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Nikon D5, AF-S Nikkor 70-200mm f/2.8G ED VR II, 1/1600, F2.8, ISO 400, Photo by K

Nikon D5 / SHOOTING REPORT

Development schedule for flagship models is always fixed because they are released in Olympic years. And, this Olympic year is the one for the new Nikon F5. I feel like I reviewed the D4 and the D4S the other day, but things are being developed day after day. A flagship model is the face of a manufacturer. It’s designed to does its job without fail and free from playfulness. In this sense, it represents the manufacturer’s notion of camera as a photographic tool. Let’s take a look back over the models of the past generations. Nikon used to have two lineups of "high-resolution" and "high-speed" models up to the Nikon D3 series. And, I think the D3 series put an end to the trend because it liberated users from the restrictions of sensitivity while improving the speed by reducing the number of pixels just like the previous high-speed models. This new trend came down to the Nikon D4 and the high-resolution models were taken over by other cameras whose model number is not one-digit. In addition, the Nikon D3 not only had a full frame sensor in lieu of an APS-C sensor, but also featured liveview. Perhaps, the number of pixels wasn’t large enough to meet every professional need, but at least the model had a great impact. The Nikon D5 was released almost 10 years after the D3. I think it also inherits the trend made by the D3 and it became far more powerful by incorporating up-to-date features. In particular, the high sensitivity performance improved dramatically even though the number of pixels almost doubled the D3. Also, it has improved video recording and liveview functions. In short, the Nikon D5 perfected the concept of the D3 and it satisfies most professional requirements.

( Photography & Text : K )

Nikon D5, AF-S Nikkor 800mm f/5.6E FL ED VR, 1/800, F16, ISO 400, Photo by K

I went to Fuji Speedway with a super-telephoto 800mm that I seldom have a chance to use. There’re experts in any field! I’m so bad at shooting racecars. I shot around the corner where they drop their speed, but I ended in dismal failure. But, the D5’s AF and continuous shooting capability helped me quite a bit. With more practice, I think I can shoot one by one focusing manually… no, it’s still difficult for me now with a long lens like 800mm. I think it’s this AF that makes the biggest difference from the D4S. First, the AF area is widened by 30% and it has 153 focus points instead of 51 points. Of the 153 points, 99 points are cross-sensor and 35 points can be selected manually. Isn’t it crazy? :p What’s more fantastic is the special AF engine dedicated to take total control of the crushing AF system. In other words, when you aim the lens to the traveling direction of a subject, it calculates the predicted focus position to focus the subject as soon as it appears on the predicted position. For me whose brain stopped evolving since the Nikon F4, this is like casting pearls before swine and I’m just speechless.

Nikon D5, AF-S Nikkor 800mm f/5.6E FL ED VR, 1/800, F16, ISO 400, Photo by K

They had a joint practice of Porsche Carrera Cup Japan. To be honest, I underestimated the level because I thought it was just a stock car racing. But, I was thrilled by the fast exit speed at corners. I truly respect photographers taking masterpiece shots of the F1 and moto GP. Taking follow shots at F32 using the lowest sensitivity is an act of God… Anyway, I feel the tonal gradation has become even smoother presumably because of the increase of the number of colors realized by 20.82 effective megapixels. By the way, the depth of field is so thin even at F16! I had to raise sensitivity if the amount of light was insufficient, but I wouldn’t worry about it with the performance of the camera.

Nikon D5, AF-S Nikkor 70-200mm f/2.8G ED VR II, 1/500, F2.8, ISO 400, Photo by K

Color reproduction under tungsten and overcast lighting has improved since the D4 and I feel the same way with the D5, too. I think it’s based on the D810 and I’m so happy that I don’t need to adjust it when developing! By the way, when I heard that these cars have 500 horsepower for bodies weighing only 1.2 tons, I was convinced of their speed. Anyway, racecars are always beautiful.

Nikon D5, AF-S Nikkor 70-200mm f/2.8G ED VR II, 1/50, F2.8, ISO 400, Photo by K

This rendition of the mono block brake caliper demonstrates the improvement from the previous model. The reality increases dramatically when the number of pixels exceeds 20 megapixel. It’s off the subject again, but I was surprised to find the brake disks were cast iron instead of carbon with more stopping power. Maybe it’s for cost reduction.


Nikon D5, AF-S Nikkor 14-24mm f/2.8G ED, 1/500, F2.8, ISO 160, Photo by K

"Sweeter" image quality

The above shot makes the greatest difference from the D4S, which seldom generates images with such bewitchingness (I'm a D4S user). Of course, it’s also because of the wet rendition of the lens. But, it’s impossible without the improved tonal reproduction realized by the added pixels. I think 20 megapixels hits the balance of image quality and data handling for now.

Nikon D5, AF-S Nikkor 14-24mm f/2.8G ED, 1/400, F2.8, ISO 160, Photo by K

I’m satisfied with the tonal gradation of the D5. With previous models, the highlight area of the windows got clipping easily. They didn’t lose tonal gradation, but the image lacked of mood.

Nikon D5, AF-S Nikkor 14-24mm f/2.8G ED, 1/100, F2.8, ISO 160, Photo by K

Wonderful rendition. I can feel the difference of materials. Tonal gradation is rich even though it was underexposed slightly.

Nikon D5, AF-S Nikkor 70-200mm f/2.8G ED VR II, 1/2000, F2.8, ISO 100, Photo by K

Nikon D5, AF-S Nikkor 70-200mm f/2.8G ED VR II, 1/400, F2.8, ISO 100, Photo by K


Nikon D5, AF-S Nikkor 24-70mm f/2.8G ED, 1/200, F22, ISO 102400, Photo by K

The maximum regular sensitivity has increased to ISO 102400. Back in the film age, I used to pack my camera after the sunset and go out for drinks. Even now, I don’t feel like shooting in the dark situation… This camera supports the sensitivity up to ISO 3280000 when extended. Now, I can no longer calculate the combination of shutter speed and aperture! By the way, this image was shot at F22 and 1/200s! It’s noisy of course, but the color reproduction still remains uncorrupted. Good gracious…

Nikon D5, AF-S Nikkor 70-200mm f/2.8G ED VR II, 1/200, F22, ISO 5000, Photo by K

What do we do with improved high sensitivity performance? I would stop down because often we want to stop down to F22 not minding diffraction. High sensitivity performance not only enables shooting in dark situations but also expands the field of shooting.

Nikon D5, AF-S Nikkor 24-70mm f/2.8G ED, 1/125, F5.6, ISO 100, Photo by K

Increased number of pixels also realizes higher resolution. Just like the D4, drawing lines don’t thicken and the resolution is natural. What’s added with the D5 newly is precision.

Nikon D5, AF-S Nikkor 70-200mm f/2.8G ED VR II, 1/500, F2.8, ISO 100, Photo by K

Nikon D5, AF-S Nikkor 70-200mm f/2.8G ED VR II, 1/500, F2.8, ISO 100, Photo by K


Nikon D5, AF-S Nikkor 24-70mm f/2.8G ED, 1/25, F5.6, ISO 360, Photo by K

For someone who wants the best balance, user friendliness, and the results.

Flagship cameras exist for professionals who want desired results. The D5’s dust/drop proof body is built to be tough and it has enormous power. If it’s just big and heavy, it won’t be chosen by the professionals. The D5, on the other hand, is incredibly light considering the toughness and power. Actually, it didn’t feel heavy thanks to the sophisticated body shape. And unlike conventional SLR cameras, the D5’s liveview function is the level of mirrorless cameras which are made for liveview. Another great news is that, now, you can switch AF points on the touch-panel screen. Personally, I also welcome the silent shutter when shooting with liveview. It’s easy to handle. It does its job without fail. Its components have matured. In other words, the D5 is a camera of the best balance. Without hesitation, I recommend this camera to serious photographers as well as someone who gets his/her first flagship camera.

( 25.03.2015 )