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CP+ 2016: Features you need to know about on the Nikon D5/D500

03 Mar

CP+ 2016: Features you need to know about on the D5/D500

Nikon is starting off the year strong with the announcement of the D5 and D500, the KeyMission 360, and the DL compacts announced for CP+ 2016. We got our hands on the D5 and D500 and have been very impressed by our initial, informal testing. AF is much improved, as are ergonomics. We’re working on a video to demonstrate what we consider to be ground-breaking AF performance, but in the meantime we thought we’d also put together a slideshow highlighting some new things we found while digging through the D5 and D500 menus, and give you an idea of the extensive customization options available.

CP+ 2016: Features you need to know about on the D5/D500

First off is the autofocus menu, where you’ll note a couple of new features. You can now turn face detection on and off during viewfinder AF-C shooting, with the ‘3D-tracking face-detection’ option. Helpfully, Nikon’s new 180k-pixel RGB metering sensor is more than capable of discerning a face – even the eye of a face.

3D-tracking gains a ‘3D-tracking watch area’ customization, with options for a ‘Normal’ or ‘Wide’ watch area. We believe this affects how wide of a search region the camera should look over when tracking a subject around the frame. Frankly, the default setting has always worked so remarkably well that we’re not sure what switching it from its default (‘Normal’) will do, but we’re curious to put it to the test soon.

CP+ 2016: Features you need to know about on the D5/D500

‘Focus tracking with lock-on’ gains some new customization. Previously, this option just had a setting of 1 to 5, with higher numbers biasing toward ‘sticking’ to a subject rather than being distracted by a different object that passes in front of it. Nikon has now broken this setting down to allow you to separately customize how long the camera should wait before refocusing to a subject that passes in front of your initially acquired subject, and how erratic the movement of your subject is. 

It’s unclear if ‘Subject motion’ refers to how erratic an object switches between approaching and receding motion, vs. how erratic the subject is in terms of X-Y movement around the frame. We’ll investigate this once we have one in for testing, but the tailoring should help the user adapt the camera to a wider range of shooting scenarios.

CP+ 2016: Features you need to know about on the D5/D500

While this isn’t new, we though it worth pointing out that Nikon tends to offer four different settings for release vs. focus priority in AF-C (continuous).

Release prioritizes ‘taking the shot’ over focus, while ‘focus’ prioritizes acquiring focus before releasing the shutter. Focus+release prioritizes focus for the 1st shot, prioritizing release for later frames, while release+focus prioritizes firing the shutter for the 1st shot, but requiring focus before release for subsequent shots.

CP+ 2016: Features you need to know about on the D5/D500

The D500 can illuminate the focus screen red, but you can turn this off if you so desire. Unfortunately, the camera can only flash the point(s) red when either selecting them, activating an AF point, or when focus is acquired. It cannot keep focus points lit red as you track a subject or fire a burst. That’s reserved for Nikon’s flagship…

CP+ 2016: Features you need to know about on the D5/D500

… the D5 (and its recent predecessors). Unlike the D500, the D5 can continuously keep AF points lit red, which helps you see the active point as the camera follows a subject around the frame in, say, 3D-tracking mode.

You can even adjust the level of bright red they glow, in 4 steps. Seeing one red AF point stick to your subject like glue even as it moves around in your composition is, frankly, somewhat magical. Stay tuned for a video of it in action.

CP+ 2016: Features you need to know about on the D5/D500

With all the complex AF modes and customizable buttons on the D5, it’s helpful that Nikon has finally adopted a visual way to assign button function. And the number of customizable functions per button is impressive. The D5 allows you to customize the Pv, Fn1, and Fn2 buttons on the front of the camera where your right hand fingers rest, an additional vertical Fn button right behind the shutter button on the vertical grip, and finally a Fn3 button to the left of the LCD screen.

The Pv, Fn1, Fn2, and Fn3 buttons are highly customizable in that they can be assigned to any one of 24 or so different functions, or any of a number of functions (6, if we counted correctly) that have different levels of granularity that you can adjust by holding the custom button while turning a dial. The Fn3 button is a bit more limited, and the AF-ON button is reserved for AF and AE functions. We’ll spell out all the assignable options for these buttons in the D500 slides to follow, as they’re largely the same (save for features unique to the D5, like LAN, or 14 fps lockup). One significant difference, though, is that the joystick on the D5 is not customizable, while on the D500 you can assign exactly what pressing this joystick (called the ‘sub-selector’) down does.

Helpfully, you can change the behavior of these buttons during movie recording by customizing their functions specifically for movie shooting.

CP+ 2016: Features you need to know about on the D5/D500

The D500’s custom control assignment is a bit less complex than the D5’s, because it has fewer customizable buttons. On the other hand, unlike the D5, its ‘sub-selector’ AF joystick is customizable (we’ve set it to change image area in conjunction with a dial, as you see highlighted in yellow above), so it’s no slouch when it comes to customizability.

The Pv and Fn1 buttons are on the front of the camera, for easy access with your right hand as it grips the camera. The Pv button is up top and can generally be activated easily by your middle finger, with the Fn1 button accessible by your ring or pinky finger. Given their ease of access, and ability to be used in conjunction with the rear thumb dial, these two buttons are highly customizable. The new sub-selector retains all customization options of the Pv and Fn1 buttons as well, while adding two more. The Fn2 button, to the left of the LCD screen, is less customizable, likely because it’s less used during shooting. The AF-ON button is reserved for AF/AE functions.

Before we dive deep into all the customization options available for these buttons, for those prone to accidentally or inadvertently changing settings, you always have the option to assign a button to ‘None’, essentially deactivating it.

CP+ 2016: Features you need to know about on the D5/D500

With all this button customization, you’re probably wondering what you can or cannot assign to various buttons. Let’s start off with the AF-ON button, because it has a particular feature that might just be game-changing if you love Nikon’s ‘3D tracking’ as much as we do.

AF-ON can be assigned to any of the options shown above, as well as ‘AE lock (Hold)’ and ‘AF lock only’ (on the 2nd page of this menu, not shown). But here’s what we’re most excited about: the ability to assign the AF-ON button to ‘AF-area mode’ or ‘AF-area mode + AF-ON’. It’s a quick way to instantaneously switch between your selected AF-area mode (Single, d25, d72, d153, Group-area, Auto-area, 3D) by momentarily holding down the AF-ON button. 

The option to couple the AF-area switch with AF-ON means the following: a half-depress of the shutter engages AF with your typical AF-area mode, say 3D-tracking. But let’s say you’re now faced with a situation where things are happening so fast that you don’t even have the time to place your selected AF point over your intended subject to start tracking it. Instead, you just want the camera to find, say, the nearest bird or human face by itself and track it. What do you do? Click next…

CP+ 2016: Features you need to know about on the D5/D500

Assign the AF-ON button to ‘AF-area mode + AF-ON’ and select ‘Auto-area AF’ within this sub-menu. That way, when you hold down the AF-ON button, the camera will switch to ‘Auto-area’ as long as you have it held down, focusing on the nearest object or detected face and tracking it. This makes for versatile switching between your two most-used AF-area modes.

I actually found it most useful to assign AF-ON to ‘AF-area mode + AF-ON’ with Single-point AF, highlighted above. That way, I keep 3D-tracking engaged as the default AF mode (in AF-C), always defining my subject by initiating AF on it. The camera then tracks it as it moves or as I recompose, but if I ever want the camera to stop moving AF points automatically to track, and instead just freeze the AF point while still continuously focusing on the subject if it approaches or recedes, I just hold down the AF-ON button (while keeping the shutter button half-depressed). Want the camera to continue tracking the subject exactly where it left off? Just let go of the AF-ON button while keeping the shutter half-depressed, and the camera starts tracking the subject around the frame again. 

CP+ 2016: Features you need to know about on the D5/D500

The camera remembers your subject, such as this gentleman’s eye at the Nikon booth at CP+ (please excuse the low, through-the-viewfinder, iPhone video screenshot). The camera tracked his eye until I wanted it to stop moving the AF point – but only momentarily – re-engaging the tracking of his eye when I laid off the AF-ON button.

Previously, 3D-tracking – though class-leading in terms of subject tracking – was somewhat limited by the following: when I got the composition I wanted, and there was no more subject movement, I’d often want the camera to stop tracking in the X-Y plane, but continue tracking in depth (refocusing if the subject or photographer approaches or recedes). I couldn’t do that – if I wanted the AF point to momentarily stop moving while in 3D tracking, I’d have to engage AF-Lock, which’d mean the camera would stop focusing entirely. Now, though, I can use the AF-ON button to momentarily stop only the X-Y tracking. There isn’t a camera in the world, save for the D5 and D500, that can provide this robust functionality.

There is still no way to assign a button to instantly switch between AF-S and AF-C, but with the reliability of Nikon’s 3D tracking, I would leave this cameras in AF-C pretty much permanently, assigning one of the customizable buttons to ‘AF lock’ in the rare instances I don’t want the camera to focus (for example, recomposing such that the subject is outside of the AF area).

CP+ 2016: Features you need to know about on the D5/D500

You’re probably tired of hearing about AF by now. Let’s look at the other customizations possible with the Fn1, Pv, and sub-selector buttons. This and the next 3 slides show all the available customizations on the D500 for these three buttons, with the sub-selector also assignable to ‘select center focus point’ (a quick way to reset to center) and ‘highlight active focus point’ (red). For reasons that are obvious, Nikon is expecting you to assign the sub-selector to AF point-related functionality.

Oops, I thought I was going to stop talking about AF… As Barney often says, I’m absolutely irrepressible.

CP+ 2016: Features you need to know about on the D5/D500

This is the 2nd page of assignable options to the Fn1, Pv, and sub-selector buttons.

CP+ 2016: Features you need to know about on the D5/D500

This is the 3rd page of assignable options to the Fn1, Pv, and sub-selector buttons.

We think it’s very cool that you can momentarily trip the camera into a different metering mode – though this is nothing new for Nikon. It’s helpful that Nikon’s spot-metering is linked to the selected AF point on nearly every one of their cameras, and highlight-weighted metering allows one to expose for the highlights and recover shadows in post-processing (given the extensive latitude most Nikon cameras have). And on a related note – remember that you can permanently bias any of the metering modes +/- 1 EV, in 1/6 EV increments on most Nikon DSLRs (it’s an option under the metering menu).

CP+ 2016: Features you need to know about on the D5/D500

… and the final and fourth page of assignable options to the Fn1, Pv, and sub-selector buttons. Well, not exactly, since the 5th page has a ‘None’ option, and all of these options are a bit shifted for the sub-selector button because it has two additional functions listed on the 1st page. But now I’m just being pedantic.

A very useful assignment is ‘Access top item in MY MENU’. It’s a quick way to access one of your most used menu items after you assign to the top of MY MENU. Again, available on previous Nikons, but worth reiterating. This is how I, for example, quickly bias the minimum shutter speed the camera will use in Auto ISO mode.

CP+ 2016: Features you need to know about on the D5/D500

Here is a list of 6 out of 7 functions you can assign to the Fn1 button if you desire to operate it in conjunction with a dial (the 7th, on the next menu page, being ‘Photo shooting menu bank’. The same list of options is available if you with to operate the Pv button with a dial. Note that if you do this, you can’t assign any of the previous actions in the past 4 slides. You either use the Fn1 and Pv (and sub-selector) buttons as single button press actions, or as actions triggered in combination with a dial. The latter is more limited, for obvious reasons.

The sub-selector button has three fewer options when used in conjunction with the dial…

CP+ 2016: Features you need to know about on the D5/D500

… when using the sub-selector (pressing it downward centrally) in combination with a dial, you don’t get ‘1 step spd/aperture’ (which adjust shutter speed and aperture in 1 EV increments, instead of 1/3 EV) or ‘Active D-Lighting’ or ‘Exposure delay mode’.

CP+ 2016: Features you need to know about on the D5/D500

As we’d mentioned earlier, the Fn2 button to the left of the LCD screen is less customizable, probably because it’s less ergonomically useful during shooting. The Fn3 button in a similar position on the D5 has a few more features because of things like LAN connectivity on the D5.

CP+ 2016: Features you need to know about on the D5/D500

Now that you have a good idea of the extensive customization available on the D5 and D500, as well as some of the new features that enhance AF ergonomics and functionality, we turn to one last feature that shooters may find useful: an electronic front-curtain shutter (EFCS). This was first introduced on the Nikon D810, and we’re happy to see it continue in Nikon’s lineup.

EFCS initiates exposure electronically, foregoing the mechanical shutter, which ensures no camera-induced shake during an exposure. The exposure is ended mechanically, ensuring that rolling shutter is not an issue.

EFCS is limited though: above certain shutter speeds (we’d guess around 1/1000 or 1/2000 or so), EFCS becomes unreliable, if not outright unavailable. Furthermore, Nikon continues to offer this as a mirror-up only mode, which is a shame. It means you have to switch the camera’s drive mode to mirror-up, press the shutter button once to lock up the mirror and shutter, and press the button again to initiate the exposure electronically. That means you can’t really use it in typical shooting scenarios. Especially when you consider that the 2nd button press can induce motion, which means you may wish to introduce an exposure delay…

CP+ 2016: Features you need to know about on the D5/D500

… and unfortunately, the same exposure delay options are available as before. We would’ve loved to see the introduction of 1/2s, 1/4s, and 1/8s which, when coupled with EFCS, would automatically trigger the electronic shutter after the pre-specified delay.

In other words, EFCS should’ve been implemented like this: press the shutter button to lift up the mirror and shutter, then after the pre-specified delay time – say 1/2s – the camera would automatically start the exposure electronically. As it is, just like on the D810, you’ll have to press the shutter button once, then press it again to initiate the delay, after which the exposure is started. With a long lens, your entire composition will have shifted by now. And this method is often required in conjunction with certain VR lenses to ensure no mirror/shutter-induced shake is present in a certain range of shutter speeds (typically 1/60s – 1/125s).

That said, these roughly ~21MP cameras are unlikely to be as sensitive to mirror induced shake as the higher resolution D810, so users probably don’t have to worry much about these issues at all. Still, best practices are best practices, and we hope Nikon is listening.

CP+ 2016: Features you need to know about on the D5/D500

Introduced on the D810, but now with its own menu option, is ‘Monitor color balance’. This allows you to tune the color of the LCD on your camera’s screen. Some pros might find this useful in their workflow, to ensure the screen is a better judge of output color. But as long we’re seeing this sort of tailoring for color – might we expect true ICC color management in future camera displays? We certainly hope so.

We hope you’ve learned a few things about the new features available on the D5 and D500. The extensive feature-set and customization will prove invaluable for working pros and enthusiasts alike. We weren’t able to get a look at automated AF Fine Tune, unfortunately, but it’ll be the first thing we look at when we get our hands back on these cameras. Suffice it to say we’ve walked away incredibly impressed by these cameras, particularly by what they offer both in terms of AF capability and ergonomics. These cameras are likely to be second to none in their ability to track moving subjects and focus on them, even during 10-12 fps bursts. But don’t take our word for it – we’ve tried it, and will be releasing a video soon showing it in action.

Stay tuned.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon extends service advisory for D750 to include more models

02 Mar

Nikon has announced that the shutter fault in its D750 that it acknowledged in July last year, may be found in cameras from a much wider manufacturing period. Initially it was thought that the issue, in which the shutter occasionally shades part of the image, occurred in cameras produced between October and November 2014. The company has now discovered the same problem in models made from December 2014 to June 2015.

Nikon has promised a free service for all models affected, and an online serial number checker is available for customers to determine whether theirs is one of the models that needs attention.

European customers can check their serial number on the Nikon Europe website, and those in the USA should go to the Nikon USA website. Other region service pages can be found on the Nikon Global website.

Service advisory:

To users of the Nikon D750 digital SLR camera – possible image shading from shutter (update 29/02/2016)

Thank you for choosing Nikon for your photographic needs.

In July of 2015, we announced that the shutter in some Nikon D750 digital SLR cameras manufactured in October and November of 2014 does not function normally, sometimes resulting in shading of a portion of images. Since that time, our examination of the issue has clarified the fact that the same issue may occur with D750 cameras manufactured from December, 2014 through June, 2015.
Therefore, any D750 manufactured from October, 2014 through June, 2015 is eligible for inspection and repair of its shutter.

We sincerely apologize for any inconvenience this issue may have caused.

Identifying affected products
To check whether or not your camera is one of those affected by this issue, click Affected Product Serial Numbers below and enter your D750 serial number as instructed. Your camera’s serial number will be checked against those of applicable products. If your camera is one of those affected, instructions for requesting repairs will be displayed. If your camera is not affected by this issue, rest assured that repairs to your camera are not necessary and you may continue using your camera without concern for this issue.

Resolution
Please contact your nearest Nikon service center if you own a Nikon D750 digital SLR camera to which this issue applies. They will keep your camera, and examine and repair the camera’s shutter free of charge, even if the camera’s warranty has expired.

Requesting service
Please direct inquiries regarding this matter to your nearest  Nikon Service Centre or create a Free Service Returns Request.

We sincerely apologize for any inconvenience this matter may have caused you.

Please be assured that Nikon is continuously working and taking measures to further improve the quality of its products. Once again, thank you for choosing Nikon for your photographic needs.

Articles: Digital Photography Review (dpreview.com)

 
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CP+ 2016: Nikon shows off new D5, D500 and DL compacts

29 Feb

CP+ 2016: Nikon shows off new D5, D500 and DL compacts

Attendance is up at this year’s CP+ show in Yokohama Japan, and that’s partly thanks to new products from some of the biggest camera manufacturers, including Nikon. We’re at the show, where large crowds are gathering around Nikon’s booth to get their hands on the new DL-series compacts, and two new DSLRs, the D5 and D500. 

CP+ 2016: Nikon shows off new D5, D500 and DL compacts

Here’s the new D5, Nikon’s new flagship FX format DSLR. Built around a new 20.8MP full-frame CMOS sensor, Nikon claims the D5 to offer leading high ISO performance due to color filter array tweaks that allow the sensor to capture more light than before. The D5 also features a newly-developed EXPEED 5 image processor. This powerful processor is necessary to provide continuous shooting at 14fps and 4K video capture.

CP+ 2016: Nikon shows off new D5, D500 and DL compacts

The D5 features a new autofocus system with 153 AF points, 99 of which are cross-type. All points focus down to -3EV. Only 55 points are user-selectable, but that’s OK: in AF-C, Nikon’s trustworthy 3D tracking system will automatically select the right point for you as it tracks your initially selected subject. And it’s more reliable than you might think.

Here’s why: the camera’s metering sensor has doubled in resolution compared to the 91k-pixel sensor in the D4s, to 180k. The increased resolution makes a big difference in the camera’s ability to identify and follow a subject you initiate focus on. It even means that face detection now prioritizes eyes during viewfinder shooting (you’ll literally see the camera automatically select an AF point over a person’s eye in Auto Area mode), and continues to follow them no matter where they move to within the frame – even at 12 fps. 

Frankly, we’ve never quite seen anything like it.

CP+ 2016: Nikon shows off new D5, D500 and DL compacts

CompactFlash media has been around a long time, and slowly, other formats are emerging which may ultimately replace it. Canon’s new Canon EOS-1D X Mark II features twin card slots for CF and CFast, but Nikon has chosen a different route (and different media) offering two versions of the D5, one with support for twin CF cards (shown here) and one with dual XQD cards. XQD is capable of greater data throughput but for now, the cards are pricey, and lack the familiarity (and ubiquity) of CF cards and card readers.  

CP+ 2016: Nikon shows off new D5, D500 and DL compacts

Nikon’s circular screw-in eyecups have been a feature of its professional SLRs for decades, but the D5 features a distinctly Canon-like removable eyepiece, which can be replaced with various forthcoming viewfinder accessories – details are currently a bit vague. One thing that we did learn, however, is that once it has been removed, this eyepiece is very difficult indeed to get back on. 

CP+ 2016: Nikon shows off new D5, D500 and DL compacts

Ethernet, USB 3.0, HDMI and a microphone jack are just some of the D5’s many I/O ports. Few will be routinely used by the average enthusiast, but this is a camera built for the many and various needs of professional photographers in various fields. 

CP+ 2016: Nikon shows off new D5, D500 and DL compacts

As such, the D5 is built like a very nicely sculpted brick. Fully weather-sealed and manufactured to the highest standard that Nikon can manage, the D5 is designed to withstand heavy professional use for many years.  

CP+ 2016: Nikon shows off new D5, D500 and DL compacts

Next up is perhaps the most keenly-awaited camera (at least among our readers) of recent years. The D500 is Nikon’s long-awaited replacement for the venerable D300S. We thought the day would never come, but here it is. At 20MP, the D500 offers lower resolution than the D7200, but an altogether higher quality of build and a deeper feature and performance set. It’s also the first DX camera to offer button illumination.

CP+ 2016: Nikon shows off new D5, D500 and DL compacts

Key to this feature set is autofocus. The D500 uses the same AF system as the D5, but because its sensor is smaller, the AF array covers more of the frame. Almost all of it, horizontally. This – plus the 1.5X crop factor of the APS-C format sensor, makes it very attractive for sports and wildlife photography. And a maximum frame-rate of 10 fps doesn’t hurt.

CP+ 2016: Nikon shows off new D5, D500 and DL compacts

Although not quite as bulletproof-feeling as the D5, the D500 is without doubt a ‘pro’ camera and one that we suspect will find its way into many professional photographers’ hands. It’s a great second camera to a D4 or D5, but also makes an attractive ‘long lens’ body for anyone shooting a full-frame Nikon system.

Like the D5, the D500’s autofocus system seems to be spookily capable of tracking subjects around the frame (‘3D tracking’), even in our limited use of the camera up to this point. It can even do so effectively at its maximum 10 fps frame rate, no doubt aided by the faster processor and the same high-resolution 180k-pixel RGB metering sensor that’s in the D5. We’re hoping to be able to shoot with a final shipping sample in the next few weeks. 

CP+ 2016: Nikon shows off new D5, D500 and DL compacts

The D5 and D500 both replace previous cameras, but the DL range is all-new. Nikon released three DL-series compacts at CP+, the DL24-85, DL18-50 and DL24-500. All three are built around 20MP 1″-type CMOS sensors (probably the same sensor used in the 1 J5), and the model names denote the equivalent lens ranges of the cameras. 

CP+ 2016: Nikon shows off new D5, D500 and DL compacts

The reason behind this, Nikon explained to us, is that the company wants people to buy the cameras as if they were shopping for lenses. So someone who needs an 18-50mm lens might reach for the DL18-50, while someone looking for ultimate flexibility might reach for the DL24-500.

CP+ 2016: Nikon shows off new D5, D500 and DL compacts

The DL-series is aimed specifically at DLSR users who want a smaller second (and third, and maybe forth) camera. The question of where this leaves the slightly stagnant-looking 1 system remains open. We asked Nikon but didn’t get a definitive response. Clearly, executives are keeping future product strategy on the DL…

Articles: Digital Photography Review (dpreview.com)

 
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Nikon announces trio of long-zoom Coolpix cameras, two of which support 4K capture

26 Feb

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Nikon has announced a trio of new superzooms, two of which support 4K/UHD video capture. All three have a new naming scheme, with the A-series replacing the ‘L’ cameras and the B-series taking over for the ‘P’ models.

All three cameras offer what Nikon calls SnapBridge, which combines Wi-Fi (with NFC) and Bluetooth. By using a low energy version of Bluetooth, your phone can maintain a constant connection with the camera, meaning that you don’t have to re-pair every time you want to share photos.

The compact Coolpix A900, which offers a 20MP BSI CMOS sensor, 35X (24-840mm equiv.) F3.4-6.9 lens, 3″ tilting LCD and 4K video capture at 30p. It will be available in silver and black at a price of $ 399.

Next is the Coolpix B500, which loses 4K capture but uses four AA batteries for power – a real rarity these days. It sports a 40X (22.5-900mm equiv.) F3.0-6.5 lens, 16MP BSI CMOS sensor, tilting 3″ LCD and 1080/30p video recording. Your color choices for this model are black and red and the estimated selling price is $ 299.

The B700 has the most zoom of the bunch, with a 60X (24-1440mm equiv.) F3.3-6.5 lens, 20MP BSI CMOS sensor, fully articulating, touch-enabled 3″ LCD, a 921k-dot electronic viewfinder and 4K video capture. You can pick one up for $ 499 in black only.

All three models will be available later this spring.

GET CLOSER TO WHAT MATTERS: NIKON’S NEWEST LONG-ZOOM COOLPIX CAMERAS OFFER OUTSTANDING IMAGE QUALITY AND PERFORMANCE TO CREATIVELY CAPTURE FROM AFAR

With Nikon’s New SnapBridge, The New COOLPIX B700, B500 and A900 Provide a Simplified Way to Share and Transfer Images Easily

MELVILLE, NY (Monday, February 22, 2016 at 11:01 P.M. EST) – Today, Nikon Inc. announced three new COOLPIX cameras, the latest additions to its compact zoom camera lineup. Designed to capture stunning images, 4K UHD (in select models) and HD video from up close or far away, these new COOLPIX cameras boast super-long zoom lenses and superior performance while also offering Nikon SnapBridge for easy sharing of photos. Providing outstanding zoom capabilities ranging from 60x and 40x respectively, the COOLPIX B700 and COOLPIX B500 allow users to explore their creative freedom regardless of the distance. With a powerful 35x zoom lens, the COOLPIX A900 is a compact, stylish and feature-packed camera that fits comfortably in a pocket. 

All of these COOLPIX cameras offer a new way to share photos wirelessly through the new Nikon SnapBridge. SnapBridge creates an “always on” Bluetooth® supported connection between the camera and compatible mobile device, making automatic upload and sharing of images possible. 

“Nikon’s latest COOLPIX cameras are exciting options for creative photographers seeking a compact camera that is easy-to-use, yet features incredible zoom capabilities, superior performance and stunning image quality,” said Masahiro Horie, Director of Marketing and Planning, Nikon Inc. “The COOLPIX B700, B500 and A900 provide the lens power needed to get closer to subjects and capture sharp images and HD video.”

Easily Share and Transfer Images: The New Nikon SnapBridge

With more images being shared than ever before, Nikon has developed the new Nikon SnapBridge to help consumers automatically transfer images via Bluetooth®1 low energy (BLE) directly to a compatible smartphone2 or tablet, establishing an “always on” connection, making it easier than ever to share amazing images with the world. The Nikon SnapBridge app allows users to document the time and location images were taken, embed copyright or photographer information on any image, as well as operate the camera remotely, which is great for capturing group shots. Built-in Wi-Fi3 and NFC are also available to further increase connectivity and promote sharing great images.

Additionally, SnapBridge users can take advantage of Nikon’s free image storing service, Nikon Image Space, to store up to 20 GB of images and an unlimited number of thumbnail images (up to 2MB) to the cloud, while the application will also send registered users firmware updates directly to their smart device.

COOLPIX B700

The COOLPIX B700 is a compact superzoom camera that offers incredible range and outstanding image quality. Whether trying to capture birds in-flight or the star player from the sidelines, images captured will be rendered in amazing quality thanks to the camera’s impressive 20.3-megapixel BSI CMOS sensor, even when shooting in low-light. The B700 can capture impressive portraits or landscapes with a phenomenal 60x optical zoom NIKKOR ED glass lens (120x with Dynamic Fine Zoom4) that expands from wide-angle to telephoto zoom for accuracy and precision in every shot. Capable of shooting at 5 frames per second (fps), fast motion is captured with ease, while a 3-inch Vari-angle LCD display helps compose unique perspectives at any angle. Other user-friendly features include a myriad of Creative Modes, RAW (NRW) shooting support, new 4K UHD video capability (30p) and Nikon SnapBridge for seamless sharing of amazing images with friends and family. 

COOLPIX B500

Another superzoom option from Nikon, the COOLPIX B500 is an ergonomically designed zoom camera powered by AA batteries for added convenience. A 16-megapixel BSI CMOS sensor alongside an impressive 40x optical zoom NIKKOR glass lens (up to 80x with Dynamic Fine Zoom), lets users capture high quality images from near or far. The camera also offers hybrid VR to combat camera shake when shooting on-the-go. To complement still images captured, the B500 can record full 1080p HD video, while framing every shot is made easy using the high resolution tilting 920k-dot 3-inch LCD screen that helps capture images at any angle. Users can easily upload their creations to social media via Nikon SnapBridge using any compatible smartphone or tablet.

COOLPIX A900

Ideal for travel, the COOLPIX A900 is a slim long zoom compact camera that fits comfortably into any user’s pocket. While the A900 may be small, it packs an amazing 35x Optical Zoom NIKKOR glass lens (70x with Dynamic Fine Zoom) that helps reach far away subjects. Supported by a 20-megapixel BSI CMOS sensor that renders amazing quality and detail, users can also capture 4K UHD video at 30p; an impressive feature set for such a lightweight and pocketable compact camera. A 3-inch tilting high resolution 920k-dot LCD display helps frame an image at any angle and easily navigate through numerous creative options at the user’s disposal. The A900 also makes it easy to share incredible images and video using Nikon SnapBridge.

Price and Availability

The Nikon COOLPIX B700, COOLPIX B500 and COOLPIX A900 will be available in Spring 2016 with suggested retail prices (SRP*) of $ 499.95, $ 299.95 and $ 399.95, respectively. The B700 will be available in Black, the B500 in Black and Red and the A900 in Silver and Black.

1 The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Nikon Corporation is under license. 

2 WI-FI COMPATIBILITY

This camera’s built-in Wi-Fi® capability can only be used with a compatible iPhone®, iPad®, and/or iPod touch® or smart devices running on the Android™ operating system. The Nikon SnapBridge application must be installed on the device before it can be used with this camera. The SnapBridge app is not yet available (coming soon Spring 2016).

3 Wi-Fi and the Wi-Fi logo are trademarks or registered trademarks of the Wi-Fi Alliance. N-Mark is a trademark or registered trademark of NFC Forum, Inc., in the United States and/or other countries.

4 Dynamic Fine Zoom magnification is calculated from the full-wide end of optical zoom

Nikon Coolpix A900 specifications

Price
MSRP $ 399
Body type
Body type Compact
Sensor
Max resolution 5184 x 3888
Image ratio w:h 4:3
Effective pixels 20 megapixels
Sensor photo detectors 21 megapixels
Sensor size 1/2.3" (6.17 x 4.55 mm)
Sensor type BSI-CMOS
Color space sRGB
Color filter array Primary color filter
Image
ISO Auto, 80-3200
White balance presets 5
Custom white balance Yes
Image stabilization Optical
Uncompressed format No
File format
  • JPEG (Exif v2.3)
Optics & Focus
Focal length (equiv.) 24–840 mm
Optical zoom 35×
Maximum aperture F3.4 – F6.9
Autofocus
  • Contrast Detect (sensor)
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Digital zoom Yes (4x)
Manual focus No
Normal focus range 50 cm (19.69″)
Macro focus range 1 cm (0.39″)
Screen / viewfinder
Articulated LCD Tilting
Screen size 3″
Screen dots 921,000
Touch screen No
Screen type TFT LCD
Live view Yes
Viewfinder type None
Photography features
Minimum shutter speed 8 sec
Maximum shutter speed 1/4000 sec
Exposure modes
  • Program AE
  • Aperture priority
  • Shutter priority
  • Manual
Scene modes
  • Backlighting
  • Beach
  • Close-up
  • Dusk/Dawn
  • Easy Panorama
  • Fireworks Show
  • Food
  • Multiple Exposure Lighten
  • Night Landscape
  • Night Portrait
  • Party/Indoor
  • Pet Portrait
  • Portrait
  • Scene Auto Selector
  • Snow
  • Sports
  • Sunset
  • Superlapse Movie
Built-in flash Yes
Flash range 6.00 m (at Auto ISO)
External flash No
Drive modes
  • Single
  • Continuous H
  • Continuous L
  • Continuous H (120/60)
  • Pre-shooting cache
Continuous drive 7.0 fps
Self-timer Yes (2, 5, 10 secs)
Metering modes
  • Multi
  • Center-weighted
  • Spot
Exposure compensation ±2 (at 1/3 EV steps)
Videography features
Resolutions 3840 x 2160 (30p, 25p), 1920 x 1080 (60p, 50p, 30p, 25p), 1280 x 720 (60p, 30p, 25p)
Format MPEG-4, H.264
Videography notes High speed modes: 1080/15p and 480/120p
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC
Connectivity
USB USB 2.0 (480 Mbit/sec)
HDMI Yes (micro-HDMI)
Microphone port No
Headphone port No
Wireless Built-In
Wireless notes Has 'always on' Bluetooth to maintain connection
Remote control Yes (via smartphone)
Physical
Environmentally sealed No
Battery Battery Pack
Battery description EN-EL12 lithium-ion battery & charger
Battery Life (CIPA) 300
Weight (inc. batteries) 289 g (0.64 lb / 10.19 oz)
Dimensions 113 x 67 x 40 mm (4.45 x 2.64 x 1.57″)
Other features
Orientation sensor Yes
GPS None

Nikon Coolpix B500 / B700 specifications

  Nikon Coolpix B500 Nikon Coolpix B700
Price
MSRP $ 299 $ 499
Body type
Body type SLR-like (bridge)
Sensor
Max resolution 4608 x 3456 5184 x 3888
Image ratio w:h 4:3
Effective pixels 16 megapixels 20 megapixels
Sensor photo detectors 17 megapixels 21 megapixels
Sensor size 1/2.3" (6.17 x 4.55 mm)
Sensor type BSI-CMOS
Color space sRGB
Color filter array Primary color filter
Image
ISO Auto, 80-3200 Auto, 100-3200
White balance presets 5
Custom white balance Yes
Image stabilization Optical
Uncompressed format No
File format
  • JPEG (Exif v2.3)
Optics & Focus
Focal length (equiv.) 23–900 mm 24–1440 mm
Optical zoom 40× 60×
Maximum aperture F3.0 – F6.5 F3.3 – F6.5
Autofocus
  • Contrast Detect (sensor)
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Digital zoom Yes (4x)
Manual focus No
Normal focus range 30 cm (11.81″) 50 cm (19.69″)
Macro focus range 1 cm (0.39″)
Screen / viewfinder
Articulated LCD Tilting Fully articulated
Screen size 3″
Screen dots 921,000
Touch screen No
Screen type TFT LCD
Live view Yes
Viewfinder type None Electronic
Viewfinder coverage 100%
Viewfinder resolution 921,000
Photography features
Minimum shutter speed 1 sec 15 sec
Maximum shutter speed 1/4000 sec
Exposure modes
  • Auto
  • Scene
  • Scene Auto Selector
  • Smart Portrait
  • Special Effects
  • Program AE
  • Aperture priority
  • Shutter priority
  • Manual
Scene modes
  • Backlighting
  • Beach
  • Bird-watching
  • Close-up
  • Dusk/Dawn
  • Easy Panorama
  • Fireworks Show
  • Food
  • Landscape
  • Moon
  • Night Landscape
  • Night Portrait
  • Party/Indoor
  • Pet Portrait
  • Portrait
  • Scene Auto Selector
  • Short Movie Show
  • Snow
  • Sports
  • Sunset
  • Backlighting
  • Beach
  • Close-up
  • Dusk/Dawn
  • Easy Panorama
  • Fireworks Show
  • Food
  • Multiple Exposure Lighten
  • Night Landscape
  • Night Portrait
  • Party/Indoor
  • Pet Portrait
  • Portrait
  • Scene Auto Selector
  • Snow
  • Sports
  • Sunset
  • Superlapse Movie
Built-in flash Yes
Flash range 6.90 m (at Auto ISO) 7.50 m (at Auto ISO)
External flash No
Drive modes
  • Single
  • Continuous H
  • Continuous L
  • Continuous H (120/60)
  • Pre-shooting cache
  • Single
  • Continuous H
  • Continuous L
  • Continuous H (120/60)
  • Pre-shooting cache
  • Interval timer
Continuous drive 7.4 fps 5.0 fps
Self-timer Yes (2, 5, 10 secs)
Metering modes
  • Multi
  • Center-weighted
  • Spot
Exposure compensation ±2 (at 1/3 EV steps)
Videography features
Resolutions 1920 x 1080 (60i, 50i, 30p, 25p), 1280 x 720 (60p, 50p, 30p, 25p), 640 x 480 (30p, 25p) 3840 x 2160 (30p, 25p), 1920 x 1080 (60p, 50p, 30p, 25p), 1280 x 720 (60p, 30p, 25p)
Format MPEG-4, H.264
Videography notes High speed modes: 1080/15p and 12.5p, 480/100p and 125p High speed modes: 1080/15p and 12.5p, 720/60p and 50p, 480/120p and 100p
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC
Storage included 20MB
Connectivity
USB USB 2.0 (480 Mbit/sec)
HDMI Yes (micro-HDMI)
Microphone port No
Headphone port No
Wireless Built-In
Wireless notes Has 'always on' Bluetooth to maintain connection
Remote control Yes (via smartphone)
Physical
Environmentally sealed No
Battery AA Battery Pack
Battery description Four AA batteries (alkaline, lithium, NiMH) EN-EL23 lithium-ion battery & charger
Battery Life (CIPA) 600 350
Weight (inc. batteries) 541 g (1.19 lb / 19.08 oz) 565 g (1.25 lb / 19.93 oz)
Dimensions 114 x 78 x 95 mm (4.49 x 3.07 x 3.74″) 125 x 85 x 107 mm (4.92 x 3.35 x 4.21″)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Nikon announces trio of long-zoom Coolpix cameras, two of which support 4K capture

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Nikon covers all focal lengths with three ‘DL’ enthusiast compacts with 1″-type sensors

26 Feb

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Nikon is entering the 1″-type premium compact market in a big way, introducing three new models: the Nikon DL18-50, DL24-85 and DL-24-500. Between them, they cover pretty much every focal length. The ‘guts’ of all three ‘DL’ models are the same, in that they share a sensor, image processor, autofocus system and support for 4K video (with clean HDMI output, no less). Parts of the design, especially the control layout and font, strongly resemble that of Nikon’s 1-series mirrorless cameras.

Sensor-wise, the DLs use what is possibly the same 20.8MP 1″-type BSI CMOS sensor as Nikon’s J5 mirrorless camera. It’s paired with the company’s new EXPEED 6A image processor, which allows for a top ISO of 12800 and 4K/UHD video recording at 30p. All three cameras have ‘Dual Detect VR’, which combines data from the cameras’ angular velocity sensors and the scene itself to reduce shake. They also have fluorine coatings on their lenses to keep moisture and oil away. Each has a manual focus ring around the lens, as well.

They also have 3″ touch-enabled OLED displays, tilting on the 18-50 and 24-85 and fully articulating on the 24-500. Naturally, they all have Wi-Fi with NFC, plus Nikon’s ‘SnapBridge’ technology, which uses Bluetooth to maintain a connection between camera and phone, so there’s no need to re-pair. Battery life on all three DL models is rated at 290 shots/charge (per the CIPA standard).

One of the features that may set the DLs apart from the other 1″-type cameras is its Hybrid AF system, which combines 105 phase-detect with 171 contrast-detect points. This allows the camera to shoot at 20 fps with continuous autofocus, which is, by far, best-in-class (spec-wise). If you can live with single AF, then the DLs can shoot even faster: 60 fps.

Nikon DL18-50

The first camera is perhaps the most interesting, as it has the widest lens of any enthusiast compact on the market. That lens has an equivalent focal length of 18-50mm and a fast maximum aperture range of F1.8-2.8. The lens has a 3-stop ND filter and is Nikon’s first compact to have a Nano Crystal Coating, which reduces flare and ghosting. The lens has seven aperture blades and has a top shutter speed of 1/1600 sec (an electronic shutter, found on all three models, maxes out at 1/16000 sec). There is also built-in perspective correction, which is especially useful when shooting architecture.

The camera has full manual exposure control, Raw support, tilting touch OLED display and aforementioned 4K/30p support. The DL18-50 also supports an optional tilting OLED electronic viewfinder with 2.36M dots. The 18-50 is the only one of the camera cameras to lack a built-in flash, though like its siblings it does have a hot shoe.

Nikon DL24-85

The DL24-85 is very similar to its wider sibling, both inside and out. The main difference is its lens, which is a 24-85mm equiv. F1.8-2.8 model, though it lacks the Nano Crystal Coating. Its standout feature is the ability to take life-size, 1:1 macro photos, with a minimum focus distance of 3cm. Macro shooters can also take advantage of focus peaking and bracketing as well as manual priority AF. Again it includes a built-in ND filter.

Nikon DL24-500

For those seeking a long zoom model, there’s the DL24-500. As its name implies, it has a 24-500mm equiv. lens, with a max aperture range of F2.8-5.6. Unlike the other two models, the 24-500 has a fully articulating display and a built-in OLED viewfinder. It’s also the only of the DL models with a mic input jack, with support for Nikon’s ME-1 shotgun mic. 

All three cameras will be available in early summer with suggested retail prices of $ 649 (24-85), $ 849 (18-50), and $ 999 (24-500).

Press Release:

THE NIKON DL PREMIUM COMPACT SERIES: PUTTING POCKETABLE POWER AND LEGENDARY NIKKOR LENS PRECISION INTO THE HANDS OF PASSIONATE PHOTOGRAPHERS

Pairing a Large 1-Inch Sensor with Superior NIKKOR Lens Technology, Nikon’s New Compact DL24-85, DL18-50 and DL24-500 Will Help Capture Stunning Images and 4K UHD Video

MELVILLE, NY (Monday, February 22, 2016 at 11:01 P.M. EST) – Today, Nikon Inc. announced the new DL Series of premium compact cameras. These pocketable yet powerful imaging tools offer an elite level of imaging prowess that fits easily in one’s palm. Equipped with a variety of focal lengths optimized for different types of shooters, the DL24-85, DL18-50 and DL24-500 combine powerful NIKKOR optics with a large 20.8-megapixel (CX-format) 1-inch BSI CMOS sensor to produce stunning image quality and amazingly detailed images, even when shooting in low-light. Cameras in the new DL line will also feature powerful performance, with high-speed Autofocus (AF) and 20 frames-per-second (60 fps with fixed AF) continuous shooting capability for fast action moments, as well as 4K UHD video recording for users to tell their stories in new ways. Ergonomically designed and familiar for advanced users, all three cameras will utilize the new Nikon SnapBridge connectivity to make it easier than ever to shoot and share with ease.

“We recognize consumers’ desire for smaller cameras capable of outstanding image quality,” said Masahiro Horie, Director of Marketing and Planning, Nikon Inc. “With the new DL line, Nikon is proud to fuse legendary NIKKOR optics with the latest innovations in imaging to provide advanced photographers amazingly compact tools capable of capturing photos and video that even the most discerned professional would be proud of.”

The Nikon DL Series: Powerful Performance, Superior Optics

The new DL line of premium compact cameras packs innovative and powerful imaging technology into elegantly designed yet remarkably compact camera bodies, making it easier than ever to carry pure imaging prowess in the palm of one’s hand. All of these new cameras are designed with a 20.8-megapixel CX-format (1-inch) BSI CMOS sensor, which when combined with fast, high quality NIKKOR glass, help to create stunning image quality for stills or 4K UHD video. Working alongside the new sensor is the new EXPEED 6A image processor that allows for impressive noise reduction and powerful, fast performance, making it possible to capture stunning low-light street photography, beautiful portraits or spectacular landscapes with ease. 

For fleeting moments and fast-action, the DL line incorporates a high-speed hybrid autofocus (AF) system featuring 105 phase detect focus areas (with 171 focus points in contrast detect AF mode), as well as continuous shooting up to an incredible 20 fps, with capability to capture up to a blazing fast 60 fps with focus locked on the first frame. The DL series also features Dual Detect Optical VR technology to compensate for camera shake while handheld or at slower shutter speeds.

Continuing the impressive legacy of NIKKOR glass, each new DL camera features a unique lens design capable of amazing resolution and beautiful background blur (bokeh), with impressively fast apertures. The lens barrel also includes a manual focus ring, giving users enhanced control over focus on any subject.

Each NIKKOR lens is also equipped with a fluorine coating that helps repel dirt, water and oil, and also facilitates easy cleaning. For the first time in a Nikon compact camera, the DL18-50’s NIKKOR lens will utilize Nano Crystal Coat to help reduce ghost and flare, particularly useful when shooting at a wide-angle. With the best NIKKOR technologies now integrated into compact camera models, users will be able to capture phenomenal images with amazing detail time and time again. 

Control and Versatility

The DL24-85, DL18-50 and DL24-500 put creative control in the hands of each photographer and are all operated using the familiar Nikon DSLR menu design and an assortment of physical controls. The series also supports RAW (NEF) image capture, full PSAM manual controls and over 20 preset creative options, for use in both still and video shooting (including Picture Control, Creative mode, Multiple Exposure Lighten) to help challenge each user to expand their photographic horizons.

The DL line provides the tools to frame nearly every shot, with all three cameras sporting high-resolution 1,037k-dot OLED Touch displays. While the DL24-85 and DL18-50 allow for tilting, the DL24-500’s display provides full Vari-angle capability, vitally important when shooting from unique perspectives. Even further customization and control is possible utilizing the hot shoe/accessory shoe available on DL24-85 and DL18-50 models that allows for complete system expandability with the DF-E1 optional electronic viewfinder. The DL24-500 also sports a hot shoe and a stereo microphone input jack, while all three models are compatible with Nikon i-TTL Speedlights. 

Seamlessly Shoot and Share

Nikon SnapBridge makes it easier than ever to shoot and share amazing images with friends and family. Available throughout Nikon’s newest line of premium compacts, SnapBridge utilizes Bluetooth®1 low energy technology (BLE) to provide an “always on” connection to a compatible2 smart device. Users can now seamlessly send images from their camera to a smart device (utilizing the new SnapBridge app) for easy sharing via social networks or to the cloud for instant storage. An unlimited number of thumbnails and 20 GB of storage will also be available for registered Nikon owners and SnapBridge users on Nikon Image Space, Nikon’s free image storing service. Additionally, built-in Wi-Fi3 and NFC remain available to help facilitate easy connection and sharing. 

Through Nikon SnapBridge, users can also operate their cameras remotely using the app, automatically synchronize time and location information to any image utilizing the camera’s constant connection to a compatible smart device, as well as embed information on any image, including copyright or photographers’ names. Lastly, firmware updates have never been easier, as Nikon will send registered users firmware information via the new SnapBridge application, directly to their smart device.

4K Video Capability

The DL series will be among Nikon’s first compact offerings to support 4K UHD video capability [3840×2160] at 30p, affording users the ability to capture incredibly beautiful video with remarkable detail, all with a compact camera. Multimedia photographers will have free reign over their creative vision with the ability to utilize PSAM selectable exposure modes while recording, alongside popular movie features like HDMI output to an external recorder, slow motion to 1200 fps and the ability to grab stills from video. Other creative video functions available include: Full HD movie, HD movie, Motion Snapshot, Slow motion, 4-second movie, Time-lapse movie, Superlapse movie and Jump cut.

DL24-85: The Premium Compact Camera Ready for Anything

Great for travel, portraits and general photography, the DL24-85 offers pocket-sized imaging power with a fast and versatile 24-85mm focal range. Compatible with 40.5mm threaded filters, the newly designed NIKKOR lens (11 elements in 9 groups) features a 3.6x zoom range (7x with Dynamic Fine Zoom4) and a wide f/1.8-2.8 aperture, empowering users to capture a wide variety of subjects with incredible detail and natural bokeh, even in low-light. The 24-85mm offering also features Dual Detect Optical VR, AF bracketing and a tilting Touch OLED display to make composing from creative angles easier than ever.

Exclusive to this DL model is a new Super Macro Mode (1:1) that helps capture even small subjects in life-size detail. Setting manual zoom on the camera to super macro position allows the user close-up shooting at a 35mm equivalent magnification, providing amazing detail whether shooting flowers in bloom or a wandering ladybug. Macro photographers can utilize a variety of camera functions within the mode, including focus bracketing, manual priority AF (M/A) mode and peaking indication, to truly customize the look and feel of every image.

DL18-50: A Premium Pocket Camera That Can Capture It All

For landscape and architecture shooters looking for compact, ultra-wide angle DL option, the DL18-50 provides a solution that fits easily into any photographer’s pocket. Starting at a wide 18mm and expanding to 50mm (2.8x zoom, 5.5x with Dynamic Fine Zoom) the camera sports a powerful NIKKOR lens with a wide f/1.8-2.8 aperture that makes it easier than ever to produce natural bokeh in any image, while capturing tack-sharp stills and video. This lens is compatible with 46mm filters and features Nikon’s Nano Crystal Coat to help reduce ghosting and flare. 

Those who choose the wide-angle DL premium compact can also take advantage of perspective controls to help compensate for image distortion, particularly for shooting tall objects from the ground like landmarks and skyscrapers. Tailored for architecture shooters, this feature helps to capture the correct perspective with ease.

For use with the DL24-85 and DL18-50, a newly designed optional DF-E1 electronic viewfinder (EVF) will be available for discerning photographers who desire for a traditional eye-level viewfinder to frame their photos. The compact DF-E1 features a 2,359k-dot resolution with eye sensor, alongside a tilting mechanism, diopter adjustment and anti-reflection coating, helping provide further clarity and versatility for DL shooters. 

DL24-500: Get Close and Connect

The DL24-500 offers the longest zoom capability of any DL premium compact, reaching an incredible 500mm focal length and 21x optical zoom (42x with Dynamic Fine Zoom). Combining Nikon’s new 1-inch sensor with this impressive super-zoom NIKKOR lens, the DL24-500 is an ideal choice for users eager to photograph and share anything from concerts to wildlife. Featuring an f/2.8-5.6 aperture, this lens (compatible with 55mm filters) integrates the newest NIKKOR technologies to help render amazing images and background blur, even from afar.

The DL24-500 also features Dual Detect Optical VR, particularly useful when shooting at extremely long focal lengths or without a tripod, a built-in electronic viewfinder (EVF) with 2,359k-dot OLED display and an eye-sensor and a Vari-angle 1,037k-dot OLED screen.

Price and Availability

The new DL24-85, DL18-50 and DL24-500 will be available in early summer 2016 for suggested retail prices (SRP) of $ 649.95*, $ 849.95*, and $ 999.95*, respectively. Pricing and availability for the optional DF-E1 electronic viewfinder, compatible with both the DL24-85 and DL18-50, is TBD. For more information on these new Nikon products, please visit www.nikonusa.com.

1 The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Nikon Corporation and its affiliates is under license. 

2. WI-FI COMPATIBILITY This camera’s built-in Wi-Fi® capability can only be used with a compatible iPhone®, iPad®, and/or iPod touch® or smart devices running on the Android™ operating system. The Nikon SnapBridge application must be installed on the device before it can be used with this camera. The SnapBridge app is not yet available (coming soon in spring 2016) Apple, the Apple logo, iPhone, iPad and iPod touch are trademarks of Apple Inc., registered in the U.S. and other countries. App Store is a service mark of Apple Inc.

3. Wi-Fi and the Wi-Fi logo are trademarks or registered trademarks of the Wi-Fi Alliance. N-Mark is a trademark or registered trademark of NFC Forum, Inc., in the United States and/or other countries.

4. Dynamic Fine Zoom magnification is calculated from the full-wide end of optical zoom

* SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

Nikon DL18-50 / DL24-85 specifications

  Nikon DL18-50 Nikon DL24-85
Price
MSRP $ 849 $ 649
Body type
Body type Large sensor compact
Sensor
Max resolution 5584 x 3712
Image ratio w:h 3:2
Effective pixels 21 megapixels
Sensor photo detectors 23 megapixels
Sensor size 1″ (13.2 x 8.8 mm)
Sensor type BSI-CMOS
Processor Expeed 6A
Color space sRGB
Color filter array Primary color filter
Image
ISO Auto, 100-12800
White balance presets 7
Custom white balance Yes
Image stabilization Optical
Uncompressed format RAW
File format
  • JPEG (Exif v2.3)
  • Raw (NEF)
Optics & Focus
Focal length (equiv.) 18–50 mm 24–85 mm
Optical zoom 2.8× 3.5×
Maximum aperture F1.8 – F2.8
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Digital zoom Yes (4x)
Manual focus Yes
Normal focus range 15 cm (5.91″) 30 cm (11.81″)
Macro focus range 3 cm (1.18″)
Number of focus points 171
Screen / viewfinder
Articulated LCD Tilting
Screen size 3″
Screen dots 1,037,000
Touch screen Yes
Screen type OLED
Live view Yes
Viewfinder type Electronic (optional)
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/2000 sec 1/1600 sec
Maximum shutter speed (electronic) 1/16000 sec
Exposure modes
  • Program AE
  • Shutter priority
  • Aperture priority
  • Manual
Scene modes
  • Bird Watching
  • Close-up
  • Food
  • HDR
  • Landscape
  • Multiple Exposure Lighten
  • Night Landscape
  • Night Portrait
  • Portrait
  • Selective Color
  • Sports
Built-in flash No Yes
Flash range 5.00 m (at ISO 100)
External flash Yes (via hot shoe)
Continuous drive 60.0 fps
Self-timer Yes (2 or 10 secs)
Metering modes
  • Multi
  • Center-weighted
  • Spot
Exposure compensation ±5 (at 1/3 EV, 1 EV steps)
Videography features
Resolutions 3840 x 2160 (30p, 25p), 1920 x 1080 (60p, 50p, 30p, 25p), 1280 x 720 (60p, 50p, 30p, 25p)
Format MPEG-4, H.264
Videography notes Slow motion: 1080/120p, 720/240p, 800 x 296 (400p), 400 x 144 (1200p)
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC
Connectivity
USB USB 2.0 (480 Mbit/sec)
HDMI Yes (micro-HDMI)
Microphone port No
Headphone port No
Wireless Built-In
Wireless notes Wi-Fi with NFC and constant connection via Bluetooth
Remote control Yes (via smartphone)
Physical
Battery Battery Pack
Battery description EN-EL24 lithium-ion battery & charger
Battery Life (CIPA) 290
Weight (inc. batteries) 365 g (0.80 lb / 12.87 oz) 350 g (0.77 lb / 12.35 oz)
Dimensions 106 x 63 x 58 mm (4.17 x 2.48 x 2.28″) 105 x 61 x 50 mm (4.13 x 2.4 x 1.97″)
Other features
Orientation sensor Yes
Timelapse recording Yes (video)
GPS None

Nikon DL24-500 specifications

Price
MSRP $ 999
Body type
Body type Large sensor compact
Sensor
Max resolution 5584 x 3712
Image ratio w:h 3:2
Effective pixels 21 megapixels
Sensor photo detectors 23 megapixels
Sensor size 1″ (13.2 x 8.8 mm)
Sensor type BSI-CMOS
Processor Expeed 6A
Color space sRGB
Color filter array Primary color filter
Image
ISO Auto, 100-12800
White balance presets 7
Custom white balance Yes
Image stabilization Optical
Uncompressed format RAW
File format
  • JPEG (Exif v2.3)
  • Raw (NEF)
Optics & Focus
Focal length (equiv.) 24–500 mm
Optical zoom 20.8×
Maximum aperture F2.8 – F5.6
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Digital zoom Yes (4x)
Manual focus Yes
Normal focus range 30 cm (11.81″)
Macro focus range 1 cm (0.39″)
Number of focus points 171
Screen / viewfinder
Articulated LCD Fully articulated
Screen size 3″
Screen dots 1,037,000
Touch screen Yes
Screen type OLED
Live view Yes
Viewfinder type Electronic (optional)
Viewfinder coverage 97%
Viewfinder resolution 2,359,000
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/2000 sec
Maximum shutter speed (electronic) 1/16000 sec
Exposure modes
  • Program AE
  • Shutter priority
  • Aperture priority
  • Manual
Scene modes
  • Bird Watching
  • Close-up
  • Food
  • HDR
  • Landscape
  • Multiple Exposure Lighten
  • Night Landscape
  • Night Portrait
  • Portrait
  • Selective Color
  • Sports
Built-in flash Yes
Flash range 10.00 m (at ISO 100)
External flash Yes (via hot shoe)
Continuous drive 60.0 fps
Self-timer Yes (2 or 10 secs)
Metering modes
  • Multi
  • Center-weighted
  • Spot
Exposure compensation ±5 (at 1/3 EV, 1 EV steps)
Videography features
Resolutions 3840 x 2160 (30p, 25p), 1920 x 1080 (60p, 50p, 30p, 25p), 1280 x 720 (60p, 50p, 30p, 25p)
Format MPEG-4, H.264
Videography notes Slow motion: 1080/120p, 720/240p, 800 x 296 (400p), 400 x 144 (1200p)
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC
Connectivity
USB USB 2.0 (480 Mbit/sec)
HDMI Yes (micro-HDMI)
Microphone port Yes
Headphone port No
Wireless Built-In
Wireless notes Wi-Fi with NFC and constant connection via Bluetooth
Remote control Yes (via smartphone)
Physical
Battery Battery Pack
Battery description EN-EL20A lithium-ion battery & charger
Battery Life (CIPA) 290
Weight (inc. batteries) 780 g (1.72 lb / 27.51 oz)
Dimensions 123 x 90 x 139 mm (4.84 x 3.54 x 5.47″)
Other features
Orientation sensor Yes
Timelapse recording Yes (video)
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Video: Hands-on with the Nikon DL trio at CP+ 2016 in Japan

26 Feb

It’s all well and good to imagine what Nikon’s trio of 1″-type sensor compacts might be like based on spec, but there’s nothing like getting them in your hands. See what the buzz is all about – straight from the show floor of CP+ in Yokohama, Japan.

See all of our coverage from CP+ 2016

Articles: Digital Photography Review (dpreview.com)

 
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CP+ 2016: Hands-on with Nikon DL Compacts

25 Feb

CP+ 2016: Hands-on with Nikon DL Compacts

DPReview is at the CP+ 2016 show in Yokohama, Japan, where Nikon announced three new compact cameras. The ‘DL’ range is distinct from the established Coolpix and 1-series lineups, and consists of three cameras built around the same 20MP 1″-type sensor. We headed straight to Nikon’s booth to get hands-on time with the DL18-50, DL24-85 and DL24-500.

CP+ 2016: Hands-on with Nikon DL Compacts

The DL24-85 is (we suspect) going to be the most popular of the three cameras, at least for the average DPReview reader. The 24-85 in its name designates a 24-85mm equivalent focal length range. This is a useful everyday focal range for general shooting and the lens is fast enough for low-light work and some control over depth-of-field for portraiture.

CP+ 2016: Hands-on with Nikon DL Compacts

This is the DL18-50 is ergonomically virtually identical to the DL24-85 but offers a considerably wider and shorter lens which covers an equivalent focal length range of (you guessed it) 18-50mm. The maximum aperture range of both cameras is identical, at F1.8-2.8. This wider range should make it more suitable for landscape and street photography fans, and just personally, I’m really looking forward to taking it hiking.

CP+ 2016: Hands-on with Nikon DL Compacts

The lenses of the DL18-50 (shown here) and the DL24-85 can be zoomed either in steps, using the ring around the lens barrel, or via a small W-T rocker switch around the shutter release. Having a step zoom is very handy for some situations (it’s a real time-saver in the DPReview studio, for one thing).

The frontmost dial is a focus dial, but it is unclear whether it can be customized to perform other functions. We’d fully expect this to be the case, but Nikon has been a little ambiguous on this point (and the cameras we handled for these images were in Japanese). As soon we can, we’ll try to get clarity. 

CP+ 2016: Hands-on with Nikon DL Compacts

The DL18-50’s lens offers Nikon’s Nano Crystal Coating, which should help when it comes to flare resistance – an important factor with such a wide-angle lens. 

CP+ 2016: Hands-on with Nikon DL Compacts

Ergonomically the DL18-50 and DL24-85 recall the Nikon Coolpix A, crossed with some of Panasonic’s compact zoom cameras, like the LX100. Both feel solid and well-built and the various control points move positively and aren’t too small for comfortable use. Nikon is clearly attacking the same market with these new 4K-capable cameras as Sony is with the Cyber-shot RX100-series, and we’re very keen to see how they compare in the studio. 

CP+ 2016: Hands-on with Nikon DL Compacts

Unlike Sony’s Cyber-shot RX100-series, the DL18-50 and DL24-85 offer touch-sensitive rear OLED screens. And they tilt outwards, too, as well as upwards to 180 degrees for selfies. Although we’re basing our impressions on very brief use of prototype cameras, the screens seem responsive to the touch, and are certainly nice and constrasty. Which is good news because the DL18-50 and DL24-85 lack built-in viewfinders. Instead, you’ll need an optional EVF (price still TBC) which adds versatility, and of course, cost. 

The DL24-85 will cost $ 649 and the wider DL18-50 will set you back $ 849.

CP+ 2016: Hands-on with Nikon DL Compacts

The largest and most expensive ($ 999) of the three new DL cameras is the DL24-500 which offers an equivalent focal length range of 24-500mm. Like the smaller DLs it offers 4K video capture, up to 60fps continuous shooting and enthusiast-focused ergonomics, but inevitably it is much larger to accommodate that longer lens.

The lens is slower, too, offering a maximum aperture range of F2.8-5.6. That’s the price you pay for the greater versatility of the longer zoom range. 

CP+ 2016: Hands-on with Nikon DL Compacts

The other reason why the DL24-500 is physically larger than the DL18-50 and DL24-85 is its built-in EVF, which sits above the lens axis in classic ‘bridge’ camera style. To the left of the viewfinder hump is a small cap over the DL24-500’s microphone jack. This is an unusually prominent position for a mic jack and reflects the importance of video in the camera’s feature set. All three DL-series cameras shoot 4K, but ergonomically, the DL24-500 is definitely the better suited to filmmaking. 

CP+ 2016: Hands-on with Nikon DL Compacts

All three cameras offer Nikon’s ‘Dual Detect Optical VR’ vibration reduction, but this is especially useful in the DL24-500, with its longer, slower lens. We have high hopes, too for its autofocus system which is inherited from the 1-series (and shared with the DL18-50 and DL24-85) which combines 105 phase-detection and 171 contrast-detection AF points in a hybrid system that should be extremely competitive with cameras like Sony’s Cyber-shot RX10 II and the Panasonic Lumix DMC-FZ1000.

CP+ 2016: Hands-on with Nikon DL Compacts

Hybrid AF has been a major selling point of Nikon’s 1-series since its inception and promises fast and accurate subject tracking, certainly compared to pure contrast-detection focusing systems. All three DL-series compacts can shoot at up to 20 fps with autofocus. Impressive stuff, assuming the hit-rate is decent.

CP+ 2016: Hands-on with Nikon DL Compacts

The screen on the back of the DL24-500 is touch-sensitive, just like its smaller DL cousins, but fully articulating. All three cameras offer plenty of manual control including a physical exposure compensation button which spans an unusually wide +/-5EV (visible on the upper right of the camera’s top-plate in this view). 

CP+ 2016: Hands-on with Nikon DL Compacts

The DL24-500 offers twin control dials, one on the top-plate (to the left of the exposure compensation dial) and one on the rear, around the conventional 4-way controller. This view also shows off the large EVF housing and generous eye-cup. 

CP+ 2016: Hands-on with Nikon DL Compacts

So what do you think? We’re pretty impressed, especially by the DL24-85 and DL18-50, and it’s nice to see Sony getting some genuine competition in a market segment that has been dominated by RX100-series cameras. All three DL compacts have a lot to offer (the DL24-500 might finally give the Panasonic Lumix DMC-FZ1000 a run for its money in terms of autofocus performance) and we’re really keen to see how all three perform when shipping samples become available. 

Articles: Digital Photography Review (dpreview.com)

 
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DL or No DL? What you need to know about the Nikon DL compacts

23 Feb

Three’s company

Are compact cameras still relevant? Nikon seems to think they can be, if they’re good enough. It’s announced three premium compacts, all built around 20.8MP 1″-type BSI CMOS sensors its latest, ‘EXPEED 6A’ processor. If that sensor spec sounds familiar, it’s because the Nikon J5 uses a very similar…probably the same…one.

The firepower in that new processor results in 4K video capture capabilities and bursts up 60 fps without AF, and 20 fps with. Combine this speed with a hybrid AF system that uses 105 phase-detect and 171 contrast-detect points (the same one found in the 1-System), and you should have three seriously capable compacts.

When we sat down with Nikon reps back at CES 2016, they explained how engineers developed the three in unison, but targeted each camera’s focal length range toward a very specific customer. However, all three customers are expected to be DSLR shooters looking for a smaller, lighter alternative for everyday shooting. As such, all three can shoot RAW, offer Adobe RGB, can utilize Nikon i-TTL Speedlights, and use a menu system very similar to that found in their pro and enthusiast DSLRs.

Meet the family

The three cameras that make up Nikon’s DL line of premium 1″-type compacts include the DL24-85, DL18-50 and DL24-500. They may not have the most exciting or creative names, but at least they’re straightforward. As you might have guessed, the 24-85 offers a 24-85mm equivalent F1.8-2.8 lens and is the standard zoom compact of the bunch. Reasonably fast on the wide end, this camera has a lot of appeal as an everyday pocketable shooter.

The DL18-50 is the first 1″-type camera to have an ultra-wide lens which, in this case, is a 18-50mm equiv. It also features an impressively fast 1.8-2.8 aperture range, and sits as the DL’s wide/normal option. And on the tele end you have the DL24-500 F2.8-5.6. It isn’t as fast as the other two and certainly isn’t pocketable, but it is easily offers the most versatile focal range of the three.

Yet more choices

Style-wise, the DL24-85 and DL18-50 may seem oddly familiar. The concealingly small dial on the back looks a lot like those on the Nikon 1 series bodies, but from the front, they look almost as if Nikon’s borrowed the leftover tooling from Panasonic’s LX5. This is no bad thing – the LX5 was a really classy little enthusiast compact, but we thought it was faintly amusing, given how fiercely Nikon has protected its industrial design in the past.

We’re joking, of course, and there’s no such precedent for the DL24-500 – perhaps because its design resembles every other superzoom on the market. It’s pretty difficult to make an interesting-looking superzoom, just as it’s difficult to make an interesting looking SUV. And often inadvisable to do so.

How do they compare?

We’ve had to approximate how the available F number on each lens will decline, as you zoom in, but even with these approximated values, you can see that the DL24-85 sits between the lens range of the Sony Cyber-shot RX100 Mark III and IV, and that of Canon’s Powershot G7 X II.

The graph should also make clear just how unusual the DL18-50’s lens is. 18mm equivalent is significantly wider than any of the other 1″ sensor compacts currently on the market, yet it’s bright and able to reach a relatively practical 50mm equivalent focal length.

As usual, we’ve plotted these graphs to show both equivalent focal length and equivalent aperture.

Reaching for it

The DL24-500 joins an already impressive group of 1″ sensor superzooms, including the Sony RX10 II, Panasonic FZ1000 and Canon G3 X. These cameras are undeniably popular, especially amongst travel photographers. From its specs alone, the DL24-500 certainly seems like a competitor. Its 4K capture and slow motion video options compete directly with some of the most stand-out specs from the RX10 II (which we recently gave a Gold Award to).

All of these cameras offer considerably better image quality than conventional, small-sensor superzooms. So, although they can’t boast >80x on the little metallic stickers they wear on camera store shelves, they still offer a degree of reach that will be suitable for a huge variety of shooting situations.

And again, the factor that could set the Nikon apart from its competition is its Hybrid AF system. If the DL24-500’s AF system offers similar performance to that of 1-Series cameras (and there’s little reason to think it wouldn’t), the competition will have good reason to be concerned.

Super steady

Each of the three DL compacts offers a secret power, specific to their zoom range and unique to each. In the case of the DL24-500, its super power is Sports VR for added stability when panning at the tele end. Of course, all three cameras have Dual Detect Optical VR and historically, Nikon cameras have impressed us with their stabilization, especially the Nikon P900 superzoom. So we definitely have high expectations for the DL24-500.

Of course, what good is VR and reach if you don’t have quality glass? All three Nikkor lenses have fluorine coatings to keep away moisture and grime, and the 18-50 is the company’s first compact to have a Nano Crystal Coat, which reduces flare and ghosting.

The everyday pocket cam to beat?

The Sony RX100 series of cameras has long been viewed as the pocketable premium compacts to beat. The most recent Sony RX100 IV in particular impressed us. But the Nikon DL24-85 has us ready to reconsider the crown.

The two cameras share a whole lot of similar specs, including 4K video capabilities, optical image stabilization, fast burst rates with continuous AF, and tilting LCDs. They both offer 20MP 1″-type sensors and very similar focal range, though the Nikon does have a bit more reach.

But the two do vary in some key areas. While the Sony has a pop-up EVF, you’ll have to pony up for an optional tilting model on the DL18-50 and 24-85. Conversely, the DLs all have touchscreen OLED displays, while the RX100s use non-touch LCDs. 

But an even bigger difference can be found when looking into each camera’s AF system: the Sony uses a contrast-detection AF system, while Nikon uses a hybrid approach (combining depth-aware phase detection with high-precision contrast detection). But before you dismiss the Sony entirely, it’s worth noting that the RX100 IV really impressed with its AF capabilities during our testing. So, while the Nikon DL24-85 should  be able to outperform the Sony, we’ll just have to wait until we get one in to know for sure.

Nice and close

The DL24-85 is the only DL of the three to offer a 1:1 macro mode (its secret power). It can be accessed by turning the zoom ring all the way to the right to the S.macro position. In the macro mode, users have a 35mm equiv. field of view. And while all three cameras offer a manual focus mode, the DL24-85 also has a focus bracketing feature, which should be particularity useful for macros.

Unfortunately, the ring around the lens barrel of the DL24-85 is not customizable (same goes for the other DL’s). It can only be used for manual focusing.

Wide street shooter

The DL18-50 is the widest DL of the bunch, and while its 18-50mm focal length may not appeal to casual shooters, street photographers are sure to be enticed by its range and fast lens. Its tilting touchscreen allows for tap-to-focus and, we assume, tap-to-shoot capabilities that should suit that ‘decisive moment’ shooting style.

This camera’s focal range will also likely appeal to architecture and landscape shooters. To further tempt said group, it has a built-in perspective control feature that can be used to distort the image to correct for perspective distortion.

Unlike the other two, it doesn’t have a built-in flash – perhaps because it would be too difficult to offer such wide coverage without some clever optics and a lot more distance away from the lens.

Touch, see, shoot and share

Touchscreens can be great, especially when paired with physical control points (this way you can choose). All three DLs offer 1.04M-dot OLED touch displays. The displays on the DL24-85 and DL18-50 can tilt, while the display on the DL24-500 is fully articulating. This only adds to the DL24-500’s appeal as a video-centric all-in-one.

The DL24-500 also offers a 2.4M-dot OLED electronic viewfinder, while the other two cameras accept the the rather bulky accessory DF-E1 tilting electronic viewfinder with the same XGA resolution. 

The three DLs are also Wi-Fi and Bluetooth enabled, allowing them to take advantage of Nikon’s ‘SnapBridge’ technology, first unveiled to the world at CES 2016 during the company’s press event announcing the D500. ‘SnapBridge’ allows a camera to stay connected to one’s smart device via low power Bluetooth connection, without the need to reconnect. It’s worth noting that while we’ve written about SnapBridge in the past and are excited by its implication, we have yet to try it. The cameras also support NFC, for quick and easy pairing with Android devices.

Where they fit on the 1″ scale

Here’s how they fit into the wider market. We don’t yet know exactly how their apertures will change as you zoom, so we’ve had to approximate them here.

The pricing is exactly as we’d expect: the DL24-85 with its fast standard zoom is a direct competitor for Sony’s RX100 III and Canon’s G7 X Mark II. It doesn’t have a viewfinder, as the Sony does, so it’s no surprise to find it’s being pitched at $ 150 lower than the RX100 III’s launch price and $ 50 below the Canon’s.

Meanwhile, the DL24-500’s long, increasingly slow lens makes it look like Nikon is targeting the same customers as the G3 X. And, guess what? The Nikon MSRP is exactly the same as the Canon’s, at $ 999.

Finally, although it shares a lot in common with the 24-85, there’s a premium to be paid for the DL18-50. With no direct rivals, and the challenges of making such a fast, wide lens, it’s no surprise that it’s to be launched for $ 849.

In summary

It’s interesting to see how these new models fit in to the market. Ever since Sony announced the RX100, manufacturers have been developing ever more variations and options around the 1″ sensor. Since most cameras take at least two years to develop, it’s still relatively early in the timeline, but with the arrival of Nikon there are now four manufacturers building large sensor compacts.

So far we’ve seen Sony focus its RX100 series on the idea of a small camera with a large sensor and a bright lens, with zoom range being the trade-off being made. Canon very much followed suit with its G7 X models. And the Nikon DL 24-85mm, with its F1.8 – 2.8 is clearly targeting the same potential buyers.

Meanwhile, Sony, Panasonic and Canon have all developed riffs on the large bodied, long zoom theme. Sony’s RX10 (both I and II) opt for constant aperture zooms, while Panasonic’s FZ1000 gives greater range that gets slower as you zoom. Nikon’s DL 24-500mm is much closer to Canon’s G3 X, in offering still more zoom by letting the aperture drop even further.

As such, the standout camera in this group is the DL 18-50. It’s fast (F1.8-2.8), ultra-wide to just-beyond-normal zoom range is unique, and offers an exciting option for wide-angle shooters looking for a pocketable camera with what should be good image quality. Whatever our reservations have been in the past about Nikon compacts, the image quality has usually been very good.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon D5 and D500 Review: Exceptional Image and Video Quality

18 Feb

Professional photographers and shutterbugs alike were excited when Nikon Corporation launched in January 2016 the Nikon D5 (the most advanced professional DSLR to date), as well as the Nikon D500 (which replaced the D300S, Nikon’s previous DX-format flagship DSLR). Let’s take a deeper look at each of the new Nikon cameras. Nikon D5: Setting New Benchmarks for Speed, Accuracy, and Continue Reading

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Delayed: Nikon Japan pushes D500 to end of April

05 Feb

Nikon shooters have waited a long time for a D300S replacement, and it appears that they’re going to have to keep waiting a little longer. Nikon Japan has released a statement (in Japanese) pushing the D500’s initial March release back to late April 2016. Nikon cites high demand for the camera as the cause of the delay. It seems that the D500’s battery grip and WT-7A wireless transmitter are also delayed.

Come April, the D500 will be available for $ 1,999.95 body only or with the 16-80mm F2.8-4E ED VR lens for $ 3,069.95.

See our hands-on with the Nikon D500

Articles: Digital Photography Review (dpreview.com)

 
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