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NikoN D5100

Work EthicNikon continues its current

phase of D-SLr upgrades with a

new ‘step up’ model positioned

between the entry-level D3100

and the exceptional D7000.

report by Paul Burrows.

e’ve always maintained that Nikon is more at home building higher-end D-SLRs than

budget-priced model and this is certainly borne out by the D7000 which is a hugely capable camera in the traditional Nikon way. However, the D3100 is also proof that Nikon is feeling more comfortable in the entry-level category and the new D5100 is further evidence it’s able to compete successfully in all sectors.

While the D5100 doesn’t have quite so many headline-making features as the D7000 – which is obviously leading the way for the future pro-level D-SLR upgrades – it still boasts some interesting upgrades and some important revisions over its predecessor. Packaged with Nikon’s stabiliser-equipped 18-55mm standard zoom, the D5100 is priced at a whisker under $2000 which puts it in one of the key D-SLR price brackets where the main competition is Canon’s very competent EOS 60D and the highly-featured Pentax K-5. It’s a challenge, but the latest generation Nikon D-SLRs are all in fighting form so expect the D5100 to hold its own.

It’s slightly smaller than the model it replaces, but retains the variable-angle LCD monitor albeit now conventionally hinged at the side rather than from the lower edge. This latter arrangement wasn’t a bad idea in theory, but in practice it proved problematic when the camera was mounted on a tripod so Nikon has wisely returned to the standard tilt/swing arrangement.

The main benefits of a vari-angle monitor are that it allows for low-level viewing – which is particularly helpful for macro work in situations where it’s difficult to use the eyelevel finder – and that it can be folded away with the screen facing inwards for protection. The screen itself is increased to 7.62 cm in size with a higher resolution of 921,600 pixels and a viewing angle of up to 170 degrees. It’s adjustable for brightness via the set-up menu.

Display And ControlThe D5100’s more compact dimensions mean there’s no read-out panel on the top deck and so the monitor screen is used as the main information display and has provisions for making adjustments to a wide selection of capture-related settings. Pressing the ‘i’ button – which is located on the back panel just above the screen – switches the display from passive to active.

As on the D3100, there’s a choice of ‘Classic’ or ‘Graphic’ display styles and three background colours for each (blue, black and orange or green, black and brown respectively). The main difference is that the ‘Graphic’ display includes a visual representation of a lens diaphragm which opens and closes according to the aperture setting. It’s encircled by a dotted line which extends and retracts to represent the shutter

speed. Both displays provide ‘plain English’ warnings – for example, “Subject is too dark” – and have a help function which either expands on these warnings or provides an explanation when a setting adjustment is selected on-screen. Additionally, the sub-menus for these settings are accompanied by illustrative images which mostly change to reflect the adjustment (for example, darkening or brightening with exposure compensation).

Thanks to the control screen, the external control layout has been simplified down to a main mode dial, a small selection of function buttons, an input or command dial and the navigator for the menus (which Nikon calls a “multi selector”). There isn’t a lot of spare space on the back panel due to the screen’s size and hinge assembly so all the replay controls are clustered on the right

adjacent to the thumbrest, but strangely the ‘menu’ button is left all on its own on the other side of the eyepiece.

The main mode dial sports a new setting marked ‘Effects’ which gives access to a small selection of special effects in keeping with the trend that’s currently fashionable in D-SLR design. Nikon’s models have had post-capture effects available for a while via their ‘Retouch Menu’, but this is the first time there’s been a selection applicable at the point of capture. The choice is Night Vision, Colour Sketch, Miniature Effect, Selective Colour, Silhouette, High-Key and Low-Key and they can also be used in movie recording. Selective Colour, Colour Sketch and Miniature Effect have to be first set-up in the live view mode and these three are also available in the Retouch Menu for post-capture application

W

“the D5100 is slightly smaller than the model it replaces, but retains the variable-angle LcD monitor albeit now conventionally hinged at the side rather than from the lower edge.”

Live view is activated via a spring-loaded lever located below the main mode dial which replaces the D5000’s drive mode selector.

‘I’ button located on the rear shoulder provides access to the Nikon’s control screen which is used to adjust a wide selection of capture-related settings.

The back panel is pretty well all taken up by the D5100’s larger, 7.62 cm LCD monitor screen which now has a resolution of 921,600 pixels.

Nikon D-SLRs have been offering a growing choice of post-capture special effects (including filters) for a while, but the D5100 is the first model to offer a selection of at-capture effects. A number are adjustable.

Nikon has returned to a conventionally side-hinged variable-angle LCD monitor screen. The D5000’s bottom-hinging arrangement proved troublesome when the camera was on tripods with quick-release plates.

The D5100 is a little more compact and prettier looking than its processor. The GRP bodyshell isn’t sealed, but still looks and feels pretty rugged.

The D5100 continues Nikon’s policy of not incorporating an AF motor into its lower-end D-SLRs so it requires AF-S Nikkor lenses for autofocusing.

The D5100 is available as a body-only purchase, but the standard kit zoom adds opti-cal image stabilization to the feature list. Nikon’s AF-S series 18-55mm VR zoom is a cut above many kit lenses in terms

of optical performance.

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filters (i.e. yellow, orange, red and green) and a choice of nine toning effects, each with seven levels of density.

Up to nine edited ‘Picture Controls’ can be stored and given a new name if desired, and new ones can also be created in the supplied Nikon ViewNX2 software and then downloaded to the camera’s ‘Manage Picture Control’ submenu.

Dynamic range expansion processing is via Nikon’s ‘Active D-Lighting’ which analyses the image for brightness and contrast at the point of capture. There are four manual settings – Low, Normal, High and Extra High – or an automatic adjustment based on the image analysis. Underexposure is applied to preserve more detail in the highlights while the shadows are selectively brightened. There’s also an ADL bracketing function which captures one frame with ADL at work (at the set level) and one without. Importantly, Active D-Lighting can be switched off as the extra image processing required will slow the camera down. Alternatively, the non-active ‘D-Lighting’ processing can be applied post-capture via the Retouch Menu. When ‘Active D-Lighting’ is selected neither the contrast nor brightness parameters in the ‘Picture Control’ presets can be adjusted. New to the D5100 is an HDR capture mode which fires off two frames in quick succession with either a manually-set exposure variation (one, two or three stops) or an automatic variation based on the contrast range in the scene. HDR mode can also be combined with the ADL processing and there’s a ‘Smoothing’ function with High, Normal or Low settings to control the look of the edges.

In-camera processing is also available for lens distortion with compatible Nikkor optics.

Systems CheckThe D5100’s camera control systems are mostly carried over from its predecessor lock, stock and barrel. This starts with the autofocusing system which uses the same Multi-CAM 1000 module and has 11 focusing points. Only the central point is a cross-type array while the others are a

combination of vertical or horizontal line sensors. The focus points can be manually selected which the choice of ‘Dynamic Area’ and ‘3D Tracking’ AF modes which automatically switch points if the subject moves. In the ‘Auto Area’ mode the focusing point is selected automatically according to the subject’s size and position in the frame. Switching between the single-shot and continu-ous AF modes can also be performed either manually or automatically, and the latter has a predictive function to compensate for shutter lag.

which creates a new film. In Selective Colour three sampling points are provided for selecting the colours – via a target – to be retained while the rest of the image is desaturated. Miniature Effect allows the area of sharp focus to be adjusted for width, either horizontally or vertically while the Colour Sketch effect can be adjusted for colour saturation and the definition of the simulated pencil lines. The D5100 doesn’t quite match Pentax’s K-5 for sheer variety here, but when the Retouch Menu selections are taken into account it doesn’t come a bad second. There’s a good list of post-capture editing options which includes a set of ‘straight’ filter effects, red-eye correction, B&W conversion, colour balance adjustments, perspective control corrections and in-camera processing of RAW files to either JPEGs or TIFFs.

In The HandErgonomically and operationally, the D5100 continues to uphold Nikon’s reputation for being the best in the business in these areas. The camera just feels right in the hand, all the external controls are readily accessible (with the possible exception of the aforemention ‘menu’ button) and the menu system is logical in its design and efficient in its navigation. As on many current D-SLRs movie recording is accessed via the live view mode which, in turn, is activated by a large, spring-loaded lever located below the main mode dial. Movie start/stop is now via a dedicated button just behind the shutter release.

Apart from the new body and special effects, the D5100 also gets a new CMOS-type sensor, stepping up to 16.9 megapixels resolution and with an imaging area of 23.6x15.6 mm. This appears to be the same device as is used in the D7000, but obviously it has a dedicated version of Nikon’s ‘Expeed 2’ high-speed processor. This allows for video recording at the Full HD resolution of 1920x1080 pixels and continuous shooting in still photography at up to 4.0 fps.

It also enables the digitisation of RAW image files at 14-bits per RGB channel. The sensitivity range is equivalent to ISO 100 to 6400 with a two-stop push available to ISO 25,600. JPEGs can be recorded in three sizes and at three compression levels – fine (1:4), normal (1:8) and basic (1:16). RAW+JPEG capture is possible with the option of appending a full-size JPEG with either basic, normal or fine compression. The D5100 has a single memory

card slot which supports the SD, SDHC and SDXC formats.

Video clips are recorded in the MPEG4 format and H.264 codec with a choice of 24 fps and 25 fps speeds (in the PAL standard) and two quality settings (high or normal which equate to 18 and

10 Mbps at 1080p). In addition to the 1080p resolution, video can also be recorded at 720p and in standard definition at the VGA resolution. The onboard microphone is mono (albeit with selectable sensitivity settings), but the D5100 has a 3.5 mm stereo audio input for connecting an external mic which can then also be manually adjusted for sensitivity or switched to auto. The maximum clip duration has been increased to 20 minutes or a maximum file size of 4.0 GB whichever comes first. The image stabiliser in a VR lens is automatically activated during

movie recording. The level of video functionality is reasonable, especially as contrast-detection autofocusing is available and with auto tracking. The special effects, the ‘Picture Control’ presets (with any fine-tuning adjustments), the white balance settings and the ‘Active D-lighting’

processing can all be preselected. Exposure adjustment is possible during recording via the compensation correction (up to +/-3.0 EV) and or the exposure can be locked if shooting in the auto modes. As on the D7000, though, the anomaly continues in that whatever aperture is set at the time the camera is switched to live view mode is the aperture that will be used regardless of whether it’s subsequently changed or not.

Process WorkerThe D5100 retains the set of six ‘Picture Control’ presets which are standard across the range of non-professional Nikon D-SLRs. The list is Standard, Neutral, Vivid, Monochrome, Portrait and Landscape, and each provides a preset combination of sharpness, contrast, brightness, colour saturation and colour hue. Additionally, each of these parameters can then be manually fine-tuned which can be done individually or via a ‘Quick Adjust’ function which changes a number of them in one hit to save time. In the Portrait mode, for example, ‘Quick Adjust’ alters the sharpness, contrast and saturation together. The Monochrome preset (which doesn’t have ‘Quick Adjust’) has adjustments for sharpness, contrast

Low light/contrast assist is provided by a built-in lamp.

The D5100 continues Nikon’s policy of not incorporating a focusing motor in the camera body so it requires AF-S Nikkor lenses for autofocusing. If you’re buying an independent brand lens with a Nikon F mount (especially second-hand), make sure it’s compatible in this regard. Autofocusing in live view is via the contrast-detection method with the availability of a face detection mode.

Exposure control is based on Nikon’s 420-pixel RGB sensor which drives ‘3D Colour Matrix II’ multi-zone metering or the alternative centre-weighted average and spot measurements, the latter concentrated on a 3.5 mm diameter circle representing just 2.5 percent of the total imaging area. The standard choice of program, aperture- or shutter-priority auto and manual exposure control modes are backed by a program shift, an AE lock, compensation up to +/-5.0 EV and auto bracketing over three frames with up to +/2.0 EV of variation. All the exposure-related settings can be made in either one-third or half stop increments, preselected via the custom menu. There’s a choice of 16 subject/scene programs with five of them – portrait, landscape, child, sports action and close-ups – selectable via the main mode dial.

The rest are reached by turning the main mode dial to ‘Scene’ and then using the rear input wheel to scroll through the settings. The total number of scene modes on the D5100 is slightly less than was available on the D5000, but this is only because Silhouette, Low-Key and High-Key have been ‘repackaged’ as special effects.

Nikon’s ‘Scene Recognition System’ is retained, but this isn’t an auto scene selection function as the title might suggest. Instead it’s ‘background’ processing which uses data from the AF system, the imaging sensor and the metering’s 420-pixel RGB sensor to optimise the focusing, exposure and white balance. A database of 30,000 images is used as a reference to determine the best settings for the subject matter.

As before, the D5100’s shutter has a speed range of 30-1/4000 second with flash sync up to 1/200 second. The built-in flash has a metric guide number of 12 (at ISO 100) and is linked to Nikon’s i-TTL flash metering for balanced fill-in control. The additional modes are auto, red-eye reduction, slow speed sync and second curtain sync, most of which can be combined in one way or another. Flash compensation is available over a range of -3.0 to +1.0 EV. There’s also a manual mode which allows the flash power setting to

“the level of video functionality is reasonable, especially as contrast-detection autofocusing is available and with auto tracking.”

The external control layout is pretty straightforward and centres around the main mode dial on the top panel and the navigators on the rear panel.

The connection bay includes an input for an accessory stereo microphone. The D5100 moves up to video recording at the Full HD 1080p resolution.

The menu system retains the standard Nikon design and navigational sequences so they’re logical and efficient to get around.

There’s a choice of ‘Classic’ or ‘Graphic’ display designs, the latter provides the stylised aperture diaphragm with a surrounding dotted line to depict the shutter speed. There’s also choice of three different coloured backgrounds.

Special effects are accessed via the main mode dial and, as with many of the D5100’s settings, accompanied by an illustrative image.

“Ergonomically and operationally, the D5100 continues to uphold Nikon’s reputation for being the best in the business in these areas. the camera just feels right in the hand.”

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displays. Set to JPEG/large/fine capture and with an 8.0 GB Panasonic Class 10 SDHC memory card loaded, the D5100 fired off a burst of 20 frames in 5.096 seconds which represents a continuous shooting speed of 3.92 frames per second which is only a whisker below the 4.0 fps quoted in the specifications. However, as we’ve noted with quite a number of D-SLRs there is a discrepancy between the actual and quoted burst lengths. In reality, the quoted burst length is the number of frames that the buffer memory can accommodate, but not all at the maximum shooting speed. After a certain burst length, the camera will slow, but not stop. In the case of the D5100, it continued shooting after 20 frames, but at around 2.5 fps.

The test images were captured as JPEG/large/fine files with the supplied 18-55mm VR kit zoom and any additional processing such as ‘Active D-Lighting’ initially switched off. The colour reproduction in the Standard ‘Picture Control’ is very accurate in terms of both saturation and the rendering of hues. High levels of detailing are evident along with exceptionally smooth tonal gradations. Selecting the Landscape ‘Picture Control’ significantly boosts the saturation (although not excessively) and the contrast, but obviously there’s huge scope here for tailoring the way an image looks to suit personal preferences or the subject matter.

The reproduction of fine detailing and textures is very good, but some slight softening due to

be reduced down to 1/32. However, as on the D5000, the built-in flash can’t operate as the commander for a wireless TTL flash set-up.

The RGB metering sensor is also used to measure colour balance and the auto mode is supplemented by no fewer than 12 presets of which seven are for different types of fluorescent lighting. One custom measurement can be made and stored, and all the presets can be fine-tuned in both the blue-to-amber and green-to-magenta colour ranges. There’s a white balance bracketing function with an adjustment in the blue-to-amber range of up to plus/minus three steps.

Speed And PerformanceThe image review options comprise three pages of shooting data, a highlight warning and a thumbnail accompanied by either image data and a brightness histogram or, alternatively, a full set of RGB histograms. This is configured in the play-back menu and each element is selectable sepa-rately. During review or replay, you cycle through them via the navigator’s up/down actions.

The playback modes include 4/9/72 thumbnail pages plus a calendar-based thumbnail display and a zooming function which magnifies the image by up to a massive 27x. The playback zoom also operates on the thumbnails in the histogram

noise reduction processing is evident at very high magnifications. The RAW files processed through ViewNX2 did exhibit a slight increase in overall definition.

Noise levels are very low up to ISO 1600 and still good at ISO 3200, although some graininess is evident in areas of uniform tonality and there’s a loss of definition in the fine detailing. Noise increases steadily at ISO 6400 and the two boosted settings, although only at ISO 25,600 is it very obvious in terms of colour noise.

Obviously both the 11-point AF and 420-point Matrix metering are already proven performers in a number of Nikon D-SLRs and this doesn’t change with the D5100.

The VerdictAs we noted at the start of this test report, Nikon’s D5100 is up against some solid competi-tion. On paper it looks a bit more conservative than its rivals, but if it’s substance over style that you’re looking for then the D5100 under promises and over delivers. It handles well and the level of operational efficiency is high, both in terms of the external controls and screen-based settings. It’s a solid performer too, especially in terms of image quality, but also as far as its key control systems are concerned. In the end, it’s hard to find too much wrong with Nikon’s new entry-level+ D-SLR. It just gets on with the job and does it well.

Type: Fully automatic digital SLR with Nikon F bayonet lens mount (AF-S and AF-I lenses fully supported, all others with manual focusing only).Focusing: Automatic 11-point wide-area system using phase-detection type CCD sensor arrays (one cross-type array). Focus points may be selected manually or automatically by the camera with auto tracking. Auto or manual switching between one-shot and continuous AF modes, the latter with a predictive function. Sensitivity range is EV -1 - 19 (ISO 100). AF assist provided by built-in illuminator.Metering: 420-point ‘3D Colour Matrix II’, centre-weighted average, spot (3.5mm/2.5%) and i-TTL flash. Metering range is EV 0 to 20 (ISO 100/f1.4). Spot metering range is EV 2 to 20.Exposure Modes: Continuously-variable program with shift, shutter-priority auto, aperture-priority auto, metered manual, i-TTL auto flash and TTL flash. Plus 16 subject/scene modes. Shutter: Electronic, vertical travel, metal blades, 30-1/4000 second plus B. Flash sync to 1/200 sec-ond. Exposure compensation up to +/-5.0 EV in 1/3 or ½ increments.Viewfinder: Coverage = 95% vertical/horizontal. Magnification = 0.78x (50mm lens at infinity). LCD display and LED focus point indicators. Fixed focus-ing screen. Eyepiece strength adjustment built-in.Flash: Built-in pop-up unit with GN 12 power (ISO 100). Auto, fill-in, red-eye reduction, front/rear sync and slow speed sync modes. External flash units connect via hotshoe. Flash compensation range of -3.0 to +1.0 EV in 1/3 or ½ stop increments. Manual control down to 1/32 of full power.Additional Features: AE lock, multiple exposure facility (up to three shots with auto exposure adjustment), ‘Classic’ or ‘Graphic’ display styles (with a choice of three colour schemes), multi-mode self-timer (2 to 10 second delays, one to nine exposures), intervalometer, wireless remote triggering (with both front and rear IR receivers),

wired remote triggering, audible signals, auto power-off, 20 custom settings. Kit 18-55mm VR zoom lens has built-in optical image stabiliser. May be fitted with optional GP-1 GPS receiver.

DIGITAL SECTION

Sensor: 16.9 million (total) pixels CCD with 23.6x15.6 mm imaging area and 3:2 aspect ratio. Sensitivity equivalent to ISO 100-6400 (extendable to ISO 25,600).Focal Length Magnification: 1.5x.Formats/Resolution: Three JPEG compression settings, RAW output (lossless compression) plus RAW+JPEG capture. Three resolution settings; 4928x3264, 3696x2448 and 2464x1632 pixels. 24-bit RGB colour for JPEGs, 42-bit RGB colour for RAW files.Video Recording: Full HD = 1920x1080 pixels at 24 fps or 25 fps and 16:9 aspect ratio. HD = 1280x720 pixels at 24 fps or 25 fps and 16:9 aspect ratio. SD = 640x424 pixels at 25 fps and 3:2. MPEG 4 (H.264) AVC format. Clip length of up to 20 minutes in duration or 4.0 GB in file size. Built-in mono microphone with stereo microphone input.Recording Media: SD/SDHC/SDXC memory cards.Burst Rate: Up to 4.0 fps for a burst of 100 JPEG/large/fine frames or 13 RAW images. White Balance: TTL measurement. Auto control, 12 presets (seven for fluorescent lighting types) and one custom setting. Fine-tuning along the amber-blue and/or magenta-green axes is available for each preset and auto control.Interfaces: USB 2.0, mini HDMI, NTSC/PAL video, 3.5mm stereo mic input.Additional Digital Features: Live view with con-trast detection AF, built-in sensor cleaning (active and passive measures), variable-angle 7.62 cm LCD monitor (921,600 pixels), Adobe RGB and sRGB

colour spaces, long exposure noise reduction (on, off), high ISO noise reduction (off, low, normal, high), seven special effects modes (Night Vision, Colour Sketch, Miniature Effect, Selective Colour, Silhouette, High Key and Low Key), six ‘Picture Control’ modes (Standard, Neutral, Vivid, Monochrome, Portrait and Landscape), adjustable picture parameters (contrast, sharpness, colour saturation and colour hue with ‘Quick Adjust’ option), B&W contrast fil-ters and toning effects (nine colours/seven levels), ‘Active D-Lighting’ (off, low, normal, high, extra high, auto), ADL bracketing (two frames), HDR mode (with ‘Smoothing’ and ‘Exposure Differential’ adjustments), ‘Auto Distortion Control’ (on, off), luminance/RGB histogram displays, highlight alert, adjustable image display time, auto image rotation, auto playback, in-camera editing functions (D-Lighting, Red-Eye Correction, Trim, Monochrome, Colour Balance, Image Overlay, RAW Processing, Resize, Quick Retouch, Straighten, Colour Outline, Colour Sketch, Perspective Control, Miniature Effect, Selective Colour, Edit Movie,), adjustable fil-ter effects (Skylight, Warm, Red Intensifier, Green Intensifier, Blue Intensifier, Cross Screen, Soft), 4/9/72 thumbnail displays, calendar thumbnails, zoom playback (up to 27x), slide show with variable image display time, DPOF support, PictBridge support.Power: One 7.4 volt/1030 mAh rechargeable lithium-ion battery pack (EN-EL14 type).Dimensions (WxHxD): body only = 128.0x97.0x79.0 mm.Weight: body only = 510 grams (without battery pack).Price: $1849 body only. $1999 with AF-S DX Nikkor 18-55mm f3.5-5.6G VR zoom. $2499 with AF-S DX 18-105mm f3.5-5.6G ED VR zoom. Distributor: Nikon Australia Pty Ltd, telephone 1300 366 499 or visit www.nikon.com.au

NikoN D5100, $1999*

* with Nikkor AF-S 18-55mm VR zoom lens

Test images shot with the D5100 (as JPEG/large/fine files) exhibit excellent colour fidelity, high levels of detailing and good overall sharpness. Noise levels are low up to ISO 1600 and acceptable at both ISO 3200 and 6400.

VR-equipped Nikkor lenses provide optical image stabilisation.

A number of the at-capture special effects are adjustable – such as Colour Sketch and Selective Colour – but this has to be done via the live screen where the changes can be previewed.

The D5100 has an expanded range of scene modes which are accessed via the main mode dial and selected via the input wheel.

The ‘Graphic’ display also includes a representation of the main mode dial when settings are being changed. Note too, the alphanumeric warning display.

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Find the special three-issue ZINIO SUBSCRIPTION RATES

at AVHub.com.au and www.zinio.com/camera