Nikon D7500 or D7200… or D500… or D750?

Nikon’s new enthusiast all-rounder attempts to combine features, performance, image quality and value.

The Nikon D7500 does not boast any dramatic new technologies but it does fill a significant gap in Nikon’s DSLR range. Before, enthusiasts had to choose between the powerful but relatively pedestrian D7200 and the much more advanced – and much more expensive – D500. Nikon’s latest addition to its DX line-up is designed to offer a balance between high-end performance and features, and price.

The D7200 is cheaper and has 24 megapixels. why don’t I just buy that?

Yes, the D7200’s strengths are its range of features, outright image quality, solid construction and great handling. But it’s not a sports or low-light specialist. Its continuous shooting speed isn’t bad at 6fps, but its 26-shot Raw buffer capacity falls way short of the D7500’s 50 shots, and its AF system lacks Group Area AF mode. The D7200’s older sensor delivers plenty of resolution, but more noise with it, so by the time you reach medium to high-ISO settings, the difference in image quality between these two cameras will become apparent. It doesn’t have the D7500’s tilting screen or touch-screen control, either. And for video, the 4K D7500 is a clear winner.

The bottom line:The D7200 is a terrific all-round camera, but just remember it’s not built for speed or low light.

Will I regret not going the extra mile and buying the D500?

You might, but you need to be clear what the extra cash is getting you – another 2fps continuous shooting speed, an even larger memory buffer and Nikon’s latest high-tech 153-point autofocus system. The D500 is also built like a tank and uses Nikon’s professional control layout, and is slightly more responsive. The D500 has twin memory cards slots (1 SD, 1 XQD) whereas the D7500 only has one, and although its LCD is the same size, it has more than twice the resolution. You’re paying a lot more money and you’re getting a lot more camera, but the D500’s advantages are all geared to the rough and tumble of a serious action photographer’s lifestyle.

The bottom line:The D500 is worth the extra only for sports fans and pros looking for a second, speedy DX-format body.

At this price, why don’t I just take the plunge and go for the full frame D750?

Absolutely! But this is where you need some crystal-clear thinking about where you want to go with your photography. If you’re looking for an all-round improvement in image quality, like exploring a mixture of subjects and are keen to progress as an artist or as a professional, the D750 is indeed the better choice. A DX-format camera like the D7500 is restricted partly by its sensor size, but also by lens choice; for the best choice of primes and constant-aperture zooms at both standard and shorter focal lengths, Nikon’s FX format is the way to go. But if your interest lies in sports/action/low-light photography, the D7500 delivers more bang for your buck.

The bottom line:If you can afford to buy the D7500, maybe you can afford to go full frame with the D750.

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More in N Photo – Summer 2017
by Rod Lawton

Digital Camera World

NIKKOR Lens Simulator

You can simulate images shot with various combinations of lenses, ranging from wide-angle to telephoto, and cameras, in different formats. Image varies with the value of the focal length.
Select any combination you are interested in.

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NIKKOR Lens Simulator
try it at Nikon

Test our lenses | Fujifilm X Mount Lenses

Test our range of lenses and see how different lenses and aperture values affect the image.
1. Choose a lens
2. Choose aperture value (and zoom if available)
3. Click the “Take Photo” button
To view and compare your images, click the “View Lightbox” button.

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Test our lenses | Fujifilm X Mount Lenses
try it at Fujifilm X Mount

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Sigma DG 12-24mm f/4 HSM ART vs Canon EF 11-24mm f/4 L USM vs Nikon AF-S 14-24mm f/2.8 G ED

Banc d’essai Chasseur d’Images

Sigma DG 12-24mm f/4 HSM ART vs Canon EF 11-24mm f/4 L USM vs Nikon AF-S 14-24mm f/2.8 G ED

111214-24a 111214-24b— – —

111214-24c— – —

111214-24d— – —

à voir dans:
Chasseur d’Images n° 390 – Janvier-février 2017

Après deux numéro hyper techniques, pour cause de Guide d’achat des appareils et de Guide d’achat des objectifs, Chasseur d’Images revient a sa formule habituelle, plus variée, faisant une juste place aux infos sur le matériel, à l’actualité culturelle, aux conseils pratiques, à vos images et, bien sûr, aux bancs d’essai.

Return of the Macro

Return of the Macro

macro11aJames Paterson demonstrates how to create amazing water droplet globes
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Macro Lenses Group Test

It’s all in the detail. Matthew Richards tests eight close-up options
Canon EF 100mm F/2.8L macro IS USM
Nikon AF-S 105mm F/2.8G IF ED VR Micro
Olympus 60mm F/2.8 Macro M.Zuiko Digital ED
Samyang 100mm F/2.8 ED UMC Macro
Sigma Macro 105mm F/2.8 EX DG OS HSM
Sony FE 90mm F/2.8 Macro G OSS
Tamron SP 90mm F/2.8 DI VC USD Macro
Tokina AT-X AF 100mm F/2.8 Pro D

macro11b macro11c macro11d macro11e macro11f macro11g— – —

Return of the Macro
more in Photography Week