The D5200 presents an active focus point promptly upon power up — I was able to get off a first shot in about .75 seconds. Single shot to shot times are a simple matter of reacquiring focus and shooting again; autofocus acquisition times were rapid in good conditions and stayed pretty constant into fairly dark conditions, where the focus assist lamp still kept AF times from dropping off very significantly. I was quite impressed with the lowlight focus capability of the D5200.
Continuous high-speed shooting is rated as up to five frames per second and the D5200 managed this rate for 19 JPEG fine captures before slowing; write time to completely clear the buffer of these 19 images took about 14 seconds using a Lexar 32 GB 600x SDHC memory card. The camera managed 7 RAW images before slowing, with a write time of 7.5 seconds; RAW/JPEG fine produced 6 images with a write time of about 8 seconds. It should be noted that the camera has a “distortion control” feature (disabled by default) that can perform in-camera correction of lens deficiencies such as barrel distortion and pincushion distortion, but activation of this feature directly impacts the ability of the camera to sustain long bursts at maximum continuous rate. For example, with distortion control enabled the D5200 managed only 7 JPEG fine images before slowing. Suffice it to say distortion control is probably not a setting of choice for sports or action photographers who need/want to shoot long bursts.
And while we’re on the subject of long bursts, the D5200 AF system did a very credible job tracking seabirds and surfers during some long sequences — with focus mode set to continuous and AF area to 39 point dynamic area the camera tracked and held focus on moving subjects quite well. Here are two shots out of continuous bursts — the seagull image is the 9th of an 11 shot burst, the surfing image is the 8th of 17 — and all the burst shots were sharp.
Nikon’s website credits the D5200 built-in flash with a range of up to 39 feet in automatic mode, 43 feet in manual (both at 100 ISO). The manual setting can be accessed via the custom setting menu (submenu e – bracketing and flash) and allows the user to select a full flash discharge or fractional discharges ranging down to 1/32 of a full flash. Flash recycle times for full discharges were four seconds or less — the flash will not fire until it is fully recharged and the recharge cycle is indicated by a flashing lightning bolt in the viewfinder.
Available flash modes vary with the particular shooting mode but may include the following: auto, auto and red eye reduction, flash off, auto slow sync and red eye reduction, auto slow sync, fill flash, red eye reduction, rear curtain sync, slow sync, rear curtain and slow sync, slow sync and red eye reduction.
The VR 18-55mm f3.5-5.6G kit lens that came with our review unit has been a staple in Nikon DSLR kits for some time now; this is the third or fourth review unit to have crossed my path. The lens is made in
The action of the zoom ring was fairly smooth in a single zoom from one extreme focal length to the other and requires rotation through about 90 degrees of travel. Short zooms to slightly different focal lengths were a bit jerky. One nice aspect of the lens is a close focus distance of about 11 inches from the subject to the sensor plane within the camera at all focal lengths; while not a true macro lens, this allows you to get fairly close to small subjects.
The focus ring is light and quick, requiring rotation through only about 45 degrees to set focus from close to infinity, but the downside here is focus involves rotation of the front element of the lens, which will make for some extra work when shooting with filters such as polarizers that have a rotational component of their own.
D5200 video quality is quite good but the camera can record sounds of zooming, wind noise and stabilization when using the built-in microphone for audio capture — an external stereo microphone is an option to avoid these distractions. The built-in microphone comes enabled with auto sensitivity, but there is a manual sensitivity setting offering a range of adjustment from 1 to 20 – there is no wind-cut feature per se. And while the camera nominally offers a 4 GB/20 minute recording time at the highest quality, thermal conditions within the camera may dictate that recording is cut short automatically.
Initiating the video capture process requires shifting the camera into live view via the lever combined with the mode dial. Next, use the info edit button to bring up the screen with the camera settings and set your focus mode to AF-F. Establish focus with a half push of the shutter button and then initiate video capture by pushing the movie record button. This entire process takes eight or nine seconds — at the other end, the camera continues to capture for about one second when you discontinue video capture by pushing the movie record button a second time. The good news in all of this is that once you set AF-F initially, you don’t have to go back and reset it each time (AF-S is the video default mode). Not having to set AF-F each time shaves the video initiation process down about four seconds.
It’s important to stress that having the camera in AF-F focus mode is a requisite for continuous autofocus during video capture. If you go into video mode with the camera set at the default AF-S setting for video the D5200 will capture video based upon the initial focus distance but will not adjust focus if you pan to a subject that is markedly closer or further than the initial focus distance. For example, I established focus on a house across the street, some 75 feet away. I initiated video capture and then slowly panned toward some flowers near my feet, about 6 feet away. The D5200 did not adjust focus to the closer subject and the flowers were blurred. The same was true when I established focus on the flowers and then panned across the street to the house. The fact that you may have the camera in AF-C (continuous AF) for still images does not translate to video capture.
Once I set the focus mode to AF-F for video captures, the camera adjusted focus from near to far and vice-versa quite seamlessly. My pans were slow, but the D5200 did a good job of adjusting as distance to the subject changed.
Default still image quality out of the D5200 was quite pleasing as to color fidelity but a bit too soft for my taste, a not uncommon occurrence. Folks who shoot in P, A, S or M modes can go to “set picture control” in the shooting menu and increase the in-camera sharpening for JPEG images. I found maxing out the sharpening setting produced JPEGs that I often could live with right out of the camera. The D5200 gives you your choice of six color palette choices under set picture control, with “standard” being the default setting. There are also neutral, vivid, monochrome, portrait and landscape options – here’s a look at all six.
I used “standard” for many of the images used illustrate this review as it seems to slightly saturate colors and increased contrast just a bit over “neutral”, which is probably the most accurate of the color settings.
As mentioned earlier, the D5200 is fully compatible with AF-S lenses and I took the opportunity to shoot with a number of my personal lenses on the camera. Here’s a look at a crescent moon and the sun with the 600mm.
CAUTION: THE SUN WAS PHOTOGRAPHED USING AN ASTRONOMICAL GRADE SOLAR FILTER THAT BLOCKS ABOUT 99.99% OF ALL LIGHT AND HEAT FROM ENTERING THE CAMERA. DO NOT ATTEMPT TO PHOTOGRAPH OR OBSERVE THE SUN DIRECTLY WITHOUT APPROPRIATE FILTRATION TO PREVENT IRREPARABLE DAMAGE TO YOUR VISION AND EQUIPMENT.
Some critters at the San Diego Zoo’s Safari Park with the 70-200 (the giraffe was munching some tree leaves)…..
…and a couple views of
Auto white balance was used for all the shots taken by the D5200 for this review and did a good job across a variety of light including flash, heavy overcast, open shade, daylight and incandescent lighting. In addition to the automatic setting there are incandescent, fluorescent, direct sunlight, flash, cloudy and shade presets along with a manual (custom) setting.
3-D color matrix metering (with G and D type lenses) via a TTL 2016 pixel RGB sensor is the default setting for the D5200 and was used for all images captured by the camera for this review. There is also a center weighted metering option that bases 75% of the exposure calculation on an 8mm circle in the center of the frame. A spot metering option calculates the exposure based on a 3.5mm circle corresponding to the active focus point.
In general, color matrix metering did a good job with most scenes, but it could lose highlights in some high contrast situations such as the white water on the breaking portion of the wave in contrast with the unbroken portion. Active D-lighting can be enabled in the camera to help with high contrast situations, although my experience is that it tends to produce relatively benign results when used in conjunction with matrix metering – results seem more consistent and pronounced when used with center weighted or spot metering. Active D-lighting is also available as a post processing feature in the retouch menu.
100 and 200 ISO are basically indistinguishable from one another in terms of color fidelity and noise, so given the fairly slow kit lens (maximum apertures of f/3.5 and f/5.6 at wide-angle and telephoto, respectively) I shot the D5200 most of the time at 200 ISO in order to gain some additional shutter speed. 200 and 400 are also quite similar, although intense pixel peeping will show slightest hint of noise in some of the darker areas of the frame. 800 shows a bit more graininess over 400, but the overall level is still very slight. 1600 displays increased graininess in comparison to 800, but the key here is the word graininess — the noise increase looks like the graininess we experienced when shooting faster films and as such is really not that objectionable. Up to this point, I would shoot any of the ISO settings for the purpose of making large prints — clearly, it would be best to shoot with as low an ISO as would accomplish the purpose, but I would have no qualms of shooting 1600 ISO for large print work if that’s what was necessary.
Things change at 3200. Up to this point color fidelity has remained constant and the increased ISO levels have manifested themselves in an increase in graininess across the frame that very nicely mimics film grain. 3200 displays just a slight hint of random noise (sort of a faint luminescence) in the darker colors, but enough so that I would tend to relegate it to small print work or Internet usage in most cases — large prints only if lower sensitivities couldn’t do the job. 6400 displays more pronounced noise and seems to me to be the tipping point on this sensor/processing engine combination — the most dramatic increase in noise of any individual ISO step to this point. Both 12,000 and 25,600 display increasing levels of noise and while the D5200 is doing a fairly good job of maintaining color fidelity at these higher ISO levels, the luminescent-like graininess is becoming more pervasive.
ISO 100 ISO 200
ISO 400 ISO 800
ISO 6400 ISO 12800
It should be noted that these observations of ISO performance were made with noise reduction disabled within the camera. I then went back and shot the 6400, 12800 and 25600 ISO levels with noise reduction enabled in the D5200. Finally, I post processed three additional high ISO images with Nik Software’s Dfine 2.0 noise reduction software. The results suggest that whether you apply noise reduction within the camera or post process, that you can squeeze a bit more ISO performance out of the D5200 images. In the shots that follow “NR” designates images with noise reduction applied in camera; “PP” indicates the post processed ones.
6400 NR 6400 PP
Additional Sample Images