Although there has been some overlap, digital SLR development has gone through some quite distinct phases.
Initially
the battle was to produce affordable models, and once this was achieved
manufacturers turned their attention to producing cameras with higher
pixel counts. This was followed by a push in sensitivity levels and
improved low-light performance.
During these development phases camera functionality has
also expanded, with manufacturers capitalising upon the benefits of
digital technology and introducing features such as Live View, video and
dynamic range optimisation systems. Now, there's a drive to make these
increasingly complex and versatile SLRs easier to use, while at the same
time helping photographers be more creative. The Nikon D5100, which serves as the Nikon D5000 replacement, typifies this era in DSLR evolution.
It may not have the 24 million pixels of the Nikon D3200,
but for many the D5100's 16.2 million pixels is enough. In addition,
the D5100 has an articulated 3-inch LCD screen, Special Effects and
fully automated Scene modes, along with the more advanced PSAM exposure
modes.
So on paper, it seems to offer pretty much
everything the aspiring photographer could wish for, with plenty of
opportunity to take creative images. Let's see.
Features
As Nikon's D5000 replacement, the Nikon D5100 sits above the Nikon D3100 and D3200, but below the D7000 in the lineup of Nikon DSLRs. It costs £550 in the UK and $750 in the US for the body only. From left to right: the Nikon D3100, D3200 and D5100Yet
the Nikon D5100 features the same 16.2-million-pixel CMOS sensor and
EXPEED 2 processor as the Nikon D7000. This means raw images are saved
as 14-bit files and users can expect similar quality results with the
two cameras.
However, like the Nikon D5000 it replaces,
the D5100's white balance and metering systems use information from a
420-pixel RGB sensor (the D7000 uses a 2,016 pixel RGB device) and its
autofocus (AF) system has 11 points. While
it may not have the 39 points of the D7000's AF system, the D5100's
Multi-CAM 1000 AF module performed well in the D5000 and Nikon D90
(which has not been discontinued; read our Nikon D90 review).
Like
the D7000, the D5100's native sensitivity can be set from ISO 100 to
6400, and there are four expansion settings topping out at the
equivalent of ISO 25,600 (Hi 2). On those rare occasions when this is
not high enough, Nikon D5100 users can select the Night Vision Special
Effect mode, which pushes the sensitivity to ISO 102,400.
This value is only matched by top-end DSLRs such as Nikon's full-frame D3s. However, while the D3s can shoot in colour at ISO 102,400, the D5100 can only record monochrome images. In
manual exposure or shutter priority mode when the shutter speed is
1/250sec or faster, the Nikon D5100 can shoot continuously at a maximum
rate of 4fps for around 100 highest quality JPEGs or 20 raw images or 12
simultaneous raw and JPEG files when a class 6 SD card such as a
SanDisk Extreme III is installed.
While this is
impressive for a camera of this level, keen action photographers may
look enviously at the 6fps shooting offered by the D7000. It's also
worth bearing in mind that it takes around 1 min 50 sec for the D5100 to
write 100 Fine JPEGs to the SD card.
Perhaps the most
noticeable upgrade that the Nikon D5100 makes on the D5000 is with the
LCD, which goes from being a 2.7-inch 230,000 dot display to a 3-inch
920,000 dot screen. This matches the size and resolution of the D7000's
screen and it should make a significant difference when using Live View
and focusing manually. It
was something of a disappointment that the D7000 doesn't have an
articulated screen, but Nikon has not made this mistake with the Nikon
D5100. Unlike the D5000, however, which had the articulation join at the
bottom on the screen, the D5100's screen is hinged on the left. This
makes the screen easier to use when the camera is on a tripod.
In
addition to the Active D-Lighting (ADL) dynamic range optimisation
system that we now expect with Nikon SLRs, the Nikon D5100 has an HDR
(high dynamic range) mode. When this is selected the camera takes two
exposures, one over and one under the 'correct' exposure and merges them
automatically into a single image with more shadow and highlight detail
than normal. It could prove useful in high contrast conditions if the
effect is subtle and not overtly 'HDR'.
Although there's a
lot packed into the D5100, including full HD (1080p) video and multiple
exposure capability, Nikon seems proudest of its Effects modes. These
allow the user to apply special effects (Night Vision, Color Sketch,
Miniature, Selective Color, Silhouette, High Key and Low Key) to images
as they are captured – rather than post capture as with the Nikon D3100
and D7000.
Furthermore, the impact of these effects can
be seen on the screen when the camera is in Live View mode. While these
are fun and allow the user to create some interesting images, it's
disappointing that its not possible to save raw files at the same time
as the JPEGs when these effect options are selected.
Build and handling When
gripping and squeezing the Nikon D5100 a little harder than strictly
necessary it becomes clear that it is, on the whole, very well built. It
feels nicely put together and designed to last.
The
question mark is over the SD card port cover that, when closed, still
moves under a tapping finger. It's not a major point, but it doesn't
quite match the high quality feel of the rest of the camera.
One
knock-on effect of the success of compact system cameras appears to be
that SLR manufacturers are making smaller cameras. Hence, at 128 x 97 x
79mm and weighing in at around 560g (with battery and card) the D5100 is
approximately 10% smaller and lighter than the D5000 it replaces and the articulated screen is 17% thinner. From left to right: Nikon D3100, D3200 and D5100This
and the larger LCD screen has meant that Nikon has had to make a few
changes to the D5000's control layout for the D5100. It would certainly
be hard to find room for any additional buttons on the rear of the D5100
without seriously limiting space for the photographer's thumb.
Perhaps
the most significant difference in the control layout between the two
cameras is that the Live View button found on the rear of the D5000 has
gone and instead the D5100 has a sprung lever switch underneath the main
mode dial. This
switch feels well made and the D5100 responds quickly to its use, but
given that using Live View means looking at the screen, it is debatable
whether moving its activation control to the top-plate is the best
solution. It's easy to mistake it for the camera's power switch.
Similarly,
movie recording is now started and stopped by pressing the dedicated
button, which is also on the camera's top-plate. Nikon would argue that
there is logic to putting the shooting or recording buttons close
together. Also,
because the D5100 has an articulated screen, you may find you more
often view the camera from above than you would with a camera with a
fixed screen, and the top-plate controls are easier to locate when
shooting in this way.
Although the screen provides a
clear view of the image being composed and the magnified view has enough
detail to facilitate manual focus, reflections are an issue in bright
sunlight. While it is still possible to compose the image accurately,
and the shade of a hand will ensure enough detail is visible for manual
focusing, it can sometimes be tricky to make out some of the smaller
on-screen icons.
As the viewfinder offers just 95%
coverage (standard for a camera of this level), there is scope for a few
surprises around the image frame.
On the plus side,
however, even with the AF-S Nikkor 18-55mm f/3.5-5.6 G kit lens, the
view is bright and clear enough to allow manual focusing – although in
many instances it may be better to do this while looking at the
magnified Live View image.
When the Color Sketch or
Miniature Special Effects modes are activated on the screen the Live
View image becomes very jerky, presumably because of the demand on the
D5100's processing power. Nevertheless,
the effects are easy to use and generally work well, although a grainy
monochrome mode might be preferable to the Color Sketch mode. It would
also be nice to have control over the exposure or at least exposure
compensation when these modes are selected.
Small
niggles aside, the Nikon D5100 is easy to get to grips with, and while
there might not be direct control for aspects such as sensitivity, drive
mode, white balance and metering, these and more can be accessed
quickly via the Information Display.
Performance
Chroma noise is much less of an issue in high sensitivity
images than it used to be, and it's impressive just how little coloured
speckling is visible in images captured with the D5100 in its highest
ISO setting, ISO 25,600 (equivalent) when noise reduction is set to the
default Normal value.
At 100% on screen (or at actual
pixels in Photoshop), there is some fairly subtle false colouring
visible, and there's an obvious speckled texture of luminance noise, but
the images are still usable and many cases would make decent A3 (23.4 x
16.5-inch) prints.
As
we would expect, images improve significantly when the sensitivity
settings is kept below the expansions settings and while there is a dip
in the level of detail resolved at ISO 6400, the results are still very
respectable. In
the past Nikon's auto white balance (AWB) system has been accused of
being a little too accurate, so that warm light is rendered neutral and
some of the atmosphere of the scene is lost. The Nikon D5100's AWB
system seems to fare a little better on this score, but there is a
tendency for it to make scenes captured under hazy sunshine look a
little too yellow.
This is especially noticeable with
landscapes containing lush, green grass, but it is effectively countered
by switching from the Standard Picture Control mode to Landscape mode,
since this boosts greens and blues.
Nikon has some of the
best phase detection AF systems around, and the D5100's doesn't
disappoint. Paired with a Nikkor AF-S 24-70mm f/2.8G ED, it proved up to
the job of keeping pace with cars moving at 80mph on a race track. The
contrast detection system available in Live View mode is also good,
only struggling to find sharp focus in fairly low light or when the
subject is very close. That said, the subject tends to glide into sharp
register rather than snapping into focus as it does with the phase
detection system.
There's very little to say about the
D5100's metering system, apart from it works very well. Although the
exposure compensation facility still comes in handy occasionally, in its
Matrix mode the system usually takes brighter or darker than average
subjects in its stride. The camera's dynamic range is also good, so
highlight and shadow detail isn't lost earlier than it should be.
All things considered, the Nikon D5100 is a very capable camera.
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