Nikon D7100 Hands-on Preview

The arrival of the 24MP D7100 comes two-and-a-half years after the announcement of its predecessor theD7000, and it’s a pretty serious upgrade. Significantly, Nikon Europe’s presentation of the camera describes the D7100 as the company’s ‘flagship DX model’, and omitted mention of the D300S in the company’s DSLR lineup. Certainly, the gap between the D7100 and D600 now leaves little obvious room for a ‘D400.’

It was only a matter of time before 24MP resolution became standard across Nikon’s entire range of DX-format APS-C DSLRs, and lo and behold – the 24MP D7100 is the latest in the series, but this isn’t just the sensor from a D5200 packaged a newer body. In fact, this would be a fundamental misunderstanding of the new camera.

The critical thing here is that despite the fact that the D7100 is Nikon’s third DX-format 24MP DSLR, its sensor is new, and unique in Nikon’s stable. In a first for Nikon, the D7100′s sensor lacks an optical low-pass filter (OLPF). The D800E, Nikon’s highest-resolution DSLR has the effect of its OLPF ‘cancelled out’, but the D7100, like the Pentax K-5 IIs, omits it altogether. The result should be higher resolution than is possible from the conventional 24MP sensors in the D5200 and D3200, and Nikon clearly feels comfortable with the associated higher risk of moiré in fine patterns – one of the few black marks against the 36MP D800E when we tested it last year.

The D7100′s 24.1MP CMOS sensor does not include an optical low-pass filter (OLPF). This is the first time Nikon has taken this approach – the high-end D800E has the effect of its OLPF ‘cancelled out’ for better resolution, but in theory, doing away with it altogether should give even better detail.

Compared to its predecessor the D7000, the D7100 doesn’t just offer an upgraded sensor with a higher pixel-count. It also features a significantly upgraded AF system, with 51 AF points (15 cross type) as opposed to 39 in the older model. It shares these specifications, and the Multi-Cam 3500DX designation with the D300S, but Nikon promises the autofocus algorithms from the D4 which could, in part, explain the extended sensitivity range (with the D7100 able to focus in light as low as -2EV, according to its specifications).

The AF points cover a wider proportion of the D7100′s frame, as well as offering greater definition within this area which, combined with those D4-derived algorithms should make the D7100 a more versatile camera when faced with capturing sports or fast action. The D7100′s processing should also live up to the D4′s standards – offering better color reproduction and improved noise reduction – helping earn it the Expeed 3 name.

The improvements aren’t limited to still image capture – the D7100 also offers a nicely upgraded movie mode compared to the D7000. It gains 1080p30 shooting, rather than 24p, a built-in stereo microphones and an optional 1.3X crop mode, giving an effective focal length increase of 2X (making a 50mm lens behave like a 100mm). In this crop mode 50/60i movie recording is available, which suggests it comes from 50/60p, rather than being 25/30p capture which is then segmented, but Nikon is not clear on the distinction. Certainly the cropped mode allows faster frame-rates, since stills capture (now at 15MP) increases a touch, to 7fps.

The D7100 also supports Nikon’s WU-1a Wi-Fi unit, which plugs into the camera’s accessory terminal and allows images to be transmitted wirelessly to a smartphone or tablet for uploading to social networks. The device can also be used as a remote control for the camera, complete with Live View, which is potentially a neat way of setting up self-portraits or group shots. If flash is your thing, the D7100′s built-in flash can be used either as the sole source of illumination or as a commander for a group of Speedlites.

A logical and welcome improvement to the D7100 compared to the D7000 is the addition of the same improved Auto ISO program that we first saw on the D800, and latterly the D5200. This adds the ability to set the minimum shutter speed automatically based on the focal length of the lens in use, with a choice of five settings that bias towards faster or slower speeds. This fixes one of our biggest criticisms of older Nikon DSLRs, and makes Auto ISO more suitable for use with zoom lenses.

New in the D7100 is a ‘spot white balance’ feature, which allows you to set white balance when shooting in live view mode quickly and easy, by simply selecting an area of the scene from which to take the reading. This promises to be much easier than the conventional Nikon approach to setting custom white balance, which is far from intuitive, to say the least…

Nikon D7100 key features

• 24.1MP DX format CMOS sensor, with no OLPF
• EXPEED 3 processing
• ISO 100-6400 standard, up to 25600 expanded
• Max 6 fps continuous shooting in DX mode, 7fps in 1.3X crop mode
• 51 point AF system, 15 sensors cross type
• 2016 pixel RGB metering sensor
• Spot white balance in live view mode
• 1080 60i/30p video recording, built-in stereo mic, mic jack and audio monitoring jack
• Pentaprism with 100% coverage and 0.94X magnification
• 3.2″, 1.2m-dot LCD screen (640 x 480 X RGBW)
• Front and rear IR receivers
• Equivalent water and dust resistance to D800/D300S

Compared to the Nikon D7000

Physically, the D7100 is very similar to its predecessor. In fact, you’d have to look twice at the new model to really tell it apart from the older D7000. With the exception of the new movie button on the top-plate the key controls are basically the same, and fall in basically the same places. The majority of the interesting stuff is hidden away inside the D7100′s magnesium-alloy and polycarbonate shell. Here’s how the major specifications of the two cameras compare.

	Nikon D7100	Nikon D7000
Sensor resolution (type)	24MP CMOS (no OLPF)	16MP CMOS
Autofocus System	51-points with 15 cross-type	39 points with 9 cross-type
ISO sensitivity range	100-6400 (H1 and H2 expansion up to 25,600 equiv)
Display size / resolution	Fixed 3.2″, 1.2m-dot LCD	Fixed 3″, 920k-dot LCD
Maximum framerate (DX mode)	6 fps
Movie Mode	1080 60i/30p	1080/24p
Battery life (CIPA)	920 shots	1050 shots
Dimensions	135 x 106 x 76 mm (5.2 x 4.1 x 3.0 in)	132 x 105 x 77 mm (5.2 x 4.1 x 3.0in)
Weight (with battery)	765 g (1.7 lb)	780 g (1.7 lb.)

If you’re new to digital photography you may wish to read the Digital Photography Glossary before diving into this article (it may help you understand some of the terms used).

Conclusion / Recommendation / Ratings are based on the opinion of the reviewer, you should read the ENTIRE review before coming to your own conclusions.Images which can be viewed at a larger size have a small magnifying glass icon in the bottom right corner of the image, clicking on the image will display a larger (typically VGA) image in a new window. To navigate the review simply use the next / previous page buttons, to jump to a particular section either pick the section from the drop down or select it from the navigation bar at the top. DPReview calibrate their monitors using Color Vision OptiCal at the (fairly well accepted) PC normal gamma 2.2, this means that on our monitors we can make out the difference between all of the (computer generated) grayscale blocks below. We recommend to make the most of this review you should be able to see the difference (at least) between X,Y and Z and ideally A,B and C.

Nikon D7100 specifications

 

Body & Design

Ergonomically, the D7100 is a slight update to the D7000, and incorporates the now-expected changes that we’ve started to see consistently made across the current generation of Nikon’s DSLR lineup. Someone coming to the D7100 from the older model will likely find most of the key controls right where they’d expect, and the same applies to D600 or D800 owners looking at the D7100 as a second body. This consistency is generally a good thing, but it does mean that one of our major gripes about previous Nikon DSLRs – the position of the ISO button – is unchanged in the D7100. It’s still in the middle of a strip of buttons on the left of the rear LCD, hard to find by touch. We’d much prefer a top-mounted ISO button like the D800 or Canon’s now-standard position, adjacent to the shutter button.

Moving on to the differences though – the ISO button might still be in the same place compared to the D7000 but the magnification buttons on the rear of the D7100 are in the opposite position, with the plus (zoom in) button now being above the minus (zoom out) button. This will almost certainly cause frustration in image review mode for anyone used to the D7000 (but D600 users will already be familiar with this layout).

Also, the D7000′s distinctive sprung ‘trigger’ switch for live view has gone, to be replaced by the same two-position still and movie mode live view switch that features on all Nikon’s more expensive models. Movie recording is initiated with a dedicated button on the top-plate – again, different to the D7000 but in common with other recent Nikon DSLRs.

The D7100 does feature one entirely new button, for those who get excited about such things – the lowermost button to the left of the LCD display on the rear of the camera is a new ‘i’ control which brings up a customizable settings screen. This removes the necessity to quit live view and enter the camera’s menu system to make function changes.

	A new ‘i’ button gives ‘one press’ access to onscreen controls for commonly used functions. For normal viewfinder shooting it directly enters Nikon’s familiar active control panel to change settings.New to the D7100, it also offers direct access to commonly used settings in Live View and Playback modes (much like Canon’s ‘Q’ button).

Apart from these little changes, the D7100 is a DSLR cast firmly in Nikon’s current mold. It also offers a full array of connectors – along with the usual HDMI and USB/AV out, there’s a stereo microphone input for movie recording, and a multi-function port that accepts both Nikon’s optional GP-1 GPS unit, and the MC-DC2 electronic cable release. The camera also has also front and rear receivers for the ML-L3 wireless remote. New compared to the D7000 is a headphone socket for monitoring sound during movie recording.

The ports on the D7100 are arranged behind three hinged doors. The separation means you only have to leave a narrow door open if you choose to attach the WU-1a Wi-Fi module – the least awkward implementation we’ve seen on a Nikon so far.

A small feature, but one we’re very pleased to see on the D7100, is the ability to customise the rear ‘OK’ button to be a one-click magnifier in playback mode. This is a huge time-saver that we’ve come to really appreciate when reviewing images taken with the D800 and D4, but is frustratingly absent from the D600.

Top of camera

There’s nothing much new here, apart from the stereo microphones just in front of the hotshoe on the D7100′s pentaprism. Apart from that, the D7100′s top-plate is pretty well identical to that of the D600, but this isn’t a bad thing. The top-plate hosts most of the main shooting controls. On the far left you’ll see the D7100′s lockable exposure mode dial, now featuring ‘EFFECTS’ modes and on the right, the remaining shooting controls.

The D7100′s on/off switch is concentric with the shutter button, with the exposure compensation and red movie-record buttons immediately behind. The latter is only active in movie live view mode, which is entered by pushing the live view button on the D7100′s rear (after you’ve selected movie mode from the stills/movie live view switch).

In your hand

The D7100 is a very solid camera that feels like an ever-so-slightly slimmed-down D600. The body shell is predominantly magnesium alloy, and thick rubber coats the hand grip, giving a real sense of a solid, well put-together camera. As with all high-end Nikon DSLRs, the D7100 has two rubberized control dials, one on the front above the hand-grip and one on the rear, for operation with the right thumb.

Viewfinder/screen

One figure hidden away in every SLR’s spec is the size of the viewfinder (often in a format that makes comparison between competing models impossible). The size of the viewfinder is a key factor in the usability of an SLR – the bigger it is, the easier it is to frame and focus your shots, and the more enjoyable and involving process it is.

Because of the way viewfinders are measured (using a fixed lens, rather than a lens of equivalent magnification), you also need to take the sensor size into account, so the numbers in the diagram below are the manufacturer’s specified magnifications divided by the respective ‘crop factors’. The D7100 has an excellent viewfinder for its class – offering 100% coverage and a magnification of 0.94x – the same as its predecessor the D7000.

Interestingly, the D7100′s viewfinder no longer features an LCD display for key shooting settings, but has been updated to an OLED, which offers noticeably better clarity. It’s a small addition to the feature set but it really does make a positive difference.

The D7100′s AF system comprises 51 AF points, 15 of which are cross-type and sensitive to both vertical and horizontal detail. These occupy the central three columns of the array.This simulated image shows the view through the finder, with all possible information overlaid, including the 1.3X crop area.

The D7100′s rear screen has also been updated. It’s now a 3.2″ screen (rather than 3.0″) and, while it’s still shows 640 x 480 pixels-worth of information, it gains a white dot at every position. This allows the screen to either offer greater brightness than the existing screen or lower battery consumption for the same brightness. Having not had a chance to use the D7100 and D7000 side-by-side, we can’t be sure how Nikon is using the screen, but we’ve been impressed with these Sony WhiteMagic displays where we’ve encountered them in other cameras.

Body Elements

	The D7100′s viewfinder offers 100% coverage and is framed with a rectangular eyecup, like the D600 and D300S.There’s a diopter adjustment wheel at upper-right for wearers of glasses. Inside the viewfinder you’ll see a new OLED display for shooting and exposure information, which offers excellent clarity.
	The D7100 has a built-in flash which has a guide number of 12 meters at ISO 100 and it can also act as a wireless ‘commander’ for up to two groups of Nikon Speedlight flashguns.
	The flash is is released using the uppermost button in this image. Below the flash button is BKT, which is used to set automatic exposure bracketing.Also visible in this view is the front IR window, one of two on the D7100 (the other is on the rear) which allows the camera to be triggered with an infra-red remote release.
	There’s a bright LED autofocus illuminator, that the camera will automatically activate when the light is too low to focus. It can be disabled in the menus, if you prefer.Switching the camera to its ‘Quiet’ shutter mode will also temporarily disable the AF illuminator, along with the focus confirmation beep.
	The D7100′s exposure mode dial gives access to the camera’s exposure modes, including PSAM, Auto, and two programmable ‘User’ positions for quick switching between sets of shooting parameters. At the base of this dial is the drive mode dial, where you’ll find the continuous and quiet release modes, self-timer and mirror lock-up.Both dials have locks to prevent accidental rotation.
	Easy to miss, this tiny screw is the business end of an in-camera AF motor which drives the autofocus in non-AF-S lenses. This makes the D7100 significantly more compatible with Nikon and third-party legacy optics than DSLRs further down Nikon’s lineup.
	The D7100 inherits Nikon’s simpler ‘new style’ combined AF/MF switch and AF mode control. This switch has two positions – MF and AF, with AF mode and AF Area mode options selected by holding in the button at its hub and rotating the D7100′s control dials.
	The D7100′s live view control is exactly the same as it is on the D600 and D800, and comprises a live view activation button with a collar-type switch to move between still and movie live view modes. In movie mode the view on the LCD is cropped to preview the field of view captured during video shooting.
	The D7100 has a video capture mode, and just like other recent Nikon DSLRs, it offers a direct movie shooting button on its top-plate for quick and easy movie capture once you’re in video live view mode.
	Two small grills in front of the hot shoe conceal the stereo microphones. The hotshoe can be used to add a variety of accessories, including flashguns (obviously) and the new WR-1 wireless transceiver.
	An accessory grip is available for the D7100, providing vertical controls and the option to power the camera using AA batteries. The MB-D15 grip will cost £279 in the UK – US pricing TBC.
	The D7100 features dual slots for SD/SDHC/SDXC memory cards. If two cards are installed, it is possible to set the secondary card as overflow storage, backup, or to store exclusively a single file type (e.g. RAW or movie files).

Resolution Chart Comparison (JPEG and Raw)

Images on this page are of our standard resolution chart which provides for measurement of resolution up to 4000 LPH (Lines Per Picture Height). A value of 20 equates to 2000 lines per picture height. For each camera we use the relevant prime lens (the same one we use for all the other tests in a particular review). The chart is shot at a full range of apertures and the sharpest image selected. Studio light, cameras set to aperture priority (optimum aperture selected), image parameters default. Exposure compensation is set to deliver approximately 80% luminance in the white areas.

In order to eliminate any potential sources of vibration from adversely affecting the results, we illuminate the scene using flash, which provides an effective shutter speed many times faster than the camera’s own shutter speed would allow.

What we want to show here is how well the camera is able to resolve the detail in our standard test chart compared to the theoretical maximum resolution of the sensor, which for the charts we shoot is easy to work out – it’s simply the number of vertical pixels (the chart shows the number of single lines per picture height, the theoretical limit is 1 line per pixel). Beyond this limit (which when talking about line pairs is usually referred to as the Nyquist frequency) the sensor cannot faithfully record image detail and aliasing occurs.

This limit is rarely attained, because the majority of sensors are fitted with anti-aliasing filters. Anti-aliasing filters are designed to reduce unpleasant moiré effects, but in doing so, they also reduce resolution (the relative strength and quality of these filters varies from camera to camera). In theory though, a sensor without an AA filter, when coupled with a ‘perfect’ lens, will deliver resolution equal to its Nyquist limit. Therefore, even though it may be effectively unattainable with normal equipment in normal shooting situations, an understanding of a sensor’s theoretical limit provides a useful benchmark for best possibleperformance.

On this page we’re looking at both JPEG and Raw resolution. For a (more) level playing field we convert the latter using Adobe Camera Raw. Because Adobe Camera Raw applies different levels of sharpening to different cameras (this confirmed) we use the following workflow for these conversions:

• Load raw file into Adobe Camera Raw (Auto mode disabled)
• Set Sharpness to 0 (all other settings default)
• Open file to Photoshop
• Apply an Unsharp mask tuned to the camera, in this case Amount 150%, Radius 0.6, Threshold 0
• Save as a TIFF (for cropping) and as a JPEG quality 11 for download

JPEG (6000 x 4000)	Raw (6000 x 4000)

Vertical resolution

JPEG 100% crop
Raw 100% crop

Horizontal resolution

JPEG 100% crop	Raw 100% crop

Based on pixel count alone, the 24MP D7100 ranks among the highest resolution DSLRs of any class, falling shy only of the 36MP full frame Nikon D800. Add to that the fact that the D7100 has no OLPF filter and you’d expect nothing less than impressive performance on our resolution chart. As you can see, the D7100 doesn’t disappoint. JPEG output is very good, retaining fine detail arguably close to 3000LPH, which is a bit beyond what we’ve seen from the best 24MP sensors that use an OLPF filter. Impressively, it does this without introducing the sharpening-inducing halos that we’ve observed in APS-C rivals like the 24MP Sony SLT-A77.

Raw files can resolve a bit more detail here and can tolerate slightly more aggressive than usual low-radius sharpening for output that again places it atop its peers. One tradeoff for the removal of the OLPF filter is an increased presence of moire patterning on our resolution chart compared to 24MP APS-C models which employ the filter, like the Nikon D5200. And if you look carefully along the edges of the numerals in the chart, you can make out some jagged edges which appear smooth in the JPEG rendering.

OLPF filter omission

When Nikon’s reps briefed us on the D7100, they were keen to stress that this ‘flagship APS-C DSLR’ did away with an optical low pass filter (OLPF); a move we’ve seen Pentax make with the 16MP K-5 IIs, but a first for Nikon. We were of course curious to discover what potential advantages or disadvantages this offered, however, in a 24MP APS-C sensor.

In principle, removing the image-softening OLPF will result in greater resolution, albeit with a potential increase in intensity of moiré patterning. To investigate this we chose to compare the D7100 with Nikon’s D5200, which also has a 24MP APS-C sensor but includes an OLPF. Based on our experience with a similarOLPF-effect comparison we conducted in our earlier Nikon D800/800E review, we suspected that to see any differences would require top-quality optics and we would need to pay very careful attention to camera settings. This was borne out in our testing.

Studio scene comparison

In evaluating our familiar studio test scene (shown below) in a very controlled shooting environment using the excellent AF-S Nikkor 50mm f/1.4G lens, we determined that visible differences between the D7100 and the less expensive OLPF-enabled D5200, were only apparent within a narrow range of apertures. The samples below were shot at an aperture of F3.5. In repeated tests with the 50/1.4 optic, this gave the greatest amount of center sharpness on the D7100. At apertures wider than F3.5 and narrower than F5, we struggled to see any relevant differences in output.

Nikon D7100: ISO 100, ACR 7.4, Nikkor 50/1.4G @F3.5	Nikon D5200: ISO 100, ACR 7.4, Nikkor 50/1.4G @F3.5
100% crop	100% crop
100% crop	100% crop

The samples above are raw file conversations made with ACR sharpening turned off and identical amounts of USM applied in Photoshop. Looking carefully, you can see that the D7100 delivers a more crisp file, with some areas of extremely fine detail rendered with greater clarity. Let’s be clear though. These distinctions – apparent only at a 100% view – are very, very minor. Its also worth repeating that achieving even this result required shooting at F3.5, which obviously limits the depth of field. And it’s hardly an aperture that you’d find yourself using in real world scenarios where edge to edge sharpness was a primary concern.

Real world kit zoom comparison

In real world shooting with the D7100, it’s not unreasonable to assume a significant number of owners will be shooting with an affordable zoom like the AF-S DX Nikkor 18-105mm f/3.5-5.6G ED VR kit lens at a more commonly used aperture like F8. So here we’ve shot the same scene using the D7100 and D5200 with the same 18-105mm kit zoom at an 18mm focal length.

Nikkor 18-105mm kit zoom @18mm, F8, ISO 100
Nikon D7100: ACR 7.4 100% crop	Nikon D5200: ACR 7.4 100% crop
100% crop	100% crop

In comparing the images above, we’re hard-pressed to find any differences in sharpness or edge detail among the two cameras. In essence, the optical shortcomings of the kit zoom have an image-softening effect that easily outweighs any advantage to be gained by removing the OLPF in the D7100. You can clearly see, for example that even towards the center of the image at F8, there’s no meaningful difference between the two cameras and towards the edges, smeared detail and extreme chromatic aberration is a far greater determinant of image quality.

Real world with the 50mm/1.4 lens

What we’ve learned so far is that eeking out even minor benefits of the D7100′s no-OLPF approach requires great glass shot using careful technique at an aperture range between F3.5 and F5. Here’s what this can look like in a real world scene. On this bright cloudless day we mounted the D7100 on a sturdy tripod, and enabled both mirror lockup and a 2 second shutter release. We shot several takes of the scene below with our second copy of the 50/1.4 lens and found that we got our sharpest result at F4.5

Nikon D7100: Nikkor 50mm/1.4 @F4.5
100% crop	100% crop

Here you’re looking at an ACR raw file conversion with no sharpening applied in the converter and a fairly conservative USM amount of 150% with a radius of 0.6. The level of detail and clarity on offer here are quite impressive for any DSLR short of the Nikon D800.

We shot this and several other scenes with the D5200 using the same lens and settings. Our conclusion after viewing dozens of comparisons was that outside the controlled environment of our studio, even extremely minor shifts in focus or (potentially) sensor alignment could trump the absence of an OLPF in accounting for any visible differences between the D7100 and D5200.

In short, even if you were willing to put the best glass available on the D7100 and shoot at a wide aperture, you’re not likely, even with a lot of effort, to leverage visible benefits of the OLPF removal. While this may be a bit of a disappointment for some, the very good news is that to date we’ve seen no practical downside to the filter’s removal for still photography. It is essentially neutral with regard to image quality.