Nikon Movie Settings 640 X 424 Picture Quality Reviews
In summary
Purchase this camera if :
– Yous desire a Nikon DSLR with 'professional person' video recording capabilities.
– You lot'd appreciate the articulating monitor and Alive View capabilities.
– You want the selection of shooting raw files "" and RAW+JPEG.
– You require superior high-ISO performance.
– You desire an interval-timer.
– You want a wide range of special effects and in-camera image adjustments.
– You lot want a built-in flash that supports Nikon'due south Creative Lighting Organisation.
Don't buy this camera if:
– You lot accept legacy lenses from Nikon film cameras that y'all'd like to use on a new DSLR body. (Autofocusing won't exist possible with some older lenses.)
– You require a big buffer capacity and fast paradigm processing times for continuous raw file capture.
Total review
Nikon's 24-megapixel D5200 is the latest in a serial of affordable, lightweight and high-performance DSLRs with pivoting LCD screens that appeared first in 2009 with the D5000. Positioned between the entry-level D3200 and the recently-announced D7100, it provides a meaning increase in sensor resolution over its predecessor. Information technology comes in three colours, black ruddy and chocolate-brown, and boasts a user interface that will suit snapshooters.
The iii color options available for the Nikon D5200. (Source: Nikon.)
However, there are a few flaws potential purchasers should be aware of. Like its predecessors, the D5200 has no autofocus motor in its trunk, which limits your choice of lenses. It will work flawlessly with Nikon's AF-I and AF-Due south lenses simply won't focus with AD and AF-D lenses and doesn't support matrix metering with AI, AIs and older lenses. Fisheye lenses aren't recommended. You can find out more in the FAQ pages on Nikon USA'due south Service & Support website (http://www.nikonusa.com/en/Service-And-Support/index.folio).
This may not be an effect for photographers buying into the Nikon DSLR system for the first time but won't make owners of older lenses happy if they're looking for a new high-resolution body to utilize them on. Similarly, photographers who brand frequent use of a wide range of camera settings will probably find the user interface on the D5200 frustrating, due to a relative lack of direct control buttons. Once again, this won't worry family unit snapshooters, who tin take advantage of the photographic camera's effective autofocusing and metering systems and admirable high-ISO functioning.
If you bask shooting video with a DSLR, the D5200 also ticks most of the necessary boxes and is one of the few low-priced DSLRs with a built-in stereo microphone "" plus a 3.5 mm jack for an external microphone. However, the camera'south battery is small and relatively low in capacity (Nikon doesn't provide capacity figures) so y'all may require a spare or two when shooting a lot of footage.
Build and Ergonomics
Although the D5200'south body is generally made from polycarbonate plastic, its build quality is above boilerplate for the price. According to the base-plate label, the camera is made in Thailand, where the company has a factory in Ayuthaya, only north of Bangkok. Since 2009, all of Nikon's DX format DSLRs and most of the DX zoom lenses have come from this facility.
Choice of colour will probably reverberate each user'southward taste. The red model nosotros received for this review had a rather shiny surface with a similar wait and feel to some of the Coolpix cameras nosotros've reviewed. The brown model appears to take a like gloss, while the black model looks to have the standard semi-matte finish.
Front view of the D5200 in black with the pop-upwardly flash raised and the 18-55mm kit lens fitted. (Source: Nikon.)
The D5200's body weighs merely 555 grams with battery and retention carte installed. Calculation the 18-55mm kit lens brings the full shooting weight up to 820 grams, which is low-cal enough for single-handed shooting. Having almost all of the button and dial controls on the right manus side of the camera, makes this relatively easy.
A rubberised grip covers the front end of the moulding that sits below the user's correct hand. While it is likely to exist uncomfortable for users with big hands, this moulding is deep plenty for a secure feel and should suit those with average-to-small manus sizes. Smaller pads of the aforementioned material are located on the rear panel and the lower left side corner (to support the user's thumb when cradling an attached lens). Aside from an AF-assist LED, positioned simply in front of the mode punch, the front console merely contains the regular lens release button.
Rear view of the D5200 in cerise with the monitor reversed onto the camera body, showing the clustering of controls effectually the right hand side of the camera. (Source: Nikon.)
Like its predecessor, the D5200 has a fully articulated 3-inch monitor with 921,000-dot resolution. It covers the full prototype frame and claims a 170-caste viewing angle plus brightness adjustment.
The range of adjustments provided past the D5200's monitor is shown in the above graphic. (Source: Nikon.)
A circular arrow pad controller with a fundamental OK push button sits to the right of the screen mounting, with a playback button just above it and playback zoom and delete buttons below. A multi- role button below the sometime accesses thumbnail and zoom out playback functions, besides as the in-photographic camera help screens.
Ranged along the interface between the rear and top panels are three buttons and a punch cycle. The Menu button is the only control located left of the viewfinder housing. The other buttons access Information Edit/restore default settings and the AF/AE Lock functions. The command dial is used with other controls to adjust a variety of settings when shooting information is displayed in the monitor. Options vary with different shooting modes.
Top view of the D5200 with the 18-55mm kit lens fitted. (Source: Nikon.)
On the top panel, all the controls are clustered on the right hand side of the viewfinder housing. The shutter release button and surrounding on/off lever switch are positioned right at the front of the grip. with buttons for accessing movie recording and exposure compensation just behind them.
Farther back lie the Info and bulldoze buttons, the latter in line with a prominent mode dial, which sits atop the Alive View lever switch. There's a prominent hump for the viewfinder housing, which is topped by the pop-up flash. A hot-shoe (with slide-off embrace) is located backside the flash, with a pair of four-pigsty grilles for the stereo microphones just in front of it.
Metal strap loops are inset into the shoulders of the top panel. A five-hole speaker grille is located just to a higher place the left hand side loop. The viewfinder has a slide-up rubber eyecup that is only flexible enough for use with glasses. A dial on the right paw side of the housing provides ""1.7 to +0.seven dioptre adjustment, which isn't over-generous.
There'southward a single retention slot midway down the right side console for SD cards (most types accepted, including Wi-Fi cards) and the battery slots into a divide compartment in the base of the grip moulding. The bombardment is the same EN-EL14 as used in the D3100, D3200 and D5100 cameras. It'southward rated for approximately 500 shots/charge or around twoscore minutes of Hard disk drive footage. A standard 1/4-inch (ISO 1222) tripod socket is located in line with the axis of the lens mounting and the base plate is textured to meliorate contact with a tripod mountain.
Controls and Functions
Few controls and functions have been changed since the D5100 "" and some of those changes have involved tweaking of exiting controls, rather than meaning upgrading. 1 function that has been upgraded is the autofocus organisation, which is now the same 39-indicate system as used in the D7000. The illustration below shows the differences in the ii cameras' AF betoken arrays.
Viewfinder simulations showing the AF point arrays in the D5200 (top) and D5100 (beneath).
Unfortunately, you're forced to revert to the menu organisation and monitor screen whenever yous want to alter any of the AF settings "" including simply swapping between focus modes. The default AF setting is automatic AF area selection, which isn't infallible, although information technology works well enough most of the fourth dimension.
The D5200's viewfinder is the same as its predecessor's and remains a little dim. Even though information technology still doesn't cover the entire frame, the sensor points are meliorate defined than those in the D5100 and you tin apply a filigree overlay to improve shot limerick. The focusing screen is not interchangeable and the dioptre adjustment range may non be adequate for some users.
The metering sensor has been upgraded from a 420-pixel RGB bit to the same 2016-pixel chip every bit the D7000'southward as well. As in the D5100, the new system links with Nikon's Scene Recognition System. It operates between zero and 20 EV
The metering modes are unchanged, with 3D colour matrix metering II available for blazon G and D lenses, color matrix metering Ii for other CPU lenses; Centre-weighted average metering weight at 75% on to eight-mm circle in centre of frame and Spot metering on a three.5 mm circle (about 2.5% of frame) centred on the active focus surface area. Unlike the D7000, you tin can't adjust the diameter of the metering circumvolve in the centre-weighted boilerplate fashion.
The review camera arrived the release mode set up to Serenity shutter release, which doesn't return the mirror instantly after the shot is taken, reminding us of the downsides to this style. For starters, it's not much quieter than the normal shutter release. It can be quite disconcerting when y'all're shooting activity considering the viewfinder blacks out for a 2d or two and y'all can't be certain whether yous've timed the shot correctly.
Live View now allows shooting with the mirror remaining upwardly at all times (except with flash). In this way yous can position the active AF point merely about anywhere in the frame, although it can accept several seconds to go from 1 edge to the reverse one because contrast detection is used. You tin heart the AF point by pressing the OK button on the arrow pad to speed things up a bit.
The graphic user interface (GUI) has been redesigned for easier reading and to provide faster admission to frequently-used adjustments. 2 options are available, one showing three dials that mimic camera adjustments.
The two GUI options available for D5200 users. Pressing the <i> (data edit) button lets yous toggle beyond the settings displayed. (Source: Nikon.)
Seven special effects can exist practical to both nevertheless images and motion picture recordings. They include: Selective Colour, Color Sketch, Miniature Outcome, Dark Vision, Silhouette, Loftier Cardinal, Depression Primal. Colour Sketch, Miniature Effect, and Selective Colour tin also be applied to images already recorded from the retouch menu. Examples are included in the sample images below.
The D5200 is compatible with Nikon's MC-DC2 connector, which supports wired remote control and enables long exposures to be taken in Seedling mode. A new WR-R10 (transceiver) and WR-T10 (transmitter) philharmonic enables remote triggering of the shutter for recording all the same photos. These devices are compatible with well-nigh contempo Nikon DSLRs and can piece of work with single and multiple camera set-ups.
A new optional Wireless Mobile Adapter WU-1a supports wireless transfer of photos and movies to smart-phones and tablet PC southward. The view through the camera lens in Live View Nikon's GP-ane GPS units as well as a variety of flashguns (including the Nikon Creative Lighting Organisation) and Eye-Fi cards.
What's Missing?
Aside from the bug associated with the lack of an autofocus motor in the camera body, at that place are a few features that more serious photographers require, which are missing from the D5200. They include the following:
1. No JPEG aspect ratio settings are provided.
2. No Kelvin settings are included in the white balance menu.
3. No built-in GPS or Wi-Fi, although both can be accessed via the MC-DC2 connector for wired remote.
Sensor and Image Processing
According to Chipworks (http://www.chipworks.com), the sensor in the D5200 is made past Toshiba, rather than Aptina (which has an existing relationship with Nikon and developed the sensors for the Nikon 1 cameras) or Sony. It's marginally smaller than the sensors Nikon has used previously and 'features copper metallisation and four metal layers'.
The D5200 has the same EXPEED 3 processor as the D3200, which means information technology can support a native ISO range from 100 to 6400 in steps of i/three EV too equally expansion to ISO 25600 (equivalent) in one/three EV steps. The maximum continuous shooting speed has been increased from four frames/second (fps) to five fps, although the buffer chapters hasn't been significantly increased to handle the big image files. It's limited to upwards to 8 NEF.RAW files, 6 RAW+JPEG pairs, 35 Large/Fine JPEGs or 100 JPEGs at other sizes
Raw files continue to be recorded in xiv-chip compressed form, which means you could lose a little highlight data since Nikon's NEF pinch is slightly stronger on highlight bits. However, y'all're unlikely to notice this unless yous brand very big adjustments to highlights so would rarely influence image quality from a practical viewpoint.
Similar its predecessor, the D5200 supports three paradigm size settings for JPEGs: Large at 6000 x 4000 pixels, Medium at 4496 x 3000 pixels and Small at 2992 x 2000 pixels. The table below shows the approximate number of pictures that can be stored on an 8GB SanDisk Extreme Pro SDHC UHS-I menu at unlike epitome quality and size settings.
| Image quality | Image size | File size | No. of images | Buffer capacity |
| NEF (RAW) + JPEG fine | Large | 37.0 MB | 152 | 6 |
| NEF (RAW) + JPEG normal | Large | thirty.nine MB | 178 | half dozen |
| NEF (RAW) + JPEG basic | Large | 27.7 MB | 196 | 6 |
| NEF (RAW) | – | 24.six MB | 217 | 8 |
| JPEG fine | Large | 12.two MB | 507 | 35 |
| JPEG normal | Large | 6.2 MB | 1000 | 100 |
| JPEG basic | Large | 3.0 MB | 1900 | 100 |
Video
Video capabilities are up there with Nikon'due south more 'professional person' DSLRs , which ways the D5200 can record in both interlaced (i) and progressive (p) formats with quality options ranging from Full Hard disk drive (1920 x 1080 pixels) to VGA (640 x 424 pixels). Unfortunately, the interlaced and progressive modes crop the sensor area differently, causing a leap when you change between them. Movies can likewise be recorded at 1280 x 720 pixels and 640 10 424 pixels.
The table below shows scrap rates and maximum recording capacities.
| Frame size (pixels) | Frame rate PAL | Frame charge per unit NTSC | Max. chip charge per unit | Max. clip length (Loftier/Normal) |
| 1920 x 1080 | 50i | 60i | 24/12 | twenty min./29 min. 59 s |
| 25p | 30p | |||
| 24p | ||||
| 1280 x 720 | 50p | 60p | ||
| 640 10 424 | 25p | 30p | 8/v | 29 min. 59 south |
The camera is able to deliver uncompressed video via its HDMI out port. But we weren't able to exam this feature through lack of a suitable recording device.
The D5200 provides a special Movie Crop setting that can be used when recording 50i or 60i movies. The cropped area (which is recorded) tin can be viewed during live view by pressing the INFO push and selecting the 'show picture show indicator', or 'framing filigree' display. This crop is enlarged to fill the monitor screen.
The monaural microphone in the D5100 is replaced past a pair of stereo mics and in that location's a jack for external microphones for photographers who wish to use them. Users tin also and also record video directly to an external device via the HDMI connection.
A wide range of adjustments is available in movie way, covering aperture, shutter and ISO settings. All the same, the aperture setting is locked when you enter Live View mode. If y'all want to change it, you must get out Alive View, re-prepare the aperture and re-enter Live View over again, which is annoying.
Unfortunately, the D5200'due south AF system isn't as serenity as Catechism'southward STM organization, which means lenses with audible focusing motors are probable to go out impressions on soundtracks. Attaching the optional ME-1 stereo microphone can overcome this problem, in the main.
Playback and Software
Both are about identical to those provided for the D5100.
Performance
Nikon Australia provided us with two lenses to apply with the D5200 torso: the AF-S Nikkor 50mm f/ane.8G and the AF-Due south DX Nikkor 18-300mm f/three.5-5.6G ED VR, both of which are reviewed separately. Nosotros've based our Imatest tests on shots taken with the 50mm f/1.8G lens but some sample images included in this review have been taken with the super-zoom lens.
Notwithstanding images from the review camera were similar to those from the D5100. Exposure metering was consistently competent, regardless of the metering pattern selected and exposures were usually well-positioned. The Active D-Lighting function ensured highlight and shadow details were recorded adequately in most JPEG shots, although the machine setting was unable to compensate fully for strong backlighting.
Colour rendition showed the feature slight warming but saturation was minor in JPEG shots and slightly depression in NEF.RAW files, which we converted into xvi-bit TIFFs with Adobe Camera Raw. Imatest confirmed our subjective assessment and showed reds and oranges to have elevated saturation in JPEG shots.
Autofocusing was fast and accurate with both lenses when the viewfinder was used merely slightly slower in live view mode. In both cases "" and with both lenses "" we feel in that location has been an improvement in AF speed in the new camera. Our timing tests showed this to be the instance.
Imatest showed resolution to be shut to expectations for a 24-megapixel camera for NEF.RAW images. JPEG prototype files recorded resolution levels slightly beneath the values obtained for raw files in our Imatest tests. This is no hateful feat for a photographic camera of such high resolution.
Imatest showed the camera performed well at high sensitivity settings, specially with raw files. A steady, gradual decline in resolution was recorded every bit sensitivity was increased, equally shown in the graph of our Imatest results below.
Long exposures at night showed little noise correct up to ISO 6400. The Hi 1 and Hullo 2 settings were visibly racket-affected with exposures of a second or ii. Interestingly the review camera produced flash shots with nigh no discernible noise at both of these settings and noise was undetectable right up to ISO 6400.
The congenital-in flash was able to record evenly counterbalanced exposures across the camera's total sensitivity range. All the same, using longer lenses tended to produce shading in close-up shots. So did using the lens hood with the 50mm lens. An case is shown below.
Video quality was very good in the Full Hard disk modes but quality was reduced in the Hd 720/60p mode, which means this photographic camera isn't great for slow-motion shooting. We found no aliasing, moire, rolling shutter or tearing in clips at the college resolutions. But the moving-picture show ingather setting reduced resolution to a noticeable degree.
The dynamic range in video mode was similar to the stills way, which meant shadows contained a off-white amount of particular while highlights could be slightly clipped in contrasty conditions. Soundtracks recorded by the built-in microphones were relatively clear with more stereo 'presence' than we expected.
We carried out our timing tests with the same 32GB SanDisk Extreme Pro SDHC UHS-1 card as we used for testing the D5100. Similar its predecessor, the review camera powered-upward in less than a 2d and shut downwardly almost instantly.
When the viewfinder was used for shot composition, we measured an average capture lag of 0.45 seconds, which reduced to 0.1 seconds with pre-focusing. In Live View mode, capture lag was extended to 1.3 seconds.
Shot-to-shot times averaged 0.95 seconds when the viewfinder was used 4.5 seconds with Live View. Shot-to-shot times with flash averaged only under 5 seconds.
Image processing times were similar to those we found for the D5100. It took 0.nine seconds on average to process each JPEG file, 1.nine seconds for each NEF.RAW file and ii.8 seconds for each RAW+JPEG pair.
In the continuous loftier-speed shooting mode, the review camera recorded 10 high-resolution JPEGs in 1.8 seconds. It took 16.three seconds to process this outburst. With the continuous low-speed mode, the review camera recorded 10 high-resolution JPEGs in 2.nine seconds. It took sixteen.one seconds to process this burst.
The buffer retention fills after half-dozen NEF.RAW files, which were recorded in one second in the continuous high. Processing time for this outburst was fourteen.2 seconds. For RAW+JPEG pairs, the buffer limit was five frames, which were captured on 0.eight second. It took 18.three seconds to procedure this flare-up.
Buy this camera if :
– You want a Nikon DSLR with 'professional' video recording capabilities.
– You'd appreciate the articulating monitor and Live View capabilities.
– You want the pick of shooting raw files "" and RAW+JPEG.
– You require superior loftier-ISO performance.
– You want an interval-timer.
– You want a broad range of special furnishings and in-camera image adjustments.
– You lot want a congenital-in flash that supports Nikon'southward Creative Lighting Organization.
Don't buy this camera if:
– Yous take legacy lenses from Nikon film cameras that you'd like to utilize on a new DSLR body. (Autofocusing won't be possible with some older lenses.)
– Y'all require a large buffer capacity and fast epitome processing times for continuous raw file capture.
SPECS
Image sensor: 23.5 x xv.vi mm CMOS sensor with 24.71 meg photosites (24.1 megapixels effective)
Image processor: EXPEED three
A/D processing: 14-bit
Lens mount: Nikon F mountain, compatible with AF-Due south and AF-I lenses
Focal length ingather factor: i.5x
Image formats: Stills "" NEF.RAW, JPEG (Exif ii.3), RAW+JPEG; Movies "" MOV with H.264/MPEG-4 Advanced Video Coding, Linear PCM stereo audio
Image Sizes: Stills "" 6000 10 4000, 4496 x 3000, 2992 x 2000; Movies: 1920 x 1080, 60i (59.94 fields/southward)/ 50i (fifty fields/s); 1920 x 1080, xxx p (progressive)/25p/24p; 1280 x 720, 60p/50p; 640 x 424, 30p/25p
Image Stabilisation: Lens-based
Dust removal: Epitome sensor cleaning, Prototype Dust Off reference data (optional Capture NX two software required)
Shutter speed range: 30 to 1/4000 second in one/iii or one/two EV steps plus Bulb and Time (requires optional ML-L3 remote command); X-synch at 1/200 sec. or slower
Exposure Compensation: +/- 5EV in 1/3 or 1/ii EV steps (P, S, A and Thousand modes merely)
Exposure bracketing: 3 shots in steps of i/3 or 1/two EV
Self-timer: 2, 5, ten or 20 seconds filibuster; 1″"9 exposures
Focus organisation: Nikon Multi-CAM 4800DX with TTL phase detection, 39 focus points (including 9 cantankerous-type sensor), and AF-assist illuminator (range approx. 0.5″"3 m)
Focus modes: Single-servo AF (AF-S); continuous-servo AF (AF-C); car AF-Southward/AF-C pick (AF-A); predictive focus tracking activated automatically according to subject status; Transmission focus (MF) with electronic rangefinder bachelor
Exposure metering: TTL exposure metering using 2016-pixel RGB sensor with colour matrix metering II, eye-weighted (75% given to viii-mm circle in centre of frame) and spot (three.5mm circle, centred on selected focus signal) metering patterns
Shooting modes: Car, flash off; programmed auto with flexible plan (P); shutter-priority car (S); aperture-priority auto (A); manual (M); scene modes (portrait; landscape; child; sports; close up; nighttime portrait; dark landscape; party/indoor; beach/snow; sunset; sunset/dawn; pet portrait; candlelight; flower; autumn colours; food)
Movie Manner/Command settings: Standard, Neutral, Vivid, Monochrome, Portrait, Landscape; selected Picture Command tin can be modified; storage for custom Picture Controls
Special Effects modes: night vision, colour sketch, miniature consequence, selective colour, silhouette, high key, depression key
Live View Modes: Contrast-detect AF, face detection and discipline tracking available
Color space options: sRGB, Adobe RGB
Custom functions: 22
ISO range: ISO 100 "" 6400 in steps of 1/3 EV plus expansion to approx. 0.3, 0.vii, 1, or two EV (ISO 25600 equivalent)
White balance: Automobile, incandescent, fluorescent (7 types), direct sunlight, flash, cloudy, shade, preset transmission; all except preset manual with fine-tuning
Flash: Built-in pop-up wink; GN approx. 12 (m/ISO 100); Auto, auto with cherry-centre reduction, car slow sync, auto slow sync with blood-red-centre reduction, fill-flash, ruby-eye reduction, slow sync, wearisome sync with red-heart reduction, rear-curtain with slow sync, rear-curtain sync and off modes selectable
Flash exposure adjustment: ""3 to +i EV in increments of 1/iii or 1/2 EV
Sequence shooting: Max. 5 fps (manual focus, M or S fashion, shutter speed ane/250 s or faster, and other settings at default values); up to 8 NEF.RAW files, 6 RAW+JPEG pairs, 35 Large/Fine JPEGs or 100 JPEGs at other sizes
Storage Media: SD/SDHC/SDXC memory cards; UHS-I compliant
Viewfinder: Middle-level pentamirror with approx. 95% frame coverage; Type B BriteView Clear Matte Mark 7 focusing screen, 17.nine mm eyepoint, approx. 0.78x magnification (50 mm f/1.iv lens at infinity), ""1.7 to +0.vii dioptre adjustment
LCD monitor: 3-inch, vari-angle TFT monitor with approx. 921,000 dots (VGA), 170 ° viewing angle, approx. 100% frame coverage, and brightness adjustment
Information LCD: No
Playback functions: Full-frame and thumbnail (4, 9, or 72 images or calendar) playback with playback zoom, picture playback, photo and/or moving-picture show slide shows, histogram brandish, highlights, auto image rotation, and paradigm comment (up to 36 characters)
Interface terminals: USO ii.0, HDMI (Type C Mini), PAL/NTSC video out, 3.5mm bore stereo mini-pin jack, accessory final for MC-DC2 remote controller or GP-i GPS unit
Power supply: EN-EL14 rechargeable lithium-ion battery; CIPA rated for approx. 500 shots/charge
Dimensions (wxhxd): Approx. 129 x 98 x 78 mm
Weight: Approx. 505 grams (camera trunk merely)
TESTS
Based on JPEG files taken with the 50mm f/1.8G lens.
Based on NEF.RAW files converted with Adobe Camera Raw.
SAMPLES
Automobile white remainder with incandescent lighting.
Automobile white balance with fluorescent lighting.
Noise-reduction processing was turned off for the images below.
30-2d exposure at ISO 100, 24mm focal length, f/3.8.
15-2nd exposure at ISO 800, 24mm focal length, f/5.half dozen.
v-second exposure at ISO 6400, 24mm focal length, f/7.1.
3-second exposure at ISO Hi1 (ISO 12800 equivalent), 24mm focal length, f/xvi.
3-2d exposure at ISO Hi2 (ISO 25600 equivalent), 24mm focal length, f/22.
Flash exposure with 50mm focal length, ISO 100, 1/threescore 2nd at f/5.6.
Flash exposure with 50mm focal length, ISO 800, 1/threescore second at f/5.6.
Flash exposure with 50mm focal length, ISO 6400, 1/lxxx second at f/8.
Flash exposure with 50mm focal length, ISO Hi1, 1/80 second at f/11.
Flash exposure with 50mm focal length, ISO Hi2, i/80 2nd at f/eleven.
18mm focal length, ISO 100, one/250 2nd at f/11.
300mm focal length, ISO 250, 1/250 second at f/11.
300mm focal length, ISO 400, ane/1600 second at f/5.6.
300mm focal length, ISO 560, 1/fifteen second at f/5.6.
18mm focal length, ISO 100, 15 seconds at f/three.5.
A typical outdoor subject photographed with no Active D-Lighting (top), with Active D-Lighting on Automobile (middle) and with the multi-shot HDR manner (bottom).
Shading produced past the 18-300mm lens at 50mm focal length when used for a close-up with wink.
Some of the in-camera furnishings bachelor with the D5200:from top: Fish-Eye, Colour Sketch, Miniature, Night Vision, High Fundamental, Low Key.
Still prototype captured while recording a video clip at Full Hard disk (1920 x 1080 pixels) 50i resolution.
Still frame from video prune taken with Full Hd (1920 10 1080 pixels) 50i resolution.
However frame from video clip taken with Full Hard disk (1920 10 1080 pixels) 25p resolution.
Nonetheless frame from video clip taken with Full HD (1920 x 1080 pixels) 24p resolution.
Still frame from video clip taken with HD (1280 x 720 pixels) 50p resolution.
Notwithstanding frame from video clip taken with 640 x 424 pixel resolution.
Additional image samples tin can be found in our reviews of the AF-S Nikkor 50mm f/ane.8G and AF-S DX Nikkor 18-300mm f/3.5-5.6G ED VR lenses.
Rating
RRP: n/a; ASP: AU$950 or US$799.95 (MSRP) for body simply; AU$1070 or US$899 with 18-55mm kit lens
- Build: 8.five
- Ease of employ: eight.5
- Autofocusing: viii.8
- Notwithstanding image quality JPEG: 8.v
- Still image quality RAW: 8.8
- Video quality: 8.8
Purchase
Source: https://www.photoreview.com.au/reviews/dslr-cameras/advanced/nikon-d5200/
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