by top reporters, expensive wedding planners and lovers of wildlife photography.
This article is a continuation of the test and review of the excellent Nikon D5 camera. If you haven't watched it yet, click on the link below:
Well, the new cropped reportage camera is simpler, but also noticeably cheaper:
Specifications
| Type | Digital SLR camera |
| lens mount | Nikon F mount (with AF pairing and AF contacts) |
| Matrix | 35.9 x 23.9 mm FX format CMOS sensor |
| Total number of pixels | 21.33 million |
| Dust removal system | Image sensor cleaning function, reference data for dust removal function (required software Capture NX-D) |
| Effective number of pixels | 20.8 million |
| Image size (pixels) | Image area FX (36 x 24); (large) 5568 x 3712; (medium) 4176 x 2784; (small) 2784 x 1856; image area in 1.2x crop format (30 x 20); (Large) 4640 x 3088; (medium) 3472 x 2312; (small) 2320 x 1544; DX image area (24 x 16); (Large) 3648 x 2432; (medium) 2736 x 1824; (small) 1824 x 1216, 5:4 image area (30 x 24); (large) 4640 x 3712; (medium) 3472 x 2784; (small) 2320 x 1856; FX photos taken during video recording at 1920 x 1080 or 1280 x 720 frame sizes; (large) 5568 x 3128; (medium) 4176 x 2344; (small) 2784 x 1560; DX-format photos taken during video recording at a frame size of 1920 x 1080 or 1280 x 720; (large) 3648 x 2048; (medium) 2736 x 1536; (small) 1824 x 1024; Photos taken during video recording with a frame size of 3840 x 2160: 3840 x 2160; Photos taken with video recording at 1920 x 1080 frame size (crop): 1920 x 1080 |
| Data storage - file format | NEF (RAW): 12- or 14-bit (lossless compressed, compressed, or uncompressed); available large, medium and small sizes (medium and small sizes are recorded at 12-bit color depth via lossless compression), TIFF (RGB), JPEG: JPEG-Baseline compatible with fine (approx. 1:4 compression), medium (compression Approx. 1: Or Low (approx. 1:16 compression), Optimal quality compression available NEF (RAW) + JPEG: Same photo recorded in both NEF (RAW) and JPEG formats |
| Picture Control System | “Standard”, “Neutral”, “Saturated”, “Monochrome”, “Portrait”, “Landscape”, “Uniform”; ability to change the selected Picture Control and save custom Picture Controls |
| Storage media | XQD, CompactFlash memory cards (Type I, UDMA compatible) |
| Dual memory card slots | 2 XQD memory cards or 2 CompactFlash (CF) memory cards; The card in slot 2 can be used when full, to back up or separately store copies created using simultaneous NEF and JPEG shooting; It is possible to copy pictures from one card to another. |
| File system | DCF 2.0, Exif 2.3, PictBridge |
| Viewfinder | Mirror direct viewfinder with pentaprism |
| Frame coating | FX Format (36 x 24): Approx. 100% horizontal and 100% vertical; 1.2 x (30 x 20): approx. 97% horizontally and 97% vertically; DX format (24 x 16): approx. 97% horizontally and 97% vertically; 5:4 (30 x 24): approx. 97% horizontal and 100% vertical |
| Increase | approx. 0.72x (50mm f/1.4 lens focused at infinity; -1.0m-? correction) |
| Viewfinder focus point | 17 mm (with correction -1.0 m-1; from the center surface of the viewfinder eyepiece lens) |
| Diopter setting | -3 to +1 m-1 |
| Focusing screen | BriteView Clear Matte Mark IX Type B screen with AF area focusing frames (framing grid display possible) |
| Depth of field preview | Available. Pressing the Pv button sets the lens aperture to the value selected by the user (Modes A and M) or the camera (Modes P and S) |
| Lens aperture | Instantaneous return type with electronic control |
| Compatible lenses | Compatible with AF NIKKOR lenses, including G, E and D lenses (some restrictions apply to PC lenses), DX lenses (using the DX 24 x 16 1.5x image area), AI-P NIKKOR lenses and non AI microprocessor (exposure modes A and M only). IX NIKKOR lenses, F3AF lenses and non-AI lenses cannot be used. The electronic rangefinder can be used with lenses with a maximum aperture of f/5.6 or wider (the electronic rangefinder supports 15 focus points with lenses with a maximum aperture of f/8 or wider, of which 9 points are selectable). |
| Shutter type | Mechanical shutter with vertical stroke and electronic control; Electronic front curtain release is available in mirror-up mode |
| Excerpt | 1/8000 to 30 sec, 1/3, 1/2 or 1 EV steps, Bulb, Timer, X250 |
| Sync Speed | X = 1/250 s; synchronization with the shutter at a shutter speed of at least 1/250 s |
| Shooting modes | S (single frame), CL (continuous slow), CH (continuous fast), Q (quiet shutter), Self-timer, MUP (mirror up) |
| Shooting speed | 12 fps, up to 10 fps (CL); 10-12 fps or 14 fps in mirror up (CH) mode; or 3 frames per second (quiet continuous shooting mode) |
| Self-timer | 2 s, 5 s, 10 s, 20 s; from 1 to 9 exposures with an interval of 0.5; 1; 2 or 3 s |
| Metering method | Matrix: 3D color matrix metering III (G, E, and D lens types); color matrix metering III (other CPU lenses); color matrix metering (available with non-CPU lenses if lens settings are specified in the camera settings) Center-weighted: 75% of measurements taken from a 12mm circle in the center of the frame. You can change the diameter of the circle to 8, 15 or 20mm in the center of the frame, or apply weighted averaging across the entire frame (non-CPU lenses use a 12mm circle) Spot: Meters a 4mm circle (about 1.5% of the frame) centered on selected focus point (center focus point if using non-CPU lens) Highlight metering: Available with G, E and D lenses |
| Range (ISO 100, f/1.4 lens, 20°C) | Matrix or center-weighted metering: -3 to 20 EV Spot metering: 2 to 20 EV Highlight metering: 0 to 20 EV |
| Pairing with a light meter | with integrated microprocessor, AI |
| Mode | Program auto mode with flexible program capability (P), shutter-priority auto (S), aperture-priority auto (A), manual mode(M) |
| Exposure compensation | -5 to +5 EV in steps of 1/3, 1/2 or 1 EV |
| Exposure lock | Illuminance is locked at the measured value |
| ISO sensitivity | Sensitivity from ISO 100 to 102,400 in steps of 1/3, 1/2 or 1 EV; You can also set values to approx. by 0.3; 0.5; 0.7 or 1 EV (ISO 50 equivalent) less than ISO 100 or approx. by 0.3; 0.5; 0.7; 1; 2; 3; 4 or 5 EV (ISO 3,280,000 equivalent) greater than ISO 102,400; ability to automatically control ISO sensitivity |
| Active D-Lighting | Set of values available for selection: “Auto”, “High Boost +2/+1”, “High”, “Normal”, “Moderate” or “Off”. |
| Autofocus | Multi-CAM 20K AF sensor module with TTL phase detection, fine-tuning and 153 focus points (including 99 cross-type sensors and 15 f/8 sensors), of which 55 (35 cross-type sensors and 9 f/8 sensors) /8) available for selection |
| Response range | –4 to +20 EV (ISO 100 at 20°C) |
| Lens drive | Single-servo AF (AF-S); continuous-servo AF (AF-C); Predictive focus tracking that turns on automatically according to the condition of the subject. When selecting manual focus (M), the electronic rangefinder can be used |
| Focus points | 153 focus points, of which 55 or 15 are selectable |
| AF area mode | Single-point AF, 25-, 72-, or 153-point dynamic AF, 3D tracking, Group AF, Auto-area AF |
| Focus lock | Focus is locked by pressing the shutter-release button halfway (single-servo AF) or by pressing the center of the sub-selector |
| Flash control | TTL: i-TTL flash control with approximately 180K (180,000) pixel RGB sensor; i-TTL balanced fill-flash for digital SLRs is used for matrix, center-weighted, and highlight metering, standard i-TTL flash for digital SLRs is used for spot metering |
| Flash mode | Front curtain sync slow sync, rear-curtain sync, red-eye reduction, slow sync with red-eye reduction, slow rear-curtain sync; off; Automatic FP high-speed sync supported |
| Flash correction | -3 to +1 EV in steps of 1/3, 1/2 or 1 EV |
| Flash-ready indicator | Lights up when the optional flash is fully charged; flashes after the flash fires at full power |
| Accessory Shoe | Hot shoe ISO standard 518 with synchronization contact, data contact and safety lock |
| Nikon Creative Lighting System | Supported |
| Synchro contact | ISO 519 sync contact with locking thread |
| White balance | Auto (3 options), Incandescent, Fluorescent (7 options), Direct Sunlight, Flash, Cloudy, Shade, Manual (can store up to 6 values, in Live mode view, you can measure spot white balance), “Select color temperature” (2500–10,000 K); fine tuning is available for all values. |
| White balance bracketing | Exposure, Flash, White Balance, ADL |
| Live view modes | Live view for movies, Live view for photos with silent shooting mode available |
| Live view - lens drive | Autofocus (AF): single-servo AF (AF-S); full-time AF tracking (AF-F); manual focus (M) |
| Live view - AF area mode | Face-priority AF, Wide-area AF, Normal-area AF, Subject-tracking AF |
| Live view - autofocus | Contrast-detect AF anywhere in the frame (the camera selects the focus point automatically when Face-priority AF or Subject-tracking AF is selected) |
| Videos - Exposure Metering | TTL exposure metering using main sensor |
| Videos - Exposure Metering Method | Matrix, center-weighted, or highlight metering |
| Videos - Frame Size (pixels) and Frame Rate | 3840 x 2160 (4K UHD): 30p (progressive), 25p, 24p; 1920 x 1080: 60p, 50p, 30p, 25p, 24p; 1920 x 1080 (crop): 60p, 50p, 30p, 25p, 24p; 1280 x 720: 60p, 50p. The actual frame rate for 60p, 50p, 30p, 25p and 24p is 59.94; 50; 29.97; 25 and 23.976 frames per second respectively; for all frame sizes supported high quality Images; Normal image quality is supported for all sizes except 3840 x 2160 |
| Videos - file format | MOV |
| Videos - compression | H.264/MPEG-4 Advanced Video Coding |
| Videos - audio recording format | Linear PCM |
| Videos - Sound Recorder | Built-in stereo microphone or external microphone; sensitivity can be adjusted |
| Movies - ISO sensitivity | Exposure modes P, S and A: Auto ISO sensitivity control (ISO 100 to Hi-5) with selectable high limit value Exposure mode M: Auto ISO sensitivity control (ISO 100 to Hi-5) with selectable upper limit; manual selection (100 to 102,400 in steps of 1/3, 1/2 or 1 EV), can also be set to approx. by approx. 0.3; 0.5; 0.7; 1; 2; 3; 4 or 5 EV (equivalent to ISO 3280000) over ISO 102400 |
| Monitor | 8 cm TFT LCD touchscreen monitor with 170° viewing angle, almost 100% frame coverage, manual brightness adjustment and approx. 2359k dots (XGA) |
| View | Full-frame playback and thumbnail playback (4, 9, or 72 images) with playback zoom, video playback, slide show (photos and/or movies), histogram display, highlights, photo information, location data display, auto image rotation, Rate photos, record and play voice memos, and add and view IPTC data |
| USB | SuperSpeed USB (USB Micro-B 3.0 connector); connection via built-in USB port is recommended |
| HDMI output | HDMI Type C connector |
| Audio input | Stereo minijack (3.5 mm diameter; supports plug-in power) |
| Audio output | Stereo mini jack (3.5 mm diameter) |
| Accessory connector(s) | 10-pin remote control connector: Can be used to connect an optional remote control, a WR-R10 wireless remote controller (WR-A10 adapter required) or WR-1, a GP-1/GP-1A GPS device, or a GPS device compatible with NMEA0183 version 2.01 or 3.01 (requires optional MC-35 GPS adapter cable and 9-pin D-sub cable); Ethernet Connector: RJ-45 Standards: IEEE 802.3ab (1000BASE-T)/IEEE 802.3u (100BASE-TX)/IEEE 802.3 (10BASE-T) Data Rate: 10/100/1000 Mbps with auto-sensing ( maximum speed serial data transmission according to the IEEE standard; actual speed may vary) Port: 1000BASE-T/100BASE-TX/10BASE-T (AUTO-MDIX); Peripheral connector: for WT-6, WT-5 |
| Supported languages | English, Arabic, Bengali, Bulgarian, Hungarian, Vietnamese, Dutch, Greek, Danish, Indonesian, Spanish, Italian, Chinese (Simplified and Traditional), Korean, Marathi, German, Norwegian, Persian, Polish, Portuguese (Portuguese and Brazilian) ), Romanian, Russian, Serbian, Thai, Tamil, Telugu, Turkish, Ukrainian, Finnish, French, Hindi, Czech, Swedish, Japanese |
| Battery | One EN-EL18a rechargeable lithium-ion battery |
| AC power supply | AC power supply EH-6b; Requires EP-6 power connector (sold separately) |
| Tripod socket | 1/4 inch (ISO 1222) |
| Dimensions (W x H x D) | Approx. 160 x 158.5 x 92 mm |
| Weight | Approx. 1405 g with battery and two XQD memory cards, but without protective cover and accessory shoe cover; approx. 1235 g (camera body only); approx. 1415 g with battery and two CompactFlash cards, but without protective cover and accessory shoe cover; approx. 1240 g (camera body only) |
| Working environment - temperature | From 0 to +40 °C |
| Accessories included | BF-1B Protective Cover, BS-3 Accessory Shoe Cover, EN-EL18a Li-ion Battery with Protective Cover, MH-26a Charger with Power Cord and Two Contact Protective Covers ( appearance cord depends on the country of sale), USB cable clamp, HDMI cable clamp, USB cable UC-E22, Strap AN-DC15 |
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