Nikon’s D7100 is a bit of a milestone camera that may be two years old now but still delivers in spade loads. On launch it may have sounded like a minor upgrade from its D7000 predecessor but was in fact the firm’s new flagship DX-crop camera with an all-new sensor that really can get pretty close to the performance of full-frame cameras but at a fraction of the cost. And although there is already an upgraded D7200 out with a new sensor, bigger buffer, better AF in low light, Wifi and bigger battery, the D7100 remains as a great camera. And it’s significantly cheaper than the D7200 which makes it a bit of a bargain.
The D7000 was rightly a huge success, with its pro-like spec such as 16.2MP sensor, 14-bit processing, twin memory card slots, full 1080p HD movies, 100% viewfinder and wide ISO range. The D7100 adds a new 24.1MP sensor without the low-pass filter for super-sharp images, bigger LCD screen, advanced autofocus using technology borrowed from the flagship D4, some improved ergonomically-friendly controls, upgraded HD video and it even weighs slightly less. And with a current body-only street price of around £590, it’s a snip and £150 less than the D7200.
The D7100 now sits higher in Nikon’s pecking order than the ageing D300S which was lauded as the range-topping semi-pro DX machine. The D7100 has now had its waterproofing upgraded to match the D300S, which previously was the old camera’s trump card.
But what all these older cameras lack is what is at the heart of the new D7100, and that’s the 24MP sensor. Nikon’s other DX cameras, the D5200 and D3200 also have a 24MP sensor so you may think the sensor is the same. But it’s not, and the D7100 has its own sensor that for the first time does not have an anti-aliasing or low-pass filter – the first Nikon to do away with it.
In every other Nikon or Canon DX camera, this filter slightly blurs the image at the taking stage, and it’s sharpened up by software after capture. This may seem a strange thing to do, but if the filter was done away with then you’d often get false colours and moiré pattering on certain subjects, like objects with repeating patters such as fine fabrics or buildings. This is troublesome if not impossible to remove in post-processing.
A handful of cameras – mainly medium-format models which use CCD sensors rather than the more usual CMOS, plus the Ricoh GXR and Fuji’s X100 – are the main models that don’t have a low-pass filter but none are conventional DSLRs. Then Nikon threw the cat among the pigeons with its D800E which was a variant of the mighty 36MP D800 but with the effects of its low-pass filter removed, rather than it being left out completely.
Despite warning there could be moiré and false colours appearing on some images from the E model, in reality instances were very rare. And although many thought the benefits would be super-sharp landscapes at narrow apertures, these images were affected by diffraction so that they were virtually identical to the normal D800 camera. It was at very wide apertures where the differences were actually more noticeable.
Pentax were the next to make a move, with their 16MP K-5 II and sibling K-5 IIs. The ‘s’ model has no low-pass filter and can give sharper image with little or no moiré or false colours and is fast building up a cult following because of it. Nikon has now hit back, claiming that as resolution has climbed to 24MP then only now are they happy to sell a camera with no filter, hence the new D7100. Now, lots of cameras like the D810 have this and it’s no big issue. You just get sharper images.
In testing, the new sensor really is a winner. It gives images that are visibly sharper than any other 24MP DX camera, with amazing detail and contrast. But you’ll only really see the main differences with impeccable technique and pro-quality lenses. If you do that, then the image quality can get close to that of Nikon’s 24MP D600 full-frame camera – which costs around £500 more and of course needs full-frame glass to go on it. Overall, this is a major step for a DX camera and this is the first camera without a filter to be a huge sales success, which has paved the way for more filter-less DSLRs. But for the vast majority of users, a 24MP DX camera can now produce large images that can be virtually indistinguishable from full-frame cameras of a similar megapixel rating.
Where the DX camera can’t match the performance of full-frame cameras is in its dynamic range and control of noise at high ISOs. In this respect, the D7100 does control noise very well, whether the ISO is pushed high or you are trying to pull out maximum shadow detail in a file at relatively low ISO settings. Up to around 1600 ISO, the Nikon performs extremely well – which in reality is the range where most photographers stay. After that, noise does start to creep in quite noticeably up to its maximum ISO of 6400. The range is extendable to 25,600 but those figures are largely academic and noise is very obtrusive. It’s no high-ISO king to rival full-frame, but is still very impressive.
When I tested the D7000 I said that under a full studio-lit setup at ISO 100, the photo is sharp and full of detail but if you look closely shadow areas do start to show some signs of noise that just don’t exist on full frame Nikons. The D7100 improves on this, but the difference is still there, largely as the full-frame cameras have also continued to improve.
So for those who often need noise-free images at high ISO ratings – such as wedding photographers or photojournalists – the D7100 is an impressive bit of kit and very useable but not quite in the league of full-frame offerings if you are a pixel-peeper.
But where the D7100 would really make sense is for photographers who would appreciate the 1.5x crop of the DX sensor and speedy 6fps shooting rate, such as wildlife or sports photographers. This crop factor turns a 70-200mm f/2.8 lens into the equivalent of a 105-300mm f/2.8 zoom, which is just not a lens you can buy! A 300mm lens is like a 450mm, a 400mm lens becomes a 600mm, a 500mm becomes a 750mm and so on. And all with the same maximum aperture as the original, unlike when you use an optical teleconverter.
This extra “reach” can be a real boon for photographers who can’t afford a longer lens or don’t want the weight and hassle of the costly larger lenses. A 400mm f/2.8 Nikon lens costs roughly £4000 more than a 300mm f/2.8 lens, for example.
Weight is also a huge factor, as the D7100 is small compared to full frame cameras. But like all crop-sensor cameras, the viewfinder is far smaller and more pokey than full frame which isn’t great if you’re peering through the gloom of a long telephoto.
The D7100 also has a 1.3x crop mode, too. This is a 1.3x crop of a 1.5x crop sensor, remember! So it’s roughly equivalent of a combined 2x crop from full frame. So a 300mm f/2.8 lens becomes a 600mm f/2.8 lens. And when used this way, the autofocus points reach across a wide area of view. You don’t get something for nothing, of course, so using crop mode does throw away some of your pixels but with 24MP to start with, you’re hardly lacking in resolution.
This would all be academic if the D7100 was lacking in the autofocus department. And luckily, it delivers. It now has 51 AF points instead of 39 and has 15 of the super-sensitive cross-types instead of nine. Essentially, it uses technology borrowed from the D4 even though it’s not exactly the same system. In practice, the AF is snappy and locks focus on very quickly, as well as tracking moving subjects well. Of course, it’s not as fast or pin-point accurate like the D4S but that’s got arguably the best AF on any camera and costs four times as much. The D7100 is definitely the best DX camera for autofocus, and is more than a match for the Nikon D600 full frame camera. And it’s now sensitive down to -2EV which is a real bonus, and you can use lenses with a maximum aperture of f/8. So that’s pretty much anything!
One small niggle is the lack of dedicated AF-ON button on the back of the camera that you operate with your thumb. Using the custom menus, setting the AF-L/ AE-L button on the rear of the camera as the main focus button and disabling the shutter release from operating the autofocus and leaving the focus mode in AF-C continuous, is a popular system. If you keep your thumb down the camera focuses continuously, but if released the focus stays where it is – like a one-shot or manual mode. Lots of professionals do this and many swear it’s by far the best system.
But while pro-spec cameras like the D4S and D810 have a dedicated AF-ON button, the D7100 doesn’t and its AF-L/ AE-L button is not in the most natural position although it is improved over the D7000. The old camera’s AF-L/ AE-L button was even more of a stretch as it was next to the Live View button. The new camera’s Live View button has been moved below the main rear thumbpad, like on the rest of Nikon’s top-end cameras and is now far more sensible to use with designated positions for stills and video.
The D7100 has some great features that are worthy of a camera to be used by professionals. There’s the twin SD card slots, which allows you to use the second card as a backup or overflow card. Or you can write JPEGS to one and Raw to the other, of video to one and stills the other. Very useful.
And another benefit of a crop-sensor camera is its flash sync speed which is 1/250sec but can be pushed to 1/320sec with a slight loss of flash power. That’s a real bonus if you are mixing flash with ambient light and trying to overpower the sun. The camera also controls Nikon’s CLS wireless flash system and has a built-in, pop-up flash.
However, like its D7000 predecessor the new camera doesn’t come with Nikon’s regular 10-pin connector, so remote triggering of the camera using a dedicated cable to a Pocket Wizard or other suitable transceiver isn’t possible which is a shame.
What is new is an improved Auto ISO function borrowed from the D800 which allows you to set a minimum shutter speed based on the focal length of the lens. And there’s a new spot white balance feature that allows you to set a white balance quickly when in live view. Nikon’s custom white balance settings have always been a bit fiddly anyway, and this new system is of most use to videographers. Most pro stills photographers will be shooting in Raw so tweaks during post processing are more often the norm.
In use, the D7100 is a mix of conventional Nikon ergonomics – which is generally regarded as the best in the business – mixed with a few things that could be improved, like the position of the hard-to-spot ISO button. There’s a new ‘i’ button which gives fast access to lots of commonly-used functions and is a nice touch, as is the lockable main program dial which avoids it accidentally being changed.
The new rear LCD screen is 0.2in bigger, and there are some cool new editing options for you to adjust your images, such as a tilt/shift miniature effect and colour popping. These are fun to use but not really any use for serious work as they don’t replace real post processing.
There’s the usual PASM modes as well as more amateur-based scene modes, and exposure compensation dials are typical Nikon with a small button next to the shitter release. We found the meter to be very accurate anyway, although like any camera extremes of brightness or darkness will affect exposures.
The final part of the jigsaw is a complete mix of the old and the new. The new is the optional WU-1a wifi units which plugs in and allows images to be transmitted to a smartphone. And the old is the inclusion of Nikon’s 54-year-old screw-drive technology so that just about any legacy Nikon F-mount lens will work.
This means it will seamlessly fit into any Nikon system, be it a DX-based or using full frame or legacy lenses. For photographers moving up from a D7000 or even D5200, it’s a worthwhile upgrade. And for full-frame camera users looking for an extra bit of reach for sports or wildlife, they won’t be disappointed, either.
The Video mode!
Nikon’s D7000 was the firm’s first DSLR to offer 1080p full HD video and autofocus while filming – a tactic aimed at ending the dominance of Canon’s EOS 5D Mk II and 7D cameras.
The image quality was good, with little rolling shutter effect, but autofocus during filming was not a huge benefit as the AF tended to hunt and the inbuilt microphone picked up the noise of the lens motor as it focuses. That’s been improved slightly on the D7100, but most video makers use manual focus anyway. For real AF during video, you need to buy a dedicated video camera.
The biggest issue with the D7000 was its frame rate which was a maximum of 25fps while the rival Canon 7D held the top spot thanks to its variable frame rates of up to 50fps, which gives great slow-motion effects despite being at a lower 720 quality.
The new D7100 now matches this setting, and also offers full 1080 HD at 30fps progressive, and also 60 and 50fps interlaced at 1080 in a 1.3x crop mode. One day, the holy grail of full-quality 60fps progressive at full 1080 HD will be here. But until then the D7100 offers superb slow-motion to rival any other DSLR.
Moire is often a bigger issue for video makers than photographers yet we found no issues with the camera even though it has no anti-aliasing filter. The new 24MP sensor gives a great video image quality with the ability to control depth of field well.
You have full manual control of aperture and shutter speed, although the minimum shutter speed is restricted to 1/30sec so you can’t do arty super-blur effects. The D7100 now offers stereo sound with its built-in mic or you can use an external mic, too.
In use, the D710 feels like a quality bit of kit. It’s solid and well-made with good weatherproofing, although its small size does mean it feels a little out of balance if used with Nikon’s pro lenses like the 70-200mm f/2.8. And with a wildlife lens like the 500mm f/4 we used, the camera is dwarfed!
There’s very little shutter lag, the focus is fast and accurate and there are good solid dials with decent locks to avoid accidental changes. Overall, the handling is very good. If you are used to full frame cameras then you’ll find the viewfinder small and dingy in comparison. Once you’ve been spoiled by the large viewfinder of a non-DX camera then it’s hard to go back. The D7100 has a 100% viewfinder that’s as bright as any crop-sensor camera on the market.
A camera is really all about the images it produces and the D7100 is capable of shockingly detailed, colour-rich photos. The lack of anti-aliasing filter and the 24MP sensor combine to make finely detailed shots that have never been available before with a DX-crop camera. If you use good lenses and have great technique, you will be rewarded.
Of course, it’s in high ISO where the camera feels a little behind the very latest full frame offerings, but it’s still very usable up to 1600 and even beyond, if you are careful not to underexpose.
Where this camera really excels is for wildlife or sports photographers who want a small, light package and the extra reach that the crop sensor gives them. And the new AF system works very well, too. The 6fps rate is fast enough for all but the most demanding pro, and if you use crop mode this goes up to a fast 7fs. And the 1/320sec flash sync really useful.
For the £590 body-only asking price, or £789 with the decent 18-105mm f/3.5-5.6 kit lens, then the D7100 is a great way for a photographer with a selection of DX-spec lenses to upgrade. It’s not far off the quality of full frame, and at a far more affordable price for the majority.
|Type||Single-lens reflex digital camera|
|Lens mount||Nikon F mount (with AF coupling and AF contacts)|
|Effective angle of view||Nikon DX format; focal length in 35 mm  format equivalent to approx. 1.5x that of lenses with FX format angle of view|
|Effective pixels||24.1 million|
|Image sensor||23.5 x 15.6 mm CMOS sensor|
|Total pixels||24.71 million|
|Dust-reduction System||Image sensor cleaning, Image Dust Off reference data (optional Capture NX 2 software required)|
|Storage – Image size (pixels)||DX (24 x 16) image area: 6000 x 4000 (L), 4496 x 3000 (M), 2992 x 2000 (S); 1.3x (18 x 12) image area: 4800 x 3200 (L), 3600 x 2400 (M), 2400 x 1600 (S); Photographs with image area of DX (24 x 16) taken in movie live view: 6000 x 3368 (L), 4494 x 2528 (M), 2992 x 1860 (S); Photographs with image area of 1.3x (18 x 12) taken in movie live view: 4800 x 2696 (L), 3600 x 2024 (M), 2400 x 1344 (S);|
|File format||NEF (RAW): 12 or 14 bit, lossless compressed or compressed; JPEG: JPEG-Baseline compliant with fine (approx. 1 : 4), normal (approx. 1 : 8), or basic (approx. 1 : 16) compression (Size priority); Optimal quality compression available; NEF (RAW) + JPEG: Single photograph recorded in both NEF (RAW) and JPEG formats|
|Picture Control System||Standard, Neutral, Vivid, Monochrome, Portrait, Landscape; selected Picture Control can be modified; storage for custom Picture Controls|
|Media||SD (Secure Digital) and UHS-I compliant SDHC and SDXC memory cards|
|Double slot||Slot 2 can be used for overflow or backup storage or for separate storage of copies created using NEF+JPEG; pictures can be copied between cards.|
|File system||DCF (Design Rule for Camera File System) 2.0, DPOF (Digital Print Order Format), Exif (Exchangeable Image File Format for Digital Still Cameras) 2.3, PictBridge|
|Viewfinder||Eye-level pentaprism single-lens reflex viewfinder|
|Frame coverage||Approx. 100% horizontal and 100% vertical|
|Magnification||Approx. 0.94x (50 mm f/1.4 lens at infinity, -1.0 m-1)|
|Eyepoint||19.5 mm (-1.0 m-1; from center surface of viewfinder eyepiece lens)|
|Diopter adjustment||-2 – +1 m-1|
|Focusing screen||Type B BriteView Clear Matte Mark II screen with AF area brackets (framing grid can be displayed)|
|Reflex mirror||Quick return|
|Depth-of-field preview||Pressing depth-of-field preview button stops lens aperture down to value selected by user (A and M modes) or by camera (other modes)|
|Lens aperture||Instant return, electronically controlled|
|Compatible lenses||Compatible with AF NIKKOR lenses, including type G and D lenses (some restrictions apply to PC lenses) and DX lenses, AI-P NIKKOR lenses, and non-CPU AI lenses (A and M modes only). IX NIKKOR lenses, lenses for the F3AF, and non-AI lenses can not be used. The electronic rangefinder can be used with lenses that have a maximum aperture of f/5.6 or faster (the electronic rangefinder supports the center focus point with lenses that have a maximum aperture of f/8 or faster).|
|Shutter type||Electronically-controlled vertical-travel focal-plane shutter|
|Shutter speed||1/8000 – 30 s in steps of 1/3 or 1/2 EV, bulb, time, X250|
|Flash sync speed||X=1/250 s; synchronizes with shutter at 1/320 s or slower (flash range drops at speeds between 1/250 and 1/320 s)|
|Release mode||Single frame (S), continuous low speed (CL), continuous high speed (CH), quiet shutter-release (Q), self-timer, mirror up (MUP); interval timer photography supported|
|Approximate frame advance rate||JPEG and 12-bit NEF (RAW) images recorded with DX (24 x 16) selected for Image area CL: 1 – 6 fps, CH: 6 fps JPEG and 12-bit NEF (RAW) images recorded with 1.3x (18 x 12) selected for Image area CL: 1 – 6 fps, CH: 7 fps 14-bit NEF (RAW) images recorded with DX (24 x 16) selected for Image area CL: 1 – 5 fps, CH: 5 fps 14-bit NEF (RAW) images recorded with 1.3x (18 x 12) selected for Image area CL: 1 – 6 fps, CH: 6 fps|
|Self-timer||2 s, 5 s, 10 s, 20 s; 1 – 9 exposures at intervals of 0.5, 1, 2, or 3 s|
|Remote control modes (ML-L3)||Delayed remote, quick-response remote, remote mirror-up|
|Exposure – Metering mode||TTL exposure metering using 2016-pixel RGB sensor|
|Exposure – Metering method||Matrix: 3D color matrix metering II (type G and D lenses); color matrix metering II (other CPU lenses); color matrix metering available with non-CPU lenses if user provides lens data Center-weighted: Weight of 75% given to 8 mm circle in center of frame. Diameter of circle can be changed to 6, 10, or 13 mm, or weighting can be based on average of entire frame (non-CPU lenses use 8-mm circle) Spot: Meters 3.5 mm circle (about 2.5% of frame) centered on selected focus point (on center focus point when non-CPU lens is used)|
|Exposure – Range (ISO 100, f/1.4 lens, 20 °C/68 °F)||Matrix or center-weighted metering: 0 – 20 EV Spot metering: 2 – 20 EV|
|Exposure meter coupling||Combined CPU and AI|
|Exposure – Mode||Auto modes (auto; auto (flash off)); programmed auto with flexible program (P); shutter-priority auto (S); aperture-priority auto (A); manual (M); scene modes (portrait; landscape; child; sports; close up; night portrait; night landscape; party/indoor; beach/snow; sunset; dusk/dawn; pet portrait; candlelight; blossom; autumn colors; food); special effects modes (night vision; color sketch; miniature effect; selective color; silhouette; high key; low key); U1 (user settings 1); U2 (user settings 2)|
|Exposure compensation||Can be adjusted by -5 – +5 EV in increments of 1/3 or 1/2 EV in P, S, A, and M modes|
|Exposure bracketing||2 – 5 frames in steps of 1/3, 1/2, 2/3, 1, 2, or 3 EV|
|Flash bracketing||2 – 5 frames in steps of 1/3, 1/2, 2/3, 1, 2, or 3 EV|
|White balance bracketing||2 – 5 frames in steps of 1, 2, or 3|
|ADL bracketing||2 frames using selected value for one frame or 3 frames using preset values for all frames|
|Exposure lock||Luminosity locked at detected value with AE-L/AF-L button|
|ISO sensitivity (Recommended Exposure Index)||ISO 100 – 6400 in steps of 1/3 or 1/2 EV. Can also be set to approx. 0.3, 0.5, 0.7, 1, or 2 EV (ISO 25600 equivalent) above ISO 6400; auto ISO sensitivity control available|
|Active D-Lighting||Auto, Extra high, High, Normal, Low, Off|
|Focus – Autofocus||Nikon Advanced Multi-CAM 3500DX autofocus sensor module with TTL phase detection, fine-tuning, 51 focus points (including 15 cross-type sensors; the center focus point is available at apertures slower than f/5.6 and faster than f/8 or at f/8), and AF-assist illuminator (range approx. 0.5 – 3m/1 ft 8 in. – 9 ft 10 in.)|
|Focus – Detection range||-2 – +19 EV (ISO 100, 20 °C/68 °F)|
|Focus – Lens servo||Autofocus (AF): Single-servo AF (AF-S); continuous-servo AF (AF-C); auto AF-S/AF-C selection (AF-A); predictive focus tracking activated automatically according to subject status Manual focus (M): Electronic rangefinder can be used|
|Focus point||Can be selected from 51 or 11 focus points|
|AF-area mode||Single-point AF; 9-, 21-, or 51-point dynamic-area AF, 3D-tracking, auto-area AF|
|Focus lock||Focus can be locked by pressing shutter-release button halfway (single-servo AF) or by pressing AE-L/AF-L button|
|Flash – Built-in flash||Auto, portrait, child, close up, night portrait, party/indoor, pet portrait, color sketch: Auto flash with auto pop-up P, S, A, M, food: Manual pop-up with button release|
|Flash – Guide Number||Approx. 12/39, 12/39 with manual flash (m/ft, ISO 100, 20 °C/68 °F)|
|Flash control||TTL: i-TTL flash control using 2016-pixel RGB sensor is available with built-in flash and SB-910, SB-900, SB-800, SB-700, SB-600, or SB-400; i-TTL balanced fill-flash for digital SLR is used with matrix and center-weighted metering, standard i-TTL flash for digital SLR with spot metering|
|Flash mode||Auto, auto with red-eye reduction, auto slow sync, auto slow sync with red-eye reduction, fill-flash, red-eye reduction, slow sync, slow sync with red-eye reduction, rear-curtain with slow sync, rear-curtain sync, off; Auto FP High-Speed Sync supported|
|Flash compensation||-3 – +1 EV in increments of 1/3 or 1/2 EV|
|Flash-ready indicator||Lights when built-in flash or optional flash unit is fully charged; flashes after flash is fired at full output|
|Flash – Accessory shoe||ISO 518 hot-shoe with sync and data contacts and safety lock|
|Nikon Creative Lighting System (CLS)||Advanced Wireless Lighting supported with: – SB-910, SB-900, SB-800, or SB-700 as a master flash and SB-600 or SB-R200 as remotes, or SU-800 as commander – Built-in flash can serve as master flash in commander mode. Auto FP High-Speed Sync and modeling illumination supported with all CLS-compatible flash units except SB-400; Flash Color Information Communication and FV lock supported with all CLS-compatible flash units|
|Flash – Sync terminal||AS-15 sync terminal adapter (available separately)|
|White balance||Auto (2 types), incandescent, fluorescent (7 types), direct sunlight, flash, cloudy, shade, preset manual (up to 6 values can be stored, spot white balance measurement available during live view), choose color temperature (2500 K – 10000 K), all with fine-tuning|
|Live View – Modes||Live view photography (still images), movie live view (movies)|
|Live View – Lens servo||Autofocus (AF): Single-servo AF (AF-S); full-time-servo AF (AF-F) Manual focus (M)|
|Live View – AF-area mode||Face-priority AF, wide-area AF, normal-area AF, subject-tracking AF|
|Live View – Autofocus||Contrast-detect AF anywhere in frame (camera selects focus point automatically when face-priority AF or subject-tracking AF is selected)|
|Movie – Metering||TTL exposure metering using main image sensor|
|Movie – Metering method||Matrix|
|Movie – Frame size (pixels) and frame rate||1920 x 1080; 60i (59.94 fields/s)/ 50i (50 fields/s) * 1920 x 1080; 30 p (progressive), 25p, 24p 1280 x 720; 60p, 50p Actual frame rates for 60p, 50p, 30p, 25p, and 24p are 59.94, 50, 29.97, 25, and 23.976 fps respectively; options support both high and normal image quality * Available only when 1.3x (18 x 12) is selected for Image area. Sensor output is about 60 or 50 fps.|
|Video file format||MOV|
|Video compression||H.264/MPEG-4 Advanced Video Coding|
|Audio recording format||Linear PCM|
|Audio recording device||Built-in or external stereo microphone; sensitivity adjustable|
|Monitor||8-cm/3.2-in., approx. 1229 k-dot (VGA; 640 x 4 x 480 = 1,228,800 dots), TFT monitor with approx. 170° viewing angle, approx. 100% frame coverage, and brightness adjustment|
|Playback||Full-frame and thumbnail (4, 9, or 72 images or calendar) playback with playback zoom, movie playback, photo and/or movie slide shows, histogram display, highlights, photo information, GPS data display, and auto image rotation|
|Interface – USB||Hi-Speed USB|
|HDMI output||HDMI mini connector (Type C)|
|Accessory terminal||Wireless remote controller: WR-1 and WR-R10 (available separately) Remote cord: MC-DC2 (available separately) GPS unit: GP-1 (available separately)|
|Audio input||Stereo mini-pin jack (3.5 mm diameter; plug-in power supported)|
|Audio output||Stereo mini-pin jack (3.5 mm diameter)|
|Supported languages||Arabic, Bengali, Chinese (Simplified and Traditional), Czech, Danish, Dutch, English, Finnish, French, German, Greek, Hindi, Hungarian, Indonesian, Italian, Japanese, Korean, Norwegian, Persian, Polish, Portuguese (European and Brazilian), Romanian, Russian, Spanish, Swedish, Tamil, Thai, Turkish, Ukrainian, Vietnamese|
|Power source – Battery||One rechargeable Li-ion EN-EL15 battery|
|Battery pack||Optional MB-D15 multi-power battery pack with one rechargeable Nikon EN-EL15 Li-ion battery or six AA alkaline, Ni-MH, or lithium batteries|
|AC adapter||EH-5b AC adapter; requires EP-5B power connector (available separately)|
|Tripod socket||1/4 in. (ISO 1222)|
|Dimensions (W x H x D)||Approx. 135.5 x 106.5 x 76 mm (5.3 x 4.2 x 3.0 in.)|
|Weight||Approx. 765 g (1 lb 11.0 oz) with battery and memory card but without body cap; approx. 675 g (1 lb 7.8 oz; camera body only)|
|Operating environment – Temperature||0 °C – 40 °C (+32 °F – 104 °F)|
|Operating environment – Humidity||85% or less (no condensation)|
|Supplied accessories||EN-EL15 rechargeable Li-ion battery (with terminal cover), MH-25 battery charger, DK-5 eyepiece cap, AN-DC1 strap, UC-E6 USB cable, BS-1 accessory shoe cover, DK-23 rubber eyecup, BF-1B body cap, ViewNX 2 CD, User’s Manual|