Nikon Coolpix P7000
Nikon allowable two years to lapse between the Coolpix P6000 and its successor, the Coolpix P7000, and, to its confidence, the P7000 was a exact reworking of the P6000 very than just an update. The most notable step is a welcome restore to a lower-pledge sensor. Consumers will eat up those marketing-obsessed pledge boosts but the hobbyists permanently push back, and in this case Nikon gave the P7000the same 10 megapixels as the rest of its class. A additional redacted figure is the GPS, even if I’d’ve plotting Nikon would have replaced it with integrated Eye-Fi help–primarily since Nikon incorporates such help into a lot of its other cameras. Other changes contain a new inclined-top point with a completely new control layout eerily akin to the Canon G series, a longer zoom lens, a better LCD, and HD movie capture. The camera also has a built-in neutral density filter, of which I’m a huge fan.
As with the P6000, the P7000 uses “standard” OS-well-matched NRW raw files very than its proprietary NEF format, and the camera has some basic raw dispensation to start secondary JPEGs. It also ups the exposure bracketing to 5 shots and adds white weigh and, more fascinatingly, ISO bracketing.
Typically for its class, the P7000′s JPEG noise profile looks okay at ISO 200 and below, but at ISO 400 you start to see color noise creep in, and by ISO 800 fine points austerely look mushy. While the color noise and suppression artifacts are noticeable at ISO 800, depending upon the scene content the JPEGs can still be honestly usable. Dispensation the P7000′s files as raw doesn’t seem to buy you any exposure liberty, but does give you better control over draw a distinction and the ability to pick your manufactured article tradeoffs.
Like a lot of competitors, the P7000 tends to produce somewhat crusty-looking fine points in seats that aren’t nearly the main focus area, primarily at wide apertures. I also found the involuntary white weigh exceptionally cool, even taking into account the commonly cool nature of February light. And it seems to clip highlights a modest more often than akin cameras.
The P7000′s lens can be very sharp, and displays surprisingly modest fringing in all-function. Without distortion control enabled, the P7000′s lens isn’t terrible; it looks about the same as most 28mm-corresponding competitors. With distortion control it’s pretty excellent. Fascinatingly, you don’t have image stabilization options–such as choosing between full time or prefocus–other than on or off. According to the documentation, it will reluctantly sense panning, whether vertical or horizontal, and go appropriately.
This model also updates its movie-capture options, even if the feature is just okay. With some smeary edge detail but decent exposure and modest moiré, it’s fine for the occasional clip. It also can zoom all through capture, and the lens is quieter than I expected, even if not silent.
For the most part, the P7000′s shooting performance matches that of the Canon PowerShot G12, even if in some ways it feels a modest slower. Neither keeps up with the Panasonic Lumix DMC-LX5, even if. It takes about 2 seconds for the Nikon to power on, focus, and shoot, and it has decent single-shot focusing speed: 0.4 following in excellent light and 0.6 following in dim. But while its JPEG shot-to-shot time is a decent 1.9 seconds, that jumps very near a full following (to 2.8 seconds) for raw; shooting raw+JPEG feels very slow. In fact, shooting raw is slower than shooting with flash, which runs about 2 seconds from shot to shot. And if you shoot with assess enabled, it seems to take a longer-than-usual quantity of time to clear the sight with a close half press, building it feel even slower. Burst speed is about 1.4 frames per following, but most of the burst modes on these cameras are too sluggish to use, anyway.
Vaguely better and heavier than the G12, the P7000 has the same fundamental point as that model, albeit with a longer lens. It has a comfortable, rubberized grip and thumb rest that allow you to shoot one-handed.
The top mode dial offers the usual blue-collar, semimanual, and involuntary shooting modes, as well as three user-setting modes. I primarily like the way you configure them, completely through the menus. So, for wits, in order to make to order a setting based on close-priority mode, you can austerely select that mode; you don’t have to be on it on the dial in advance as you do on most cameras. This makes it primarily simple to update unfilled settings.
There’s also a programmable gathering button on the front next to the lens, to which you can assign supervise over access to raw/JPEG toggle, ISO sensitivity, white weigh, depiction control, Committed D-Lighting, or metering. In conjunction with the Zoom Memory setting, which allows you to point stops at a diversity of focal lengths, you can start a custom stepped zoom. I have to admit, even if, I permanently not dredge up the button is there; it’s a bit too unobtrusive and trying to plot to reach.
A thumb-operated exposure compensation dial–three stops in any direction–sits just behind a button to toggle dial behavior between adjusting close and gap. On the left, a Quick Menu dial selects among white weigh, ISO sensitivity, image feature, bracketing, vertical histogram sight, and a six-slot customizable MyMenu; the button in the median lets you change the settings for the elected choice. I really like the plotting as well as the execution. Even if, when the flash is raised, that button is the only place to grip with your left hand if you hold the camera like a point-and-shoot very than a dSLR.
And, speaking of the flash, it allows you to quickly dial in flash compensation in fractions of power–1/2 through 1/64 by halves–very than in stops. Some public may find this a closer, more intuitive logic.
I like the surgical course of action of the P7000′s back selector dial better than the G12′s; it’s far less prone to accidental selections. I also like the location of the adjustment dial better here than on the G12. It falls close enough to your thumb that it feels natural to run.
Even if shaped differently from the G12′s, the viewfinder on the P7000 is about the same size and feature. It’s primarily useful on this camera, since its sight doesn’t turn round or tilt, so you can’t get better visibility on it in supervise over sunlight.
If you’re a time-lapse fan, you in fact lose some capabilitiesrelation to the P6000. First, there’s no time-lapse movie figure any longer. And still-photo intervals have been cut back to 30 seconds and 1-, 5-, and 10-minute options. Additional, while you used to be able to shoot up to 1,800 frames, now it’s capped at 300 minutes, such as 300 frames at a 1-minute gap or 30 frames at a 10-minute gap. (For a exact accounting of the P7000′s facial appearance and surgical course of action, you can download a PDF of the blue-collar.)
For the most part, I reckon shooters in this class would prefer wider-angle, closer-gap lenses like that of the LX5, and doubtless the more compact point as well. Nikon offers a 0.75x wide-angle adapter, but you ordinarily lose some light with adapters. But the Coolpix P7000 is a fine camera that lots of enthusiasts will be thankful for for its smart shooting point, fascinating figure set, and worthy photo feature.
The Coolpix P7000 excellent:
A nice set of shooting-all ears facial appearance; optical viewfinder and built-in neutral density filter; very excellent photo feature for its class; comfortable, moderately rationalized shooting point.
The Coolpix P7000 terrible:
Moderately slow raw shooting.
The Coolpix P7000 underside line:
The Coolpix P7000 is a fine camera that lots of enthusiasts will be thankful for for its smart shooting point, fascinating figure set, and worthy photo feature.