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500 Leagues: using the Nikon D500 underwater

04 Nov

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By Adam Hanlon – Editor, www.wetpixel.com

The arrival of Nikon’s new DX camera, the D500, created a stir among wildlife and underwater photographers.

At Wetpixel.com we set out to thoroughly review the camera and we’ve been shooting it for over a month continuously during the Wetpixel Raja Ampat Expedition on Damai 1, the Wetpixel/Alex Mustard Lembeh Macro workshop at Lembeh Resort and in the UK’s Farne Islands with Farne Islands Divers. In the course of the past few weeks we have produced just under 9,000 images in a wide variety of conditions and photographic genres.

Nauticam NA-D500 housing, Zen 170mm dome port and Inon Z240 strobes

Underwater, the D500 produces very pleasing images straight out of the camera, with sharp details and vibrant colors.

The DX sensor delivers a 1.5 X crop factor which makes wide-angle lenses less wide and macro lenses more magnified. It also increases depth of field. The latter makes producing wide angle images with acceptable corner sharpness easier when behind a dome port and removes some of the need for shooting at high ISO sensitivities.

Traditionally, one of the advantages of FX cameras underwater has been their low light, high ISO performance. Light levels are significantly reduced underwater. This is further complicated by the need to maintain apertures of F11 or so (on FX cameras) in order to provide sufficient depth of field to ensure that the whole curved image produced by a dome port is in focus.

With a DX camera, the additional depth of field inherent in the smaller sensor size does reduce this problem somewhat, and as far as high ISO image quality is concerned, the D500 is competent to at least ISO 2000, with clean images possible beyond this point, especially after Raw post-processing. The D500’s low light performance, while not a par with the D810 or D5, is very impressive.

Autofocus

Nikon has introduced a new autofocus system in the D5 and D500 cameras, with a dedicated CPU that processes only AF data.

AF shooting modes are a matter of personal preference to some extent, and I tend to use Continuous AF (AF-C) in either 3D or 153 point Dynamic area focusing area mode. 3D Tracking uses color information from the camera’s Scene Recognition System to track the subject around the frame. It does take something of a leap of faith to trust it, but it is almost infallible, even in very low light.

Extreme low light focusing…. Bigfin reef squid, Lembeh Straits, Indonesia. D500, Nikon 60mm f2.8, 1/250 @ F6.3, ISO100.

My experience is that the D500’s AF performance is simply the best that I have ever used. With 3D tracking, following reef fish’s movements around the frame is almost too easy. It simply does not miss. Of the nearly 8,000 images shot for this review, there are no more than 20 that are are unusable due to missed focus. I should clarify though – that not all of those remaining 7920 images are focused exactly where I wanted them to be. However until the camera can read my mind, I’m confident that this is user error, not camera error!

I have found that newer AF systems are more accurate than my eye and in situations where they fail (the complete darkness inside a submerged wreck for example) locking off the autofocus at a known distance in the light zone prior to entering the darkness is a viable technique. With super macro wet lens attachments, the AF is racked in to its closest focus and then sharpness achieved by rocking the whole camera back and forth.

Ergonomically, the D500 is similar to previous Nikon DSLRs, but the ISO button has moved from the left hand side of the top-plate, over to the right near the shutter release. Although this makes perfect sense for shooting on land, it presents a challenge for housing manufacturers. It would be nice to see Nikon address this by allowing more customization of controls in a future firmware release.

Nauticam’s response to Nikon moving the ISO button is to add a lever that rests under the right thumb, just behind the shutter release.

For those coming from the D800 series, the D500’s battery life seems less. It is easy to get a day’s shooting out of a battery, which is all that is really needed, but not much more. For those used to the seemingly inexhaustible batteries of the FX models, this can seem limited. Practically, it is wise to have a few spare batteries around.

The D500 takes the ubiquitous EN-EL15 Li-ion batteries, but older versions can cause issues. If you have a collection of EN-EL15 cells from previous-generation Nikon DSLRs, make sure that they’re marked ‘Li-ion20’ on the underside.

Whilst the touch screen is of limited value underwater, it does allow for quick and easy image reviews (you can even two finger pinch to zoom in), as well as efficient input of text into the camera’s copyright, image comments and IPTC settings. The latter is another new feature, previously only available on the newer single digit D series cameras. IPTC information can also be loaded from a PC using either Nikon’s app (which needs Silverlight) or the free IPTC Preset Editor

Speed

The D500 is capable of shooting at up to 10 frames per second, with a buffer of 200 frames. When paired with a fast XQD card, it can shoot almost indefinitely. I cannot seem to make the buffer fill. It is so much faster than the D810 that it makes the latter feel pretty stodgy.

Speed test showing the performance of a Lexar 64GB 2933X Professional XQD card using a Lexar Professional Workflow XR2 XQD 2.0 USB 3.0 card reader.

Of course, when shooting with strobes their recycle times will effect shooting speed far more than the camera. In this instance, the lack of a a pop up flash is actually an advantage. Using electrical connections or the excellent electro-optical converters like that in Nauticam’s D500 housing will allow some of this camera’s potential speed to be used.

For shooting big animals underwater and fast action without a strobe, this camera is blazingly fast. In conjunction with the speed and accuracy of the AF mentioned above, I expect that this camera will be responsible for some very impressive images during the course of its product lifespan. In a world where getting the shot is crucial, this camera sets new standards.

Summing up

To sum up, the D500 is, in my opinion, the best camera that Nikon currently make for underwater use. To be sure, there are some specific things that it does not do as well as some of the other models in Nikon’s product range, but if I had to select one camera to do it all, I’d pick the D500.

The level of detail that is possible to capture can be seen in this image of a mantis shrimp with its eggs. D500, Nikon 60mm f2.8, 1/250@f20, ISO100

It is perhaps unfair to compare the two in terms of pure image quality, but if I was planning to solely shoot large wide angle reef scenes, the D810 combined with big powerful strobes like the Seacam Seaflash 150s or Ikelite DS161 would still be my tool of choice. That said, the D810 needs to be paired with expensive lenses and large (and also expensive) ports to really deliver its potential. It is both simpler and significantly cheaper to shoot with the D500.

For macro use, the D800/D810 allows for more cropping while retaining acceptable resolution. For shy or skittish subjects, this can be an advantage. However, the D500 offers a 1.5 X crop factor, which gives macro lenses more reach by definition. The D500’s amazing AF performance will do a better job of keeping those subjects in focus too!

For those already shooting the D7200, the D500 offers significantly better AF, improved low light performance, a more rugged build quality and faster shooting. The downside, of course, is the cost of the camera and a new housing.

For underwater photographers still shooting with a Nikon D300 or D300s, now is the time to upgrade. The performance enhancements will allow you to capture images that your existing setup simply will not. The ability to properly use ISO as an aid to exposure, the improved image quality, the AF performance and its overall speed are all persuasive arguments for the D500 becoming your next camera.

Thanks to Phoebe Lu of Nauticam for supplying their NA-D500 housing and 45° magnified viewfinder to me for use with this review. Many thanks to the crew, staff and my fellow guests on all the trips. Visit www.wetpixel.com for the latest in underwater photography news and reviews.

Articles: Digital Photography Review (dpreview.com)

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500 Leagues: using the Nikon D500 underwater

04 Nov

By Adam Hanlon – Editor, www.wetpixel.com

The arrival of Nikon’s new DX camera, the D500, created a stir among wildlife and underwater photographers.

Nauticam NA-D500 housing, Zen 170mm dome port and Inon Z240 strobes

Underwater, the D500 produces very pleasing images straight out of the camera, with sharp details and vibrant colors.

Autofocus

Nikon has introduced a new autofocus system in the D5 and D500 cameras, with a dedicated CPU that processes only AF data.

Extreme low light focusing…. Bigfin reef squid, Lembeh Straits, Indonesia. D500, Nikon 60mm f2.8, 1/250 @ F6.3, ISO100.

Nauticam’s response to Nikon moving the ISO button is to add a lever that rests under the right thumb, just behind the shutter release.

Speed

Speed test showing the performance of a Lexar 64GB 2933X Professional XQD card using a Lexar Professional Workflow XR2 XQD 2.0 USB 3.0 card reader.

Summing up

The level of detail that is possible to capture can be seen in this image of a mantis shrimp with its eggs. D500, Nikon 60mm f2.8, 1/250@f20, ISO100

Articles: Digital Photography Review (dpreview.com)

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Field Test: Birds in flight with the Nikon D500

18 Oct

Nikon’s D500 is a professional APS-C format DSLR, designed for shooting fast-moving subjects in tough conditions. For this week’s Field Test, we brought the D500 to a wildlife reserve in Montana, to meet with National Geographic photographer Ronan Donovan.

Over two days, DPReview Editor Barney Britton joined Ronan to shoot the various bird and animal species that make the reserve their home. Watch the video to see how the D500 performed.

Click here to read our full review of the Nikon D500

This is sponsored content, created with the support of Nikon. What does this mean?

Articles: Digital Photography Review (dpreview.com)

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Nikon D500 versus D750: Which one is right for you?

25 Jul

Nikon D500 versus D750: Which one is right for you?

The Nikon D500 and D750 scored 91% and 90% respectively when we reviewed them. They both received gold awards. They’re about the same size, pretty much the same weight and currently, they both cost about the same amount of money, too. So if you’re a Nikon shooter looking to upgrade your camera, which one is right for you?

Join us, as we take a look at the main differences between the D500 and D750.

Sensor size

The largest difference – no pun intended – between the Nikon D750 and the D500 is in terms of sensor size. There’s a small disparity in resolution (the D750 offers 24MP whereas the D500 lags a little, at 21MP) but more significant is the fact that the D750’s sensor is full-frame. The D500, by contrast, is built around a smaller, DX format (APS-C) sensor, which introduces a 1.5X crop factor, meaning that a 50mm lens on the D500 offers a field of view equivalent to a 75mm lens on the D750.

Leaving aside the effect of the crop factor, typically, we’d expect full-frame sensors to offer better image quality in poor light, at high ISO sensitivity settings, and broader dynamic range, compared to APS-C and smaller sensors. The D500’s sensor is very good, but physics is physics, and at any given ISO sensitivity, the D750′ noise performance is about one stop better than the D500.

In terms of dynamic range, the D750 offers around 0.8EV more dynamic range at base ISO than the D500, which might not seem like a lot, but it’s enough to make a difference in some shooting scenarios (like the scene above, which was exposed in Raw mode for highlights, with shadows and mid-tones brightened in post). On the flip side, the D500 provides an electronic first curtain shutter option, which allows landscape photographers to ensure vibration-free images – something that can be a challenge with the D750.

Verdict: Both cameras offer excellent image quality, but if you need the extra dynamic range, the D750 is the best choice.

Crop factor

We’ve already mentioned the crop factor inherent to shooting with the DX-format D500, but there are other consequences of the smaller sensor. For one thing, it’s slightly harder to achieve shallow depth of field with APS-C sensors compared to full frame (you would need a 16mm F1.2 lens to achieve the same DoF as Rishi’s 24mm F1.8 FF shot above).

This is because an F1.4 lens on APS-C is equivalent in DoF terms to an F2.1 lens on full-frame (and so on – F2.8 becomes equivalent to F4.2, F4 becomes equivalent to F6…). This might not matter much in everyday shooting, but if you’re a fan of very shallow depth of field portraiture, the effect is both easier and cheaper to achieve on full-frame, if you consider the typical price (and size) difference between F1.4 primes and F1.8 equivalents.

This is the reason why lens manufacturer Sigma introduced its 18-35mm and 50-100mm F1.8 zoom lenses – they’re intended to provide a fast maximum aperture for APS-C users equivalent to the unofficial professional standard F2.8 on full-frame.

There is a plus side to shooting on a DX-format camera though – the 1.5X increase in effective focal length is very handy for telephoto shooting.

Verdict: If you need shallow DoF, go for the D750, if you want extra reach, the D500 is a better choice.

Lens choice (part 2)

Still on the topic of lenses, another thing to consider when weighing the D500 against the D750 is the fact that lenses designed specifically for the smaller APS-C format of the D500 won’t work very well on full-frame. Nikon’s DX and FX lens ranges are technically cross-compatible with all FX and DX format Nikon DSLRs, but most DX lenses vignette heavily on full-frame, greatly reducing the usable image area.

Also bear in mind that Nikon has a considerably better developed range of FX lenses than DX, and we strongly suspect that this won’t change any time soon. As such, given that FX lenses can be used without any technical limitations on DX, if you’re inclined towards the D500, you might still be better off investing in FX lenses – especially if you think you might move up to full-frame in future. The downside is that you might start off with some weird equivalent focal lengths (i.e., a 24-70mm will behave like a 36-105mm).

Verdict: We’re calling this one a draw.

Speed

When it comes to speed, the D500 is a clear winner. In many respects a scaled-down D5, the D500 is significantly faster than the D750 and much better equipped to cope with the demands of action photography. A maximum frame rate of 10fps and seemingly infinite buffer (200 Raws) leaves the D750 in the dust.

It’s not just about frame rate though. The D500 (pictured above) can also accept faster XQD memory cards, capable of data transfer rates up to 8 Gbit/s.

A USB 3.0 interface and 1/8000sec maximum shutter speed (compared to USB 2.0 and 1/4000 respectively) cement the D500’s action-shooting credentials.

Verdict: D500 wins, by a mile.

Autofocus

It’s a similar story with autofocus. While the D750’s 51-point AF system is extremely capable, and more than a match for pretty much any competitor in the sub-pro full-frame market segment (including the D810), the D500’s AF system is in a different league.

The D500’s AF system features 153 AF points, of which 99 are cross-type. Of this total of 153, 55 points can be manually selected, and the center point is sensitive down to -4EV. The D500’s smaller sensor actually benefits its AF system, because it means that frame coverage is much broader than the D750 (and any other Nikon full-frame DSLR).

Combine an AF array that covers almost the entire imaging area with a huge degree of AF customization and 3D AF tracking (the D500’s 180,000-pixel RGB metering sensor significantly boosts the performance of an already market-leading system) and you get an autofocus powerhouse.

Verdit: D500 wins.

Video

On paper, the D500 roundly beats the D750 in terms of video specification, thanks to the addition of 4K video – a feature that Nikon only offers on two DSLRs (the other being the flagship D5). But as good as the D500’s 4K output is, using this mode does come with one big limitation.

In 4K video mode, the D500’s crop factor increases from 1.5X to 2.25X. This is pretty limiting when shooting anything that requires a wide field of view, purely from the standpoint of finding a wide enough lens. Even Nikon’s super-wide 10-24mm DX format zoom becomes an pretty standard 23-55mm equiv. (with a maximum aperture equivalent to F8-10 in depth of field terms). In HD video mode, there’s not much to separate the two cameras. The D500 and D750 offer an extremely similar specification and deliver similar-looking video footage. The addition of a touchscreen on the D500 makes AF point positioning easier, but that’s about it (and bear in mind that AF in video mode is pretty poor on both cameras, so you might find that you don’t make use of this function much anyway),

Verdict: If you need 4K, go for the D500 – just make sure you have a wide enough lens.

Flash

Nikon is pitching the D500 as a ‘professional’ DSLR, despite its sub full-frame sensor. As such, like the flagship D5, it lacks a built-in flash. This cuts down on weight, and also means a theoretically increased resistance to dust and water incursion. The downside is – well, there’s no built-in flash.

We actually really like the small built-in flashes on cameras like the D750 and D810, not because they’re particularly useful as flashes, but because they can be used to wirelessly trigger groups of Speedlites off-camera. That’s conventional optical triggering, but unlike the D500, the D750 is not compatible with Nikon’s WR-A10 wireless controller ($ 200), which allows off-camera flashes to be radio triggered (important when line-of-sight won’t cut it).

Verdict: D750’s built-in flash offers greater versatility (unless you need radio control), at the expense of reduced environmental sealing.

Ergonomics

Ergonomics and handling are pretty subjective. One person’s ideal control system might be maddeningly complex to someone else. Some people really like touchscreens, some people can’t see the point of them. Some members of the DPReview editorial team (who shall remain anonymous) actually like Olympus menu systems.

The point being – ergonomically, which of these two cameras is better depends on your personal preferences. Their basic control layout is extremely similar, but they do feel somewhat different in the hand. Despite its smaller sensor, the D500 is actually the larger, heavier (by more than 100g) of the two cameras. The D750 is surprisingly svelte for a full-frame camera, but the D500 feels like it could be used to bang in a few nails.

The D500 provides many more options for customization than the D750, available via a dedicated custom settings GUI. This makes it more versatile for a professional moving between different shooting scenarios.

It also offers a couple of other pretty major features that the D750 doesn’t: a touchscreen, and backlit controls. We’ve found the D500’s touchscreen invaluable for things like AF point positioning in live view (especially from awkward low angles) and backlit controls are a huge benefit if you do a lot of shooting at night.

Verdict: D500 offers more. A touchscreen, more customization and backlit buttons.

Nikon D500 versus D750: Which one is right for you?

So if you’ve got a couple of thousand dollars burning a hole in your pocket, which camera should you buy?

The Nikon D750 (above) is one of our favorite DSLRs – ever. Its combination of refined handling, a highly capable autofocus system, a surprisingly small and light body and excellent image quality make it fantastic camera for everyday use. The D750 is one of those cameras that we consistently recommend to friends and family, and for most Nikon photographers, there are very few reasons to spend more on the D810.

But then along came the D500. It’s an APS-C format camera, but not only is it more ‘pro’ than any previous DX format DSLR from Nikon, but it outperforms most of the company’s full-frame DSLRs, too. The D500 is designed for heavy professional use, with an emphasis on speed and reliability. As we’d expect from a camera that shares so much with the flagship D5, the D500 is a real workhorse, and in many respects (shooting speed, autofocus, video spec, to name just the obvious things) it outmatches the D750, sometimes very significantly.

The D500 also offers 4K video, of course, but unless you really need it, we wouldn’t recommend deciding between these cameras purely on the basis of this feature. The aggressive 2.25X crop in 4K mode is pretty limiting, apart from anything else.

Final verdict

At the end of the day, if it were our money, we’d probably recommend the D500 over the D750. For a photographer interested in capturing sports or fast-moving action it’s a no-brainer. The sheer speed and focus of the camera, combined with the telephoto-boosting 1.5X crop factor make it a superb tool for this kind of photography. And of course, if you can live with some awkward effective focal lengths, the D500 is fully compatible with all of Nikon’s current lenses.

If you’re not a keen sports photographer, you don’t need 4K video, and you don’t mind not having quite the latest and greatest AF system – go for the D750. You won’t be disappointed.

Read our full Nikon D500 review
Read our full Nikon D750 review

Want to compare more cameras? Click here

Did we miss anything? Let us know in the comments.

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Nikon D500 firmware update adds workaround for SD card errors

13 Jul

Nikon has released a firmware update for the D500, correcting the card error issue we discussed in our D500 review. The error — which happened once in our office and has been reported by many camera owners — manifests when some UHS-II SD cards are used (Lexar cards seem to be particularly affected). According to Nikon, these card errors are resulting from the cards themselves, not the camera.

The update takes the D500’s firmware from version 1.01 to 1.02, and only corrects the card error. Per Nikon’s changelog, the new firmware does the following:

Download Nikon D500 firmware version 1.02

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Sigma updates 150-600mm firmware to solve overexposure with Nikon D500

02 Jul

Sigma has announced new firmware for one of its super tele zooms that has a problem with exposure when used with the Nikon D500 and Sigma’s 1.4x tele convertor. Both Sports and Contemporary versions of the 150-600mm F5-6.3 DG OS HSM will need the new firmware if owners want to use the lenses with the company’s TC-1401 1.4x teleconverter on the Nikon D500. The company says it has discovered that when the three items are combined there is an issue with overexposure, and that the new firmware will fix it.

The TC-1401 can be used with the 150-600mm F5-6.3 lens because both it and the Nikon D500 can support autofocus at apertures up to F8.

Users who own the Sigma USB lens dock can update their firmware themselves, while those who don’t can receive the update free of charge from a Sigma service center.

For more information see the Sigma website.

Lens firmware Update for SIGMA 150-600mm F5-6.3 DG OS HSM |Sports / Contemporary in Nikon mount

Thank you for purchasing and using our products.

We would like to announce the availability of a new firmware update for the SIGMA 150-600mm F5-6.3 DG OS HSM | Sports in Nikon mount and the SIGMA 150-600mm F5-6.3 DG OS HSM | Contemporary in Nikon mount.

This firmware update can be installed using SIGMA Optimization Pro.

The lens firmware update corrects the phenomenon of overexposure when the lens is attached to the SIGMA TELE CONVERTER TC-1401 on Nikon Digital SLR camera “D500”, released by NIKON CORPORATION.

For customers who own the following applicable products and also SIGMA USB DOCK, please update the lens firmware using SIGMA Optimization Pro.

For customers who do not own SIGMA USB DOCK, the lens firmware update will be provided free of charge. Please contact your nearest authorized subsidiary/distributor of SIGMA.

Applicable products

SIGMA 150-600mm F5-6.3 DG OS HSM | Sports – Nikon mount
SIGMA 150-600mm F5-6.3 DG OS HSM | Contemporary – Nikon mount

Benefit of this firmware update
It has corrected the phenomenon that it shows some overexposure when it is attached with
SIGMA TELE CONVERTER TC-1401 on Nikon D500.

*For customers who are using SIGMA Optimization Pro Ver1.1 or earlier, please ensure to update it to Ver1.3 from the following Download page before updating the lens firmware.

Download page: http://www.sigma-global.com/download/

We appreciate your continued support for our company and products.

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Capture One Phase One 9.2 extends support to Pentax K-1 and Nikon D500

23 Jun

Phase One has updated its Capture One Pro software. Version 9.2 brings support for two notable new DSLRs: the Pentax K-1 and Nikon D500. The update also adds support for premium compacts in Canon’s PowerShot G series as well as minor workflow enhancements. The update is offered at no cost for Capture One Pro 9 customers. Capture One Pro 7 and 8 customers can get the latest version for $ 99/€99.

Press release:

Phase One Releases Capture One Pro 9.2

Unprecedented Power, Precision and Quality

COPENHAGEN, June 23, 2016 — Phase One, creator of the world’s finest open-platform high-end camera systems and professional imaging software, today released Capture One Pro 9.2. Known for its outstanding tethered capture capability, high-quality raw conversion, and precision image editing tools, Capture One Pro is already considered by many to be the only image capture application for the serious professional photographer. The release of version 9.2 aims at a better culling workflow from selections and metadata sources to accelerate editing workflow to new levels.

New camera support includes:

Pentax K-1
Nikon D500
Canon EOS M10
Canon G5x
Canon G7x MkII
Canon G9x

Powerful new workflow features include:

— Access assets quickly and precisely: Select from file list, select by variant position and create album from selection form a large group of improvements under targeted selections;

— New rate and cull workflow using “Select Set”: Select a number of images for viewer preview, then advance through the browser by the same number. Navigating within the selection to rate and cull makes editing and comparing fast and efficient;

— Capture One 9.2’s new color management module for Tiffs gives users more accurate preview returned from retouching/round trip applications – making Tiff handling in Capture One better than ever before;

— Phase One XF camera users can turbocharge focus stacking workflow with a multi-image round trip to the Helicon Focus application. Shoot, organize, group, process and stack — all in a few clicks;

— New Shortcut Engine: More functions can be shortcut than ever before! All cursors can now be shortcut, users can navigate the library collections (even when hidden) and shortcut support for the new 9.2 selection methods all help to make the workflow sing.

“Pro photographers deserve a strong ally to vanquish workflow issues and give them the most reliable, efficient workflow and performance,” said James Johnson, Software Product manager, “Capture One Pro 9.2 is about workflow, not work!”

For more details on all the new and improved features in Capture One Pro 9.2, including new cameras and lenses supported, please go to: www.phaseone.com/ninetwo

Availability and Pricing

Capture One Pro 9 is available now for the Mac and Windows operating systems online at www.phaseone.com/store and from Phase One authorized partners worldwide. www.phaseone.com/partners.

New customers can purchase Capture One Pro 9 for 299 USD / 279 EUR. Owners of versions Capture One Pro 7 or 8 may upgrade for 99 USD / 99 EUR.

Capture One Pro is also available by subscription. Existing subscribers can simply download the new Capture One Pro 9 release, as subscriptions are good for all new and previous versions of Capture One Pro. A single-user subscription is 15 USD / 12 EUR per month for a 12-month plan. Please see all subscription options at www.phaseone.com/store

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D500 owner formally accuses Nikon of false advertising

17 Jun

A disgruntled D500 owner has taken out a legal warning against Nikon advertising the camera as offering ‘integrated Wi-Fi.’ In the equivalent of a cease-and-desist order. Andreas V, from Butzbach, Germany says, that the term is misleading, given there are unusual restrictions to using the function.

In the case of the D500, you need to use a compatible Android device with Bluetooth LE and the Snapbridge app to enable Wi-Fi: a restriction that is not commonly shared by other cameras, including Nikon’s own D750 and D7200 models.

The D500 does have integrated Wi-Fi, but you can’t necessarily use it in the way you might expect.

As highlighted in our review, although the D500 does have integrated Wi-Fi, it is distinctly reluctant to make use of it, mainly relying on the low bandwidth ‘Bluetooth LE’ technology for file transfer. At present even this system is available only to users of compatible Android devices, since an iOS app will not be available until later in the year. Unlike the D7200 and D750, there’s no way to directly make use of the camera’s Wi-Fi: it can only be initiated using Bluetooth from the Snapbridge app.

Part of the customer’s complaint was that it was reasonable to assume he’d be able to use his camera in the same manner as he had his D7200, and that the labels on the box indicating compatibility with Apple devices implied the function was already available to users of such devices. He goes on to highlight that it would be possible for Nikon to offer a simpler (and more readily accessible) Wi-Fi system via a firmware update.

The story, first reported in the German magazine Digitale Fotografie, and subsequently on Nikon Rumors, has attracted mixed responses. While there have been plenty of predictable ‘he should have done his research’ comments, there have also been words of support from people who believe Nikon should have made the system’s limitations clearer (or made the Wi-Fi simpler). What do you think?

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Nikon offers free battery exchange for D500 owners

03 Jun

Nikon is offering to replace ‘early generation’ EN-EL15 batteries for D500 users who are getting less than the expected battery life from their cameras. In a statement, the company explains that batteries manufactured prior to a design change in 2013 ‘may not be capable of the maximum number of shots possible […] indicated in D500 documentation’. If you can supply a valid receipt for the purchase of a D500, the company will replace these older batteries at no charge.

The exchange applies to older EN-1L15 batteries marked ‘Li-ion01’. Newer batteries, labeled ‘Li-ion20’ (shown below) are not eligible for exchange.

This exchange only applies to EN-EL15 batteries with ‘Li-ion01’ printed on the rear. Batteries manufactured after 2013 (which includes all batteries supplied with new D500 bodies) are labeled ‘Li-ion20’ and are not eligible for replacement. Nikon claims the difference between these batteries is not one of capacity, but of electric discharge profile.

So if you’re a new D500 owner and you’re not getting the battery life you expect, check to see if ‘Li-ion01’ is marked on the back of the battery. If you’re still seeing poor endurance from the new battery that came in the box with your camera, we’ve found that it helps to engage Airplane Mode.

Read our in-depth review of the Nikon D500

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Back to the action: Nikon D500 Review

25 May

The Nikon D500 is a 21MP APS-C DSLR capable of shooting at up to 10 frames per second and featuring an autofocus system derived from the one in the D5. In other words, it’s exactly the kind of high-end DX format body that appeared to have become extinct with the D300S.

The six-and-a-half years that have passed since the D300S’ launch have seen the camera market move on considerably but the D500 does much to reclaim the position as one of the pre-eminent APS-C camera on the market.

As you might expect, much of the improved capability of the camera centers around sports and high-speed shooting, with significant upgrades to the shooting rate and autofocus system, but there are also major upgrades to the viewfinder, video capabilities and connectivity options which expand its utility beyond one particular niche.

Key Features

20.7 MP APS-C (DX Format) sensor
153 point AF module with 99 cross-type points
180,000 pixel RGB sensor for metering and subject recognition
AF point joystick
10 fps shooting for up to 200 shots (lossless compressed 14-bit Raw to XQD card)
4K (UHD) video from 1.5x crop of sensor
100% coverage viewfinder with 1.0x magnification
2.36m dot tilt up/down touchscreen
Wi-Fi and Bluetooth connectivity with NFC for setup
Mic and headphone sockets
USB 3.0 connector
Anti-flicker option for working under artificial lighting

A good sport

Much of the D500’s capability is built around the ability to focus and shoot very quickly. Its 153-point AF module offers near full-width coverage and is linked to a 180,000 pixel RGB metering sensor to further improve its AF tracking capabilities. Interestingly, and like the D5, the D500’s AF system now offers two parameters for fine-tuning the autofocus tracking behavior, letting the user specify the type of subject movement and the correct response to another object blocking the targeted subject. Existing Nikons only let you specify duration, suggesting Nikon is trying to expand the range of shooting situations for which the AF system can be optimized.

Only 55 of the camera’s AF points can be directly selected and the D500 gains both a joystick and a touchscreen to make it as fast as possible to select the point you want to use. Add to this the ability to shoot up to 200 Raw frames before slowing down (if you use an XQD card), and it becomes obvious that the D500 is intended as a high-speed pro/semi-pro camera in a way the D7000 series never was.

How’s that for coverage? The D500 doesn’t just boast a lot of autofocus points, it also offers them across most of the width of the frame, which is useful whether you’re manually selecting a point or letting the camera track your subject.

The D500 also gains an anti-flicker option designed to ensure the camera shoots in-sync with the brightest point in the flickering cycle of artificial lights. It’s a feature we first saw on the Canon EOS 7D Mark II and we’d expect it to be particularly valuable for shooting indoor sports such as basketball.

Another sign that this is a true high-end camera is the inclusion of a larger viewfinder. Like previous DX00 class cameras it has 100% coverage but it also offers 1.0x magnification, which is the largest optical viewfinder we can remember seeing in an APS-C camera (electronic viewfinders are a different matter, since size and brightness isn’t constrained by sensor/mirror size).

The D500 can also shoot 4K video and includes both an input for using an external mic and a headphone socket for audio monitoring. The camera also offers a flat picture profile to provide more post-processing flexibility, on-screen highlight warnings and power aperture control that allows you to select and change the aperture when in movie mode. There’s no focus peaking option, though, and you can’t zoom-in while you record to confirm or adjust focus as you record.

Connectivity

One of the other big features Nikon is touting is its Snapbridge system that uses Bluetooth LE (a low-power variant of Bluetooth also known as Bluetooth Smart), and Wi-Fi to maintain a connection between the camera and a smart device. This includes the ability to auto-transfer images from the camera, as well as initiating the Wi-Fi connection for remote shooting or manual image transfer.

Context

To show where the D500 sits in the lineup, here are the major feature differences between it and the less expensive D7200, along with a comparison back to the D300S – not because we expect anyone to be choosing between them, but to show how much of a step forward the camera represents.

	Nikon D500	Nikon D7200	Nikon D300S
Sensor Resolution	21MP	24MP	12MP
AF points	153 (99 cross type)	51 (15 cross-type)	51 (15 cross-type)
Max frame rate	10 fps	6 fps 7 fps in 1.3x crop mode	7 fps 8 fps with battery grip
Buffer depths	200 lossless compressed 14-bit Raw	~17 14-bit Raw ~28 12-bit Raw	30 lossless compressed 14-bit Raw
Shutter durability rating	200,000	150,000	150,000
Viewfinder	1.0x magnification 100% coverage	0.94x mag 100% coverage	0.94x mag 100% coverage
Rear screen	2.36m dots 3.2″ Tilting Touch sensitive	1.23m dots 3.2″ Fixed	920k dots 3.0″ Fixed
Video Resolution	UHD/30p 1080/60p	1080/60p	720/24p
Mic/Headphone?	Yes/Yes	Yes/Yes	Yes/No
Wi-Fi?	Yes (and Bluetooth)	Yes	No
Built-in flash?	No	Yes	Yes
AF-On Button?	Yes	No	Yes
Body construction	Magnesium Alloy + Carbon fiber composite	Magnesium Alloy + Carbon fiber composite	Magnesium Alloy
Battery Life (CIPA)	1240 shots/charge	1100 shots/charge	950 shots/charge
Weight (Body Only)	760g	675g	840g

Review History

Review History
26 April 2016	Studio scene and Raw dynamic range published.
16 May 2016	Introduction, Body and Handling, Operation and Controls, Wi-Fi and Connectivity and Video pages published
25 May 2016	Autofocus, Loose Ends and Conclusion pages added. Review Finalized

Articles: Digital Photography Review (dpreview.com)

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