Nikon D7200 Review
- Robust, conveniently shaped housing
- Large buffer for long lasting image series
- Superior features including WiFi
- Best image quality in its class
- Somewhat confusing menu and partly cumbersome operation
- Video mode 50p/60p only with 1,3x-Crop
- Display still rigidly mounted
- Untimely slow autofocus in Live View mode
Nikon has left the D7200 at a resolution of 24 megapixels on an APS-C sensor, but the faster Expeed 4 image processor and the enlarged buffer memory ensure a longer lasting image series without interruption.
Ergonomics and Workmanship
Compared to its predecessor, the D7200’s video functions have changed very little. Most important innovation: The D7200 films with up to 60 full frames per second, with the D7100 the frame rate was still limited to 60i. However, the frame rates 60p and 50p are only available if the image field 1.3x (18 x 12) is selected – the camera then uses even less of the sensor area than would be necessary anyway for trimming from 3:2 to 16:9. During spontaneous video snapshots, the lame autofocus interfered with the practical test. Not only does it track the sharpness very leisurely as it swings from near to far – in many cases there was also a clear, albeit short, sharpening pump. In addition, in a quiet environment, focus noise and the noise of the optical image stabilizer can be heard on the audio track.
A new addition to the D7200 is wireless data transmission via WiFi to a smartphone or tablet on which the Nikon “Wireless Mobile Utility” app (available free of charge for Android and iOS) is installed. However, their scope of functions has so far been modest. Essentially, it is limited to downloading images from the D7200 to the smart device and simply triggering the camera with live image transmission.
At the first sight of the D7200, you might think Nikon would come up with nothing new.
The housing is shaped like ever, like a classic DSL vine. The exterior of the D7200 hardly differs from the two predecessor models. Why should I buy it? After all, their ergonomics have always been convincing and it does not look that there is any improvement on that side.
But Nikon recently showed that good things can be made even better with the D750. Here the strongly shaped handle was pulled even further forward and slimmer, which gives
the camera a bit more grip. On the other hand, this design trick is not absolutely necessary with the D7200. On the D750 it serves to make the case smaller, but the D7200 is also smaller than its full-format sister without a re-design: it measures 136 x 106 x 76 mm and is therefore quite slim for a full-fledged DSLR.
The Nikon D7200 with a weight of approximately 750 grams (ready for use with battery and memory card, but without lens) remains quite portable, especially as the camera fits really well in the hand.
Nikon has equipped the D7200 with numerous buttons and wheels for the most direct
To keep the D7200 reasonably light, its case is made of a high-quality magnesium alloy. This material not only has a low specific weight, it is also very resistant. And so the camera looks extremely solid. In addition, it is sealed against dust and splash water. Nikon is happy to see that the interfaces on the left side of the camera are protected by fiddly closing rubber flaps – at least this solution is tight. On the right side, Nikon has placed the slots for two SD memory cards under a solidly closing flap. The memory card slots offer a variety of options. So the second memory card can be set up as a backup or simply used to expand the memory. The D7100 also allows you to save raw files to one memory card while the other accepts its JPEG counterpart. Or you can store photos on a memory card, which stores other movies.
No surprise is offered by the underside of the Nikon D7200. The battery is pushed into the handle from below and provides energy for a good 1,100 shots (measured according to the CIPA standard) and thus has around ten percent more range than the D7100. The tripod thread is located in the optical axis and far enough away from the battery bay, so the energy dispenser can be replaced even when the quick-release plate is attached, if it is not too large. What’s less nice is that Nikon closes the interface for the optional MB-D15 multifunction handle with a disdainful gum meippel. This is not only very fiddly, the rubber cover can also get lost easily. What is practical, however, is that the MB-D15 can alternatively be equipped with mignon batteries
Looking through the viewfinder of the D7200, it’s a pleasure to see . The viewfinder image is clear and bright, a merit of the elaborate pentaprism construction as well as the BriteView adjustment disc. If desired, a fine grid can be faded into the viewfinder image, the exposure balance shows at the touch of a button whether the camera is exactly aligned in the horizontal. The exit pupil, at 19.5 millimetres, is quite close to the eye, so spectacle wearers quickly find it difficult to capture the entire viewfinder image. Those who want to do without their glasses when looking through the viewfinder would be happy about the diopter correction. However, this has only a small control range of -2 to +1 dioptres, and its adjustment wheel also turns rather awkwardly.
Despite the classic SLR construction, the D7200 triggers pleasantly quietly and gently. A special quiet mode is available for inconspicuous shots in a very quiet environment, but it is less quiet than the normal trigger noise. So that the movement of the oscillating mirror does not affect the shot, the D7200 offers a mirror lock-up: when the shutter release button is pressed for the first time, only the mirror folds away and the viewfinder image becomes dark. Only the next actuation of the trigger then triggers the recording. Alternatively, a mirror lock-up can be activated in the menu without pressing the shutter release twice.
Like its predecessors, the D7200’s right shoulder is enthroned by an opulent status display that can be illuminated. Even when the camera is turned off, it is active and the shoulder display informs you of the remaining capacity of the memory card(s). With the rear main monitor – if everything stays the same – the good as well as the bad remains the same. A good thing is that the display has a very high resolution of around 1.2 million pixels (subpixels). A special RGBW matrix ensures that the monitor can shine very brightly and is therefore still easy to read even in sunshine. However, the display is still firmly installed, it can neither be folded nor swivelled. Nikon recently proved that this can be done better with the D750, whose screen can at least be folded up and down. After all, the display of the D7200 shows an unadulterated picture even with a very oblique top view, tilting colors are completely alien to it.
At first glance, the D7200 appears to be a bit haphazard with knobs, switches and knobs. But once you have the camera in your hand, you quickly notice that Nikon has arranged most of the controls within easy reach. However, this only applies by default as long as the D7200 is operated with both hands. As usual with Nikon, many keys have to be held down to adjust the corresponding parameters – so nothing can change unintentionally. On the other hand, it makes the operation more complicated, especially when looking through the viewfinder. Fortunately, the behavior of many keys can be changed to switches – then it is enough to tap them once to then adjust the corresponding parameters.
Nikon has secured the program selector wheel on the left camera shoulder as well as the setting ring for the recording mode directly underneath against unwanted adjustments. Ring and selector wheel can only be turned if the respective unlocking knob is kept pressed. Clever detail: With a special key combination (which, of course, can only be reached with two hands), the memory card can be formed without detour into the menu. Some function keys can be assigned with functions of your choice, some even with different functions, depending on whether the D7200 is in photo or video mode. Sometimes, however, the D7200 challenges the photographer to almost artistic contortions. For example, if you want to change image effects or scene programs – you have to hold down the info button at the bottom right of the camera back and turn the thumbwheel at the same time. This also improves as soon as you change the key behavior to one-hand operation.
As usual, the shutter release is located on the top right of the camera and is enclosed by the ring-shaped main switch. It reacts pleasingly quickly, the D7200 is already ready to go about 0.5 seconds after switching on. Between the shutter release and the shoulder display there were two small buttons for the exposure correction and the choice of the measuring mode.
You navigate through the menus with a four-way rocker, which reacts exactly and is easily accessible for the thumb of your right hand. The Live View mode is also controlled on the back of the camera. He knows the two operating modes photo and film . For starting and stopping movie shoots, Nikon has provided the D7200 with a separate button next to the shutter release button. The probability of unintentionally starting a movie recording is therefore extremely low.
In viewfinder mode, the Info button on the D7200 displays a detailed overview of the current camera settings. This overview is not interactive as with some cameras from other manufacturers, however – settings cannot be changed here. So it is only logical that the D7200 has no touch display. The D7200’s quick menu provides access to particularly important menu commands, which cannot be freely configured. The “My Menu” function of the camera offers the option of creating a personal menu with up to 20 items missing. Good: The selection option for the personal menu is not limited to recording functions, even commands, for example from the playback menu, can be recorded here.
All setting options that cannot be selected with the Nikon D7200 via switches, knobs and controls require the main menu to be called up. If you have never had a Nikon DSLR in your hand before, you will almost be killed by the possibilities of this main menu. This is not only due to the mere number of orders, but also to a somewhat idiosyncratic subdivision. Most settings are changed in the Individual menu, which is divided into sections such as “Auto Focus”, “Exposure” or “Bracketing and Flash”. These submenus partly consist of long lists that you have to scroll through. There are also submenus like “Play” , which consist of long lists. The “?” button is extremely helpful in these somewhat confusing menu lists. It brings to many (but not all) commands a detailed explanatory text on the display as long as it is held down. Less nice is the fact that the D7200 doesn’t reveal the exact reason for the currently unavailable settings. Often only a look at the manual, which is very detailed, will help – some other camera manufacturers could take a look at this!
With the D7200, Nikon targets a wide range of photographers. The camera should deliver good results in the hands of both the expert and the less experienced user. Especially for those who are confused by the very large range of functions, there are a lot of useful automatic features unlike the pure professional cameras from Nikon. First of all, there is the automatic snapshot function with its own AUTO symbol on the program selector wheel. She really does everything herself and allows hardly any possibilities for intervention. Whether the built-in flash fires or not, however, can be set. Alternatively, the D7200 offers the specific specification of a scene mode program such as “Landscape”, “Portrait” or “Beach/Snow”. With these, one has at least rudimentary possibilities for the configuration, for example the manual exposure correction works, but the white balance cannot be changed. The recording in raw format is fortunately also possible with the automatic systems, so nothing stands in the way of later adaptations.
For those who don’t want to spend time with the subsequent image processing, the Nikon D7200 offers special effects such as “Selective Color” (Color-Keying), High- and Low-Key or the unavoidable miniature effect. Nikon’s latest addition is even an HDR automatic, but it only works in PASM mode, and the D7200 lacks a fast-adjustable scene mode for HDR photos. It also does not have a panorama function.
The Nikon D7200 only unfolds its full potential when you leave the automatic modes behind and operate the camera as a program, timer or aperture control, or manually adjust the exposure (PASM mode). Various systems are available for light metering, starting with the 3D color matrix, through spot metering to classic multi-field metering with adjustable size of the measuring range to be weighted more strongly. In practice, the D7200 is thus suitable for practically all lighting situations and exposes safely and reliably like a Swiss watch movement. If you are still not satisfied with the results, you can specify a separate correction value for each of the three measurement methods.
The Nikon D7200 offers a sensitivity range from ISO 100 to ISO 102 .400, but the two highest levels only record in black and white. Thus, color photos are only possible up to ISO 25 .600, whereby there are already significant limitations in the image quality (more in this regard in the section “Image quality”). In practice, the Nikon D7200’s ingenious ISO automatic is convincing, even working in M mode. This option is very handy if you want to shoot with a fixed time/aperture combination and still want the exposure to be controlled automatically – a scenario that is especially common for film shoots. A fixed ISO value is specified as the lower limit for the automatic sensitivity control. This is only raised when the correct exposure can no longer be achieved with the value set under “Longest exposure time”. The “longest exposure time” can be set by the camera itself, depending on the current focal length, status of the image stabilizer, etc., or the photographer can set it. As complicated as this may sound, the procedure is helpful in practice. It makes sure that the ISO automatic function only really increases the sensitivity when it is necessary according to the photographer’s wishes or to avoid blurred images.
In addition to the HDR function already mentioned, the D7200 offers “Active D-Lighting”, a function that improves shadow drawing in high-contrast subjects. How strong, that can be pretended or left to an automatic . The “Active D-Lighting-Automatic” works quite cautiously, but still visibly improves the depth drawing. If you don’t trust the optimization functions, the D7200 can of course also be used for bracketing. The maximum step size is 2 EV, which means that a maximum of five shots are possible. Also on board, the D7200 has a multiple exposure function that adds two or three shots to one image. Interval shots are also possible with the camera.
The shortest shutter speed of the D7200 is 1/8,000 sec, the longest 30 sec customers. In addition, the D7200 can handle long exposures with B and T modes. In T mode, exposure is initiated with the shutter release button and stops when the camera is released again.
If the ambient light is insufficient, the D7200 can illuminate the subject with a flash either with the built-in on-board flash or with an external flash that has been inserted into the ISO shoe of the camera. The flash sync time is a very short 1/320 second. The Nikon flash system is extremely advanced, the D7200 supports all the functions it offers. This includes long-term synchronisation as well as special pre-flashes to reduce red eyes or synchronisation to the second curtain. The D7200 integrates seamlessly into the Creative Lighting System, so it’s wireless flash control. The on-board flash of the camera can take over the function of the master, an additional flash unit for controlling the wirelessly connected ones is not necessary.
White balance and image processing
As befits a camera with professional standards, the Nikon D7200 allows very far-reaching intervention possibilities in the image processing. This starts with the white balance, which can be configured very differently. In addition to the automatic control, it offers various specifications (from artificial light to shadow), as well as the exact measurement on gray chart and the input of a specific color temperature. In addition, the specifications can be fine-tuned in two dimensions (amber-blue and green-magenta).
Equally clever are the adjustment options for JPEG editing; Nikon calls this function “Picture Control”. Not only does it have seven presets – including two for post-processing-friendly JPEGs and one for monochrome – but each preset can also be adjusted in great detail. In addition, there is the Quick Adjust function, which increases or decreases the corresponding parameters equally in all Picture Control configurations. For photographers who rely on fast JPEGs, this means that they can customize the look of their photos very specifically – photo reporters and event photographers will be delighted.
The noise suppression is also adaptable. It has three levels, but can also be switched off completely. In addition, the D7200 offers noise reduction for long exposures using the Dark Frame Reduction method, which can also be turned off.
The Nikon D7200’s editing options in playback mode are extremely versatile. If you need a photo in JPEG format quickly, you can develop raw shots directly in the camera. All of the Picture Control system’s intervention options are available, white balance can be adjusted, noise reduction and much more. Not limited to raw editing are retrospective filter effects from “skylight” to “blur”, the ability to crop, distortion correction and a number of effects . In short, the D7200 offers possibilities for subsequent processing, which in many cases replaces a corresponding image processing program on the computer.
Autofocus and Continuous Pictures
The autofocus was a bit of a problem for the D7100, which is now being replaced by the D7200. Especially in poor lighting conditions, the predecessor sometimes had problems finding a target at all or challenged the photographer’s patience with long AF times. Nikon has responded by equipping the new D7200 with the Multi-CAM 3500DX II AF module, whose sensitivity now reaches down to -3 LW. It is equipped with 51 focus measuring fields that extend far to the outer edges of the image, but slightly disdain the upper and lower image areas (in landscape format). Eleven of the focus sensors are designed as particularly sensitive cross sensors, the central AF sensor even works together with lenses down to a light intensity of F8 (the others up to F5 .6). It’s all very well with an unpleasantly bright white AF auxiliary light that illuminates the subject in a dark environment, but fortunately can also be switched off.
The autofocus of the D7200 benefited from a high light intensity. Equipped with the lens AF-S 18-105 mm 3 .5-5 .6 DX G ED VR, the shutter release delay including focusing from infinity to two meters distance is 0.32 seconds at F3 .5 at the short end of the zoom. At 105 mm focal length and F5 .6, the shutter release delay drops to 0.53 seconds. A Canon EOS 70D or Sony Alpha 7 II focus a little faster, but in practice the AF of the Nikon D7200 is quite fast enough. However, this does not apply when the camera is in Live View mode. Here, the D7200 takes 1.5 to 2.1 seconds to focus and release, an agonizingly long time. For quick snapshots, the D7200 is hardly usable in Live View mode – other manufacturers can do that much better now. The Live View mode is especially suitable when the camera is mounted on a tripod and you have the leisure to focus manually. It supports one with a good focus loupe, whose section can be moved freely.
Nikon has doubled the capacity of the internal buffer memory of the D7200 compared to its predecessor. This doesn’t promise a higher continuous shooting rate, but longer series at top speed before the camera falls into the much more comfortable continuous run. The speed that the D7200 sets is quite respectable: In JEPG format it shoots 5.8 photos per second (fps), in raw format 5.1 fps. What is much more remarkable, however, is that the D7200 kept up the high speed in our test with JEPG photos until the maximum number of 100 images per series was reached. With raw photos, the D7200 ran out of breath already after 14 photos, then it continues with 0.6 fps at a very leisurely pace.
Sure, other cameras in their class are even faster, like the Sony Alpha 77 II and of course the Canon EOS 7D Mark II. Nevertheless, the D7200 was a great choice for action use. Because your autofocus can really be configured in great detail as soon as the focus has to be carried along with the subject. Depending on the setting, the serial frame rate goes down to the basement, but the D7200 manages quite reliably to keep a dog running towards the camera in focus over a remarkably long series of pictures.
Compared to its predecessor, the D7200’s video functions have changed little. Most important innovation: the D7200 films with up to 60 full frames per second, with the D7100 the frame rate was still limited to 60i. However, the frame rates 60p and 50p are only available if the image field 1.3x (18 x 12) is selected, the camera does not use the entire sensor area, but trims the image more than would be necessary if the 3:2 aspect ratio of the sensor were trimmed to 16:9. It is stored in MOV format with H.264/MPEG-4 codec, a file format that is easy to edit. The D7200 records the video sound in stereo, the internal or an external microphone can be controlled manually.
During spontaneous video snapshots, the lame autofocus interfered in the practical test. Not only does it track the sharpness of the pan from near to far very leisurely, but in many cases there was also a clear, albeit short, sharpness pump. In addition, in a quiet environment, focus noise and the noise of the optical image stabilizer can be heard on the audio track. Equipped with special video lenses, the Nikon D7200 may be an excellent tool for filming – short clips during a family outing can be captured with a high-quality compact camera more comfortably and in mostly equal quality.
Nikon has equipped the D7200 with a variety of interfaces. Of course, one USB and one HDMI port are not missing, the last one also transmits the Live View image to a connected monitor. The D7200’s headphone jack is by no means standard, however, as it is used for sound control during filming. It has a microphone jack on its side, which can also be used to connect an external microphone for video recording. In addition there is another connector for special Nikon accessories. For example, it contacts the external GPS receiver G-1/G-1A, the D7200 does not have an internal GPS logger. A cable-connected remote control or the receiver of the optional WR-1 or WR-R10 radio remote control can also be connected here.
A new addition to the D7200 is wireless data transmission via WiFi to a smartphone or tablet on which the Nikon “Wireless Mobile Utility” app (available free of charge for Android and iOS) is installed. Their range of functions is so far however modest. Essentially, it is limited to downloading shots from the D7200 to the smart device or triggering the camera without great adjustment possibilities.
The D7200 with the lens AF-S DX Nikkor 18-105 mm VR a – a combination offered by Nikon so also as a set. The 5.8x zoom covers a focal length range from 27 to approx. 158 millimetres in relation to 35mm. With a focal length-dependent initial aperture of F3 .5-5 .6, it is not particularly fast, but this is common with price-optimized lenses. The tube is completely made of plastic, unfortunately this even applies to the bayonet. After all, the standard zoom is pleasantly light, only 440 grams press it on the balance.
The optical design consists of 15 lenses in eleven groups. Despite the low price, the 18-105 mm is equipped with an optical image stabilizer that can be switched on and off with a slide switch on the lens. There is another switch for switching between autofocus and manual focus. In viewfinder mode, the image stabilizer only becomes active when the shutter release button is pressed; in live mode, it works permanently. The autofocus also constantly adjusts the focus in Live View mode – but this does not help to reduce the AF time to a bearable level.
In practice, the AF-S DX Nikkor 18-105 mm VR appealed with a decent image quality (more on this in the image quality section) and its good handling in photo shoots. With video recordings, above all the mechanical zoom drive is hardly usable, even zoom drives are not possible with it, when zooming, audible scraping noises get on the soundtrack. As not uncommon for a zoom lens of its price range, the 18-105 mm draws a somewhat restless bokeh.
Sensor and image processing
It is tested with software and hardware from DxO Labs, the DxO Analyzer . All measurements are based on the standard JPEG settings supplied with a camera (in the case of Nikon with Active-D-Lighting switched off). With the Nikon D7200 to ISO 800, they consistently deliver very good to excellent results. The recordings are pleasing up to this ISO level due to a practically imperceptible influence of noise reduction, they are detailed and largely free of artifacts.
This good impression is largely confirmed by the test laboratory. The signal-to-noise ratio is still just good with a value of almost 40 dB, but the luminance noise remains absolutely inconspicuous up to ISO 800. You have to look very closely to see any differences between ISO-100 and ISO-800 photos in the 100 percent display. At ISO 100, the D7200 draws the finest details even more clearly, the fine hairs and structures of the clothes in the test pattern are more compellingly worked out. You could also say that at ISO 800 the playback gets a bit softer. That doesn’t have to be a disadvantage, by the way: At ISO 100 there are definitely sharpness artifacts to be found, here the Expeed 4 is too powerful – which, by the way, is also reflected in the measurement of texture sharpness: at ISO 100 with a value of 1.15 it is already too high and at ISO 800 it is only at the optimum value of 1. ISO 800 is also the value up to which the D7200 can withstand a very high input dynamic of 10.5 EV .
The output dynamics, on the other hand, already go back to ISO 800, but only moderately. What is impressive, however, is that the color rendering of the D7200 cannot be influenced by the choice of ISO sensitivity. It might be a bit more neutral overall, with more softly saturated red and cyan tones, but on the other hand it remains true to its line up to the highest ISO regions.
If the sensitivity is screwed higher than ISO 800, the D7200 cannot hide the fact that it has to make do with an APS-C sensor that is also highly integrated. Beyond ISO 800 the signal-to-noise ratio drops more strongly, from ISO 6 .400 the curve bends again downwards.
At ISO 3 .200, the JEPGs from the camera appear soft and with little detail, an impression that is visibly enhanced again at ISO 6 .400. If the sensitivity is again set one ISO level higher, massive structural losses occur. At ISO 12 .800, the D7200’s ability to differentiate between brightness differences is also declining rapidly, and the input dynamics are now only 8 EV. Raw files from the D7200 offer the potential for slightly better results. In the standard settings, the noise reduction of the camera works from ISO 1 .600 slightly too strong, especially suppresses fine grain, but lets coarse-grained noise pass through. This makes the images appear softer than with moderate noise reduction. This is also illustrated by the measurement of texture sharpness, which at ISO 6 .400 with a value of 0.8 just shows an acceptable result.
Up to ISO 800, the D7200 can therefore be used with a clear conscience, even with high demands on image quality. If one accepts some compromises, it is still good at ISO 3 .200, if necessary also at ISO 6 .400 . Even higher ISO values should at best be expected if the images are output in low resolution; the camera is not suitable for large-format prints of high-ISO images.
For the test, the D7200 was equipped with the AF-S DX Nikkor 18-105 mm VR lens. The lens meets the expectations of a price-optimized standard zoom, but it certainly doesn’t call up the potential of the D7200. The resolution of the lens is good, reaching its maximum of around 60 line pairs per millimeter (lp/mm) when stopped down on F11. In the wide-angle position, the zoom resolution is highest, but the loss at medium and long telephoto focal lengths is low. Another outstanding feature is that the resolution decreases only slightly towards the edges of the image. Here again, the wide-angle range is the strongest, with an average resolution loss of less than ten percent, but the decline of around 20 percent in the telephoto range is still quite good
Unfortunately, the AF-S DX NIKKOR 18-105 mm VR does not give such a convincing performance when measuring distortion. At the shortest focal length it is strongly barrel-shaped, at the long end of the telephoto lens and at the medium focal length extremely cushion-shaped. Although the distortions can be corrected by software – either in the camera or in Lightroom or Camera Raw – the resolution in the image corners is greatly reduced as a result. In addition, the edge darkening is strongly pronounced with the standard zoom, at least with open aperture. On F8 dimmed the vignetting is no longer a problem. Chromatic aberrations are hardly a problem of the 18-105 mm in the image center, only at the longest focal length color fringes can become visible at the edge of the image.
Up to ISO 800, the D7200 consistently delivers very good to excellent results, as confirmed by the test. The signal-to-noise ratio is only just good with a value of almost 40 dB, but the luminance noise remains absolutely inconspicuous up to ISO 800. However, the Expeed 4 sharpens very strongly, especially at low ISO values, which is reflected accordingly in the measurement of texture sharpness. It is already too high at ISO 100 with a value of 1.15 and is only at ISO 800 with the optimum value of 1. ISO 800 is also the value up to which the D7200 can cope with a very high input dynamic of 10.5 EV.
If the sensitivity is screwed higher than ISO 800, the D7200 cannot hide the fact that it has to make do with an APS-C sensor that is also highly integrated. Beyond ISO 800 the signal-to-noise ratio drops more strongly, from ISO 6.400 the curve bends again downwards. At ISO 3.200, the JPEGs from the camera appear soft and with little detail, an impression that is visibly enhanced at ISO 6.400. If the sensitivity is again set one ISO level higher, massive structural losses occur. At ISO 12.800, the D7200’s ability to differentiate brightness differences is also rapidly declining; the input dynamics are now only a poor 8 EV.
The tested set lens AF-S DX Nikkor 18-105 mm VR fulfills the expectations of a price-optimized standard zoom, but certainly doesn’t call up the potential of the D7200. It has a very high resolution when stopped down on F11, even at the edges of the image. The AF-S DX Nikkor 18-105 mm VR unfortunately doesn’t give such a convincing performance when measuring distortion. At long and medium focal lengths, it is strongly cushion-shaped, at wide-angle extremely barrel-shaped. Vignetting and chromatic aberrations are less of a problem.
Like its predecessor, the Nikon D7200 is equipped with a CMOS sensor in APS-C format that resolves 24 megapixels. Nikon also does without a resolution-reducing anti-alising filter in front of the sensor in the D7200, but thereby accepts the danger of moiré pattern formation. There are changes compared to the predecessor on paper in the image processing engine . While the D7100 was still equipped with an Expeed 3 image processing processor, the newer Expeed 4 processor in the D7200 now processes the sensor signals. Is that enough to surpass the already very good image quality of the D7100? Difficult to answer.
Alternatives To The Nikon D7200
The range of sophisticated APS-C/half-format cameras is now quite manageable, as cameras with 35 mm full-frame sensors are becoming cheaper and cheaper. Three models come into consideration as an alternative to the Nikon D7200.
Canon EOS 7D Mark II
The Canon EOS 7D Mark II has the Nikon D7200 with 10 fps above all a significantly higher continuous shooting rate and an even better autofocus ahead of the Canon EOS 7D Mark II, which works much faster than the AF of the D7200 especially in Live View mode. This is an invaluable advantage especially for video recordings. The Canon EOS 7D Mark II also supports the demanding videographer with the possibility to record time codes – the D7200 lacks this option. On the other hand, Canon’s top model in the APS-C squad weakens image quality somewhat; especially with increasing ISO values, the D7200 is clearly ahead. In addition, the Canon EOS 7D Mark II is around 500 euros more expensive than the D7200 . Like her, the Canon also lacks a movable display.
Sony Alpha 77 II
The Alpha 77 II from Sony also takes faster continuous shots at around 8 fps (12 fps without focus tracking) than the Nikon D7200. In addition, the SLT camera works permanently in Live View mode, with a separate phase AF module providing an ultra-fast autofocus. However, it’s not quite as reliable as the D7200’s AF in series. The Alpha 77 II does not have an optical viewfinder, the viewfinder image is always generated electronically and reproduced in a high-quality EVF.
Especially for video recordings, this concept is superior to the D7200 but also to the EOS 7D Mark II. In addition, the Sony camera offers an image stabilizer via sensor shift. The case quality of the Alpha 77 II is not quite as high as that of the D7200 and the professional Canon. The Alpha 77 II has a folding and rotating monitor for this purpose. In terms of image quality, the Sony is on a par with the D7200 up to about ISO 800, while the Nikon stands out slightly at even higher ISO values.
The NX1 is from Samsung is not a DSLR but a mirrorless system camera. Nevertheless, it has what it takes to stand up to the D7200 in many respects. The NX1 delivers a breathtaking speed of around 15 fps, while at the same time maintaining focus. The autofocus is also very fast, the release delay of the NX1 including AF time is only 0.25 to 0.3 seconds. Videographers also benefit from the fast autofocus: the NX1 adjusts the sharpness of the video absolutely accurately and without any pumping. Optionally, the NX1 even records videos in UHD resolution. The WiFi connection to a smart device, from which the NX1 can even obtain position data, is also exemplary. As with the D7200, the image quality of the NX1 with its 30 mepgapixel BSI sensor up to ISO 800 is excellent, but with increasing ISO sensitivity, it falls somewhat behind the D7200. The Nikon has the Samsung but a foldable touch screen ahead. The price of the NX1, however, is rather on the level of the Canon EOS 7D Mark II, the D7200 is noticeably cheaper.
With the D7200, Nikon continues to develop the successful D7100 in detail, while the D7200 doesn’t have any groundbreaking innovations to offer. But the many small detail improvements are quite convincing. The autofocus now works as fast as you’d expect from a sophisticated DSLR, even in low light conditions. In addition, the D7200 can hold its own for a noticeably longer period of time during serial image recording thanks to the enlarged buffer memory before falling into continuous operation. It now also records videos with frame rates of 50p and 60p, but only with 1.3x cropping. New is the WiFi interface including NFC, but the possibilities of the app are (still) manageable.
Nikon didn’t change the image converter or the case design. Why should I, they could have thought. The image quality of the 24 megapixel camera is excellent up to ISO 800, more than usable up to ISO 3 .200 – all in all, it offers the best image quality in its class. And the housing lies as good as ever in the hand, the viewfinder image impresses.
Despite the overall very good impression the D7200 left in the test, there are unfortunately still a few points of criticism: In Live View mode, the camera focuses much too slowly, which is useless for quick snapshots. It’s also a shame that Nikon still holds on to the fixed monitor on the back of the camera – the folding display of the D750 would also have looked very good on the D7200.
Firmware Update C 1.01 for the Nikon D7200
|Sensor||CMOS APS-C 23.6 x 15.8 mm (crop factor 1.5
)24.7 megapixels (physical)
24.1 megapixels (effective)
|Pixel pitch||3.9 µm|
|Resolution (max.)||6.000 x 3.368 (16:9)|
|Video (max.)||1.920 x 1.080 60p|
|Lens||Nikon AF-S 18-105 mm 3.5-5.6 DX G ED VR (zoom lens)|
|Reflex viewfinder||Prism viewfinder, 100 percent image field coverage, 0.94x magnification (sensor-related), 0.63x magnification (KB equivalent), 19 mm eye distance, diopter correction from -2.0 to 1.0 dpt, replaceable focusing screens|
|Monitor||3.2″ (8.0 cm)|
|AV connector||HDMI Mini Output (Type C)|
|Automatic scene mode control||–|
|Bulb long time exposure||yes|
|Exposure metering||Matrix/multi-field measurement (2,016 fields), center-weighted integral measurement, spot measurement|
|fastest shutter speed||1/8.000 s|
|Synchronous time||1/320 s|
|Flash connection||Hot shoe: Nikon, standard center contact|
|Remote release||yes, cable release, infrared release, remote control via Smartphone/Tablet|
SD (SDHC, UHS I)
SD (SDHC, UHS I)
|Number of measuring fields||15 Cross sensors37
|Speed||Phase auto focus: 0.32 s to 0.53 sLive View auto focus
: 1.50 s to 2.10 s
|AF auxiliary light||LED|
|Dimensions (mm)||136 x 106 x 76 mm|
|Weight (ready for operation)||748 g (body only
)1.168 g (with lens)
|Tripod socket||in optical axis|
|Zoom adjustment||manual on lens|
|Battery life||1.110 images (according to CIPA standard)|
|– = “not applicable” or “not available”|
This test of the Nikon D7200 with Nikon AF-S 18-105 mm 3.5-5.6 DX G ED VR was done with DxO Analyzer from DxO Labs by Johnsons Photo.
Nikon D7200 Datasheet
|Sensor||CMOS sensor APS-C 23.6 x 15.8 mm (crop factor 1.5
)24.7 megapixels (physical) and 24.1 megapixels (effective)
|Pixel pitch||3.9 µm|
|Picture formats||JPG, RAW|
|Color depth||36 bits (12 bits per color channel)|
|Metadata||Exif (version 2.3), DCF standard|
|Maximum recording time||29 min 59 sec|
|Autofocus mode||Phase comparison autofocus with 15 cross sensors, autofocus working range from -3 EV to 19 EV, contrast autofocus|
|Autofocus Functions||Single Auto Focus, Continuous Auto Focus, Tracking Auto Focus, Manual, AFL Function, AF Assist Light (LED), Focus Magnifier|
|Focus control||Depth of field control, dimming button|
Viewfinder and Monitor
|Reflex viewfinder||SLR (prism viewfinder) (100 % image coverage), 19 mm eye relief with 0.94x magnification (0.6x KB equivalent), dioptre compensation (-2.0 to +1.0 dpt), replaceable focusing screens, grating can be faded in|
|Monitor||3.2″ (8.0 cm) TFT LCD monitor with 1,229,000 pixels, viewing angle 170°, anti-reflective, brightness adjustable, color adjustable|
|Info display||additional info display (top) with illumination|
|Exposure metering||Center-weighted integral measurement, matrix/multi-field measurement over 2,016 fields, spot measurement (measurement over 3% of the image field), AF-AE coupling|
|Exposure times||1/8,000 to 30 s (Auto
)1/8,000 to 30 s (Manual)
|Exposure control||Fully Automatic, Program Automatic (with Program Shift), Aperture Priority, Aperture Priority, Manual|
|Bracketing function||Exposure bracketing function with maximum 7 shots, step size from 1/3 to 3 EV, HDR function|
|Exposure compensation||-5.0 to +5.0 EV with step size from 1/3 to 1/2 EV|
|Sensitivity to light||ISO 100 to ISO 25.600 (automatic
)ISO 100 to ISO 25.600 (manual)
|Remote access||Remote release, cable release, infrared release, remote control via smartphone/tablet|
|Scene modes||Automatic, Twilight, Candlelight, Children, Landscape, Food, Macro, Night Scene, Night Portrait, Portrait, Sunset, Sports/Action, Beach/Snow, Animals, 2 more scene modes|
|Picture effects||High Key, Individual, Landscape, Low Key, Miniature Effect, Monochrome, Neutral, Portrait, Selective Color, Color Drawing, High Key, Low Key, Night Vision, Selective Color, Silhouette|
|White balance||Auto, Cloudy, Sun, Fine tuning, Shadow, Flash, Fluorescent lamp with 7 presets, Incandescent light, from 2,500 to 10,000 K, Manual 6 memory locations|
|Color space||Adobe RGB, sRGB|
|Continuous shooting||6.0 frames/s at highest resolution, maximum 100 frames in JPEG or 27 frames in RAW|
|Self-timer||Self-timer every 2 s, special features: or 5, 10 or 20 seconds|
|Timer||Timer/interval recording, start time adjustable|
|Shooting functions||Mirror lock-up, AEL function, AFL function, live histogram|
|Flash||built-in flash (hinged) flash shoe: Nikon, standard center contact|
|Flash range||Flash sync time 1/320 s|
|Flash number||Guide number 12 (ISO 100)|
|Flash functions||Auto, Fill-in flash, Flash on, Flash off, High speed sync, Slow sync, Flash on second shutter curtain, Red-eye reduction, Master function, Flash exposure compensation from -3.0 EV to +1.0 EV|
|Image stabilizer||no optical image stabilizer|
SD (SDHC, UHS I)
|second memory card slot||
SD (SDHC, UHS I)
|GPS function||GPS external|
|Power supply||Power supply connection|
|Power supply||1 x Nikon EN-EL15 (lithium ion (Li-Ion), 7.4 V, 1,030 mAh
)1,100 pictures according to CIPA standardNikon
EH-5B Power supplyNikon
MB-D15 Battery / rechargeable handle
|Playback Functions||Red eye retouching, crop images, image rotation, protect image, highlight / shadow warning, playback histogram, playback magnifier, image index, slide show function, zoom out|
|Face recognition||Face recognition|
|Picture parameters||Sharpness, Contrast, Saturation, Noise Reduction|
|Special functions||Electronic spirit level, Grid can be displayed, Orientation sensor, Live View, User profiles with 2 user profiles|
|Ports||Data interfaces: USBUSB-Type
:USB 2.0 High SpeedWLAN
: available (Type: B, G)
|AV connectors||AV output: HDMI output Mini (Type C
)Audio input: yes (3.5 mm jack (stereo with power supply))
Audio output: yes (3.5 mm jack (stereo, 3-pole))
|Supported direct printing methods||PictBridge|
|Tripod socket||1/4″ in optical axis|
|Features and Miscellaneous||Expeed4
processorhousingDust cleaning function
, reference image function (only in conjunction with Capture NX-D software)
“Picture Control” shooting settingsDynamic
AF field control with 9, 21 or 51 fields of viewISO
51.200 and 102.400 only in monochrome modeActive
D-Lighting (contrast adjustment) with five settingsSpot white balance
Size and weight
|Dimensions W x H x D||136 x 106 x 76 mm|
|Weight||748 g (operational)|
|included accessories||Nikon AN-DC1 Storage AccessoriesNikon
BF-1B (Case Cover)
Nikon BS-1 (Shoe Cover)
Nikon DK-23 (Eyecup)NikonDK-5 (Eyepiece Cover)
Nikon EN-EL15 Special BatteryNikon
MH-25a Charger for Special BatteryNikon
UC-E17 USB CablePicture Editing Software
ViewNX 2 for Windows and Macintosh
|optional accessory||Nikon EH-5B Power AdapterNikon
EP-5B Battery Compartment Adapter CableNikon
GP-1 (GPS Receiver)
Nikon MC-DC2 Cable Remote TriggerNikon
WR-1 (Wireless Remote Control)
Nikon WR-R10 Wireless Remote Control