The Nikon D7100 is the company's latest digital SLR for enthusiasts and semi-professional photographers. It's an update to the Nikon D7000, which has been a firm favourite at the Expert Reviews office since its launch back in 2010.
Much of the D7000's success stems from its ergonomics and controls,
so it's good to see that very little has changed here. The large optical
viewfinder, substantial 950-shot battery life, passive LCD screen for
displaying settings and dual command dials distinguish it from cheaper
SLRs, such the Nikon D5200. Meanwhile, the twin SDXC card slots and weather-sealed magnesium alloy body are unusual to find even at this price.
We really like the control system, with dedicated buttons for a wide range of functions including ISO speed, white balance, metering, autofocus mode and bracketing. These are adjusted by holding down the button and turning the command dials. The dual dials are used to good effect, such as adjusting the ISO speed with the rear dial and toggling Auto ISO with the front dial. Many of these buttons are accessed with the left hand, leaving the right hand in charge of the dials; it's this two-handed operation that we find extremely fast and intuitive. The main menu isn't the quickest to navigate, but with so many physical controls, there's very little need to visit it. Exposure mode and drive mode have dedicated dials, both of which have locks to avoid accidental use.
External changes compared to the D7000 are hard to spot, but there
are some welcome tweaks. The 3.2in screen is a little bigger and its
resolution has increased to 1.2 million dots, with white pixels joining
the usual red, green and blue for increased brightness. There's a new
button marked i, which gives quick access to an additional ten functions
via the screen, such as HDR shooting, colour presets, noise reduction
strength and the function of the two customisable buttons on the front
of the camera.
The live view, video record and autofocus point lock buttons have been rearranged to a more logical layout, and there's a lever to toggle the live view mode between photo and video duties. This sets the aspect ratio to 3:2 or 16:9 (for photos and videos respectively) and also makes it clear that videos can't use shutter speeds slower than the selected frame rate, or that the aperture can't be adjusted while recording. These restrictions weren't so obvious on the D7000.
There's no discernible improvement to the live view mode, though.
Autofocus becomes frustratingly slow in this mode, sending shot-to-shot
times plummeting from 0.45 to 4.8 seconds in our tests. Live view is
still useful for fine-tuning manual focus, and the D7100 reveals sharper
detail than the D5200 when magnifying the live view image.
More points should also improve the accuracy of the 3D tracking focus mode. We didn't have the D7000 to compare it with but the D7100 did a fine job of tracking subjects as they moved nearer, further and around the frame, with more than half the shots in sharp focus.
Continuous raw performance was much shorter-lived, starting at 4.9fps and slowing to 1.4fps after just five frames (the D7000 lasted for ten). We were able to raise the initial speed back up to 5.8fps by switching from 14- to 12-bit raw formats, but it still only lasted for five frames – less than a second – before slowing dramatically. The 7fps, 1.3x crop mode managed nine frames before slowing.
Continuous JPEG shooting also took a big hit when Auto distortion control (for counteracting lens distortion) was enabled, slowing to 1.9fps after seven frames. The bottom line is that sustained fast performance is possible, but only if you're willing to forego raw mode and distortion correction, and possibly lower the resolution. These are choices we'd prefer not to have to make on a £1,000 camera.
Otherwise, video quality was excellent, and we were pleasantly surprised to find very little evidence of moiré interference – something that previous Nikon SLRs' video modes have all suffered from. Clumsy video autofocus remains unresolved, though. It must be updated on demand and spoiled the soundtrack when using the internal microphone. Shutter- and aperture-priority modes aren't available for video, but manual exposure is, making this a solid choice for serious video work.
Our test shots showed only a little evidence of either effect. We did our level best to create some moiré interference, but it took a lot of effort to generate some mild examples. We didn't spot it once in the rest of our test shots.
This is the worst example of moiré interference we could muster (the faint horizontal stripes on the roof)
Photos were extremely sharp, and the fidelity of subtle details in bright conditions was beyond reproach. However, direct comparisons with the D5200, which shares the same 24-megapixel resolution but uses an OLPF, weren't as dramatic as we expected. We noted in our review of the D5200 that we often struggled to achieve sharp focus, which appeared to be mostly down to problems with its kit lens' optical stabilisation (a problem we were thankfully unable to replicate on the D7100 and its kit lens).
With optical stabilisation switched off on both cameras, there wasn't a huge amount to choose between them for detail. The differences became smaller when we used the same lens on both cameras, and disappeared completely when using the same lens and processing their raw output in Lightroom.
Comparing the D5200 and D7100, the D7100 shows a small but
decisive advantage for detail here. However, the D7100's superior
autofocus and kit lens could well have played just as much a roll as the
D5200's OLPF (Click to enlarge)
Under controlled studio conditions using the same 18-105mm
lens on both the D5200 and D7100, the D7100's detail advantage is very
slight. The 18-megapixel Canon EOS 100D compares well to the
24-megapixel Nikons (Click to enlarge)
Switching from JPEGs to raw (processed to maximise detail in
Lightroom 5), the differences between the D5200 and D7100 all but
disappear. The EOS 100D still looks pretty good in comparison (Click to
enlarge)
Noise levels at fast ISO speeds were impressively low, especially considering the high resolution. Comparing raw output in Lightroom with noise reduction switched off, noise was significantly lower than from Canon's latest-generation 18-megapixel sensor (we tested the EOS 100D) at ISO 6400 and above. Comparing their JPEG output narrowed the gap – it seems that Canon's noise reduction is superior to Nikon's – but the D7100 still came out on top at ISO 12800 and 25600. It even nipped at the heels of the full-frame D610, particularly when comparing their JPEG output. As such, it seems safe to say that this is the best APS-C sensor we've seen.
ISO 6400 produces print-worthy results, particularly after processing raw files in Lightroom
Comparing JPEG output at ISO 12800, these three cameras are
surprisingly close in terms of noise and detail levels. The Nikon D7100
should by rights come last considering it has a much higher pixel
density than the 18-megapixel EOS 100D and the full-frame 24-megapixel
D600
The three cameras’ raw output (without noise reduction)
reveals D600’s finer, subtler noise texture, but the D7100 squarely
beats the EOS 100D here
Here are the same three raw files again, this time with noise reduction applied in Lightroom 5
Conclusion
The D7100 costs around £1,050 with the 18-105mm kit lens, or £870 body only. These prices – and its specifications – mean there isn't a direct equivalent model in other manufacturers' SLR ranges. This can make it a little tricky to work out if it's the right model for you. We'll take you through all of the options to helpe, though.
If you're after a well-priced enthusiast camera, the Nikon D7100's weather-proof body and great handling make it the perfect choice. Before you get your wallet out, the real competition comes in when you start to look at the current-crop of lower-price full-frame DSLRs, such as the Nikon D610
Available for £1,499, the D610 has the same resolution (24.2
megapixels), but in a full-frame sensor. This means less noise in shots
and better ISO performance. We also found that depth-of-field looked
better on the D610. Full-frame cameras really are a step in in image
quality and it's generally the point that all amateur photographers want
to get to in the long-run.
Of course, the choice is always one of compromises. With the D610 you have to pay more and you'll need full-frame FX lenses, which are more expensive, as there's more glass in them. While telephoto lenses are easy for cropped-sensor cameras, such as the D7100 (a 70-300mm zoom acts like a 105-450mm lens), on a full frame camera you get the focal lengths written on the side. Admittedly it's easier to get good wide-angle lenses for full frame, but if you're going to do a lot of wildlife photography on the D610, it means bigger and more expensive lenses.
Opt for the Nikon D7100 and you get slightly better auto-focus, and cheaper DX lenses to choose from. However, you can buy full-frame lenses as an investment now, so that if you do upgrade to a full frame camera, you can maintain the same lenses. However, the downsides are worse low-light performance, and a poorer depth-of-field.
A larger concern is going to be price, with the well-priced D610 still £700 (or so) more expensive than the D7100 (body only). That's quite a chunk of money and may force your hand. If you are going to opt for the D7100 now, it may be worth buying full-frame lenses for it, so you're ready for an upgrade to a full-frame model down the line.
If you do choose the D7100, you're getting a great camera. It's not as much of a stand-out, groundbreaking camera as the D7000 was when it first appeared. Still, being spoiled for choice doesn't diminish the D7100's appeal. The short-lived continuous raw speed is our only serious disappointment, especially as this could have been the perfect camera for wildlife enthusiasts with its large viewfinder, sophisticated autofocus and weather-proofing. Otherwise, it's very hard to fault, with class-leading image quality, exceptional ergonomics and sophisticated autofocus that keen photographers will really appreciate.
We really like the control system, with dedicated buttons for a wide range of functions including ISO speed, white balance, metering, autofocus mode and bracketing. These are adjusted by holding down the button and turning the command dials. The dual dials are used to good effect, such as adjusting the ISO speed with the rear dial and toggling Auto ISO with the front dial. Many of these buttons are accessed with the left hand, leaving the right hand in charge of the dials; it's this two-handed operation that we find extremely fast and intuitive. The main menu isn't the quickest to navigate, but with so many physical controls, there's very little need to visit it. Exposure mode and drive mode have dedicated dials, both of which have locks to avoid accidental use.
The live view, video record and autofocus point lock buttons have been rearranged to a more logical layout, and there's a lever to toggle the live view mode between photo and video duties. This sets the aspect ratio to 3:2 or 16:9 (for photos and videos respectively) and also makes it clear that videos can't use shutter speeds slower than the selected frame rate, or that the aperture can't be adjusted while recording. These restrictions weren't so obvious on the D7000.
Focus speed
The majority of changes compared to the D7000 are inside the camera. The sensor's resolution is up from 16 to 24-megapixels, and it dispenses with an optical low-pass filter to maximise detail levels (more on this later). The autofocus sensor now has 51 points, including 15 cross-type points for increased sensitivity. The D7000 already lead the way at this price with its 39 points, but we're more than happy to have even more. The dense cluster of points covers most of the frame, and makes it easy to focus precisely on the subject rather than have to line the subject up with an autofocus point.More points should also improve the accuracy of the 3D tracking focus mode. We didn't have the D7000 to compare it with but the D7100 did a fine job of tracking subjects as they moved nearer, further and around the frame, with more than half the shots in sharp focus.
Shooting speed
Continuous shooting performance is quoted as 6fps – the same as the D7000. However, the higher resolution has taken its toll on the camera's endurance. With a fast SDHC card, the D7000 kept going at 6fps for 100 shots. With the D7100, it only managed 18 frames at 5.9fps before it slowed to 3.4fps. That's not a terrible result, though, and will probably suffice in most situations. There's also a 1.3x crop mode, which uses a smaller central area of the frame to give 15.3-megapixel photos at 7fps (6.8fps in our tests). That lasted for 24 frames before slowing to 4.2fps.Continuous raw performance was much shorter-lived, starting at 4.9fps and slowing to 1.4fps after just five frames (the D7000 lasted for ten). We were able to raise the initial speed back up to 5.8fps by switching from 14- to 12-bit raw formats, but it still only lasted for five frames – less than a second – before slowing dramatically. The 7fps, 1.3x crop mode managed nine frames before slowing.
Continuous JPEG shooting also took a big hit when Auto distortion control (for counteracting lens distortion) was enabled, slowing to 1.9fps after seven frames. The bottom line is that sustained fast performance is possible, but only if you're willing to forego raw mode and distortion correction, and possibly lower the resolution. These are choices we'd prefer not to have to make on a £1,000 camera.
Video mode
The video mode has some useful upgrades. There's a headphone out to complement the microphone input, plus a stereo rather than mono built-in microphone. The frame rate is no longer fixed at 24fps, with a choice of 24p, 25p and 30p, plus 50i and 60i in 1.3x crop mode. It's a bit daft that the crop mode must be set elsewhere first, or else the 50i and 60i options are greyed out – why not just perform the crop automatically? There should be more than enough detail from the sensor to produce sharp 1080p video from this 1.3x crop area, but videos in this mode weren't as detailed as when using the full sensor area.Otherwise, video quality was excellent, and we were pleasantly surprised to find very little evidence of moiré interference – something that previous Nikon SLRs' video modes have all suffered from. Clumsy video autofocus remains unresolved, though. It must be updated on demand and spoiled the soundtrack when using the internal microphone. Shutter- and aperture-priority modes aren't available for video, but manual exposure is, making this a solid choice for serious video work.
Image quality
Our SLR photo quality tests rarely throw up big surprises, but we were interested to see the effect of the D7100 not using an optical low-pass filter (OLPF). In almost all other digital cameras, the OLPF softens details very slightly to avoid moiré interference – the rippling patterns that are caused by two regularly repeating textures that are overlaid on top of each other, such as two layers of translucent fabric. It also happens between the regular pattern of pixels on a camera's sensor and repeating textures such as fabric and bricks. In theory, omitting the OLPF on the D7100 should improve image sharpness, but at the increased risk of moiré.Our test shots showed only a little evidence of either effect. We did our level best to create some moiré interference, but it took a lot of effort to generate some mild examples. We didn't spot it once in the rest of our test shots.
Photos were extremely sharp, and the fidelity of subtle details in bright conditions was beyond reproach. However, direct comparisons with the D5200, which shares the same 24-megapixel resolution but uses an OLPF, weren't as dramatic as we expected. We noted in our review of the D5200 that we often struggled to achieve sharp focus, which appeared to be mostly down to problems with its kit lens' optical stabilisation (a problem we were thankfully unable to replicate on the D7100 and its kit lens).
With optical stabilisation switched off on both cameras, there wasn't a huge amount to choose between them for detail. The differences became smaller when we used the same lens on both cameras, and disappeared completely when using the same lens and processing their raw output in Lightroom.
Noise levels at fast ISO speeds were impressively low, especially considering the high resolution. Comparing raw output in Lightroom with noise reduction switched off, noise was significantly lower than from Canon's latest-generation 18-megapixel sensor (we tested the EOS 100D) at ISO 6400 and above. Comparing their JPEG output narrowed the gap – it seems that Canon's noise reduction is superior to Nikon's – but the D7100 still came out on top at ISO 12800 and 25600. It even nipped at the heels of the full-frame D610, particularly when comparing their JPEG output. As such, it seems safe to say that this is the best APS-C sensor we've seen.
Conclusion
The D7100 costs around £1,050 with the 18-105mm kit lens, or £870 body only. These prices – and its specifications – mean there isn't a direct equivalent model in other manufacturers' SLR ranges. This can make it a little tricky to work out if it's the right model for you. We'll take you through all of the options to helpe, though.
If you're after a well-priced enthusiast camera, the Nikon D7100's weather-proof body and great handling make it the perfect choice. Before you get your wallet out, the real competition comes in when you start to look at the current-crop of lower-price full-frame DSLRs, such as the Nikon D610
Of course, the choice is always one of compromises. With the D610 you have to pay more and you'll need full-frame FX lenses, which are more expensive, as there's more glass in them. While telephoto lenses are easy for cropped-sensor cameras, such as the D7100 (a 70-300mm zoom acts like a 105-450mm lens), on a full frame camera you get the focal lengths written on the side. Admittedly it's easier to get good wide-angle lenses for full frame, but if you're going to do a lot of wildlife photography on the D610, it means bigger and more expensive lenses.
Opt for the Nikon D7100 and you get slightly better auto-focus, and cheaper DX lenses to choose from. However, you can buy full-frame lenses as an investment now, so that if you do upgrade to a full frame camera, you can maintain the same lenses. However, the downsides are worse low-light performance, and a poorer depth-of-field.
A larger concern is going to be price, with the well-priced D610 still £700 (or so) more expensive than the D7100 (body only). That's quite a chunk of money and may force your hand. If you are going to opt for the D7100 now, it may be worth buying full-frame lenses for it, so you're ready for an upgrade to a full-frame model down the line.
If you do choose the D7100, you're getting a great camera. It's not as much of a stand-out, groundbreaking camera as the D7000 was when it first appeared. Still, being spoiled for choice doesn't diminish the D7100's appeal. The short-lived continuous raw speed is our only serious disappointment, especially as this could have been the perfect camera for wildlife enthusiasts with its large viewfinder, sophisticated autofocus and weather-proofing. Otherwise, it's very hard to fault, with class-leading image quality, exceptional ergonomics and sophisticated autofocus that keen photographers will really appreciate.
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