Nikon D5 DSLR camera, SB-5000 Speedlight and WT-6A wireless transmitter officially announced

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The Nikon D5 flagship DSLR camera is now officially announced:

Nikon D5/SB-5000 accessories:

CES presentation video:

Press release:

Conquer the Dark: The New Nikon D5 DSLR Shatters Expectations for Thrilling New Levels of Low-Light Performance, Image Quality and Speed

In Addition to the D5, Nikon Releases Imaging Accessories Including Powerful New SB-5000 Speedlight and WT-6A Wireless Transmitter

LAS VEGAS, NV – Today, Nikon Inc. announced the latest in the acclaimed series of flagship FX-format professional DSLR cameras, the Nikon D5. Far surpassing mere evolution, the D5 boasts a myriad of powerful new imaging innovations, including a Nikon-developed 20.8-megapixel CMOS sensor, an all-new 153-point AF system, 4K UHD video capture and EXPEED 5 image processing to give photographers the best balance of performance, precision and low-light ability. Nikon has also announced additional products, including the WT-6A Wireless Transmitter and the exciting new SB-5000 Speedlight, Nikon’s first radio frequency (RF) controlled flash.“The D5 doesn’t simply get the shot that others might miss– it helps get the shot that others just simply cannot,” said Masahiro Horie, Director of Marketing and Planning, Nikon Inc. “With these new products, it becomes evident that photographers who choose Nikon cameras and NIKKOR lenses are equipped with an unrivaled system to surpass even the most demanding imaging expectations.”

The Nikon D5 once again redefines what a DSLR is capable of capturing, and is engineered with the ideal balance of resolution, low-light ability, system speed and processing power. The resulting camera body is truly worthy of the flagship moniker, giving professional photographers and multimedia content creators an indispensable tool to make their creative vision a reality with superior image quality. The D5 introduces many technological firsts for Nikon and offers many new features that share a common goal: to get the shot, no matter what.

New Features Include:

  • Astounding Low-Light Performance - The Nikon D5 offers an unprecedented native ISO range, from 100 to 102,400, reinforcing the D-series reputation as the leader of low-light image capture. A veritable new world of shooting opportunities awaits, as advancements in noise reduction and processing help capture low-noise images with fantastic fidelity that were previously impossible. The D5 tames the shadows, whether shooting a newlywed couple’s candle-lit first dance or sports with minimal lighting. The D5 also realizes unprecedented image quality in the high-sensitivity range between ISO 3200 and 12800 — the range favored by sports photographers. In addition, the D5 affords the ability to use higher shutter speeds with minimal illumination, letting photographers capture stunning images that are sharper, clearer and more colorful than ever before. As an added benefit, the next generation autofocus system performs in near darkness, acquiring focus in as little as EV-4 illumination. For extreme low-light ability, the ISO range is expandable from 50 (Lo-1) to a staggering ISO 3,280,000 (Hi-5), offering near-night vision capability that’s well beyond the visibility of the human eye. This extreme sensitivity is a benefit to photojournalists as well as for surveillance and security applications, letting users get shots others cannot see without a flash. This vast ISO range is also available to those capturing 4K UHD video, opening up new possibilities for multimedia and spot-news capture. 
  • Exhilarating Image Quality - The Nikon D5 delivers on the promise of stunning image quality with the adoption of a new, Nikon-developed 20.8-megapixel FX-format CMOS sensor. The camera is designed to achieve the optimized balance between the large full-frame sensor size, resolution and the new EXPEED 5 image processing engine. Users can be confident that images will have enhanced sharpness and clarity, faithful skin tones and the unequaled dynamic range that Nikon pros have come to love. EXPEED 5 also helps to enhance noise reduction, letting photographers take full advantage of the D5’s immense ISO range. When paired with legendary NIKKOR optics, the D5 is truly a tool to help photographers capture the sharpest images possible with astounding clarity and radiant colors.
  • Powerful Performance – Nikon’s EXPEED 5 engine also serves to dramatically enhance camera performance, delivering low noise, high-speed image processing and offers the additional processing power needed for 4K UHD video. For professional sports and wildlife photographers, the D5 is capable of capturing images at 12 frames-per-second (fps) with full AE and AF, helping to ensure that the decisive moment is caught in crystal clarity and absolute sharpness. Users can also shoot at up to 14 fps with fixed focus and exposure and the mirror locked up, ideal for remote capture. Because the action won’t take a break, the extended buffer lets users shoot for up to 200 frames of 14-bit lossless RAW/NEF files + JPG fine*. The new processor is also 25% more efficient with up to 3780 shots per charge.
  • Fast Acquisition, with Precision – An exciting addition to the D5 is an all-new AF system with Nikon’s first dedicated AF processor. The Multi-CAM 20K AF sensor module offers superior AF performance with 153 AF points, including 99 cross-type sensors - triple the AF points from Nikon’s previous flagship, the D4S. Of these 153 points, 55 AF points/35 cross-type points are selectable by photographers to quickly and easily frame any shot. The system is configurable in 153, 72 and 25-point coverage when used with Continuous AF, allowing for stellar AF tracking performance of even the most rapidly moving subjects throughout the frame. Fifteen of the AF points are also functional up to f/8, further aiding those who require extreme telephoto capabilities, including wildlife photographers. This all-new AF system is coupled with a new 180K pixel RGB metering system and Advanced Scene Recognition System, helping to achieve optimally balanced exposures and accurate white balance in even the most challenging light.
  • Rugged Reliability and Unsurpassed Usability – Downtime is never an option, so professionals need a camera that is going to be reliable and augment a demanding workflow. The Nikon D5 delivers with rugged construction and robust weather sealing, coupled with a familiar yet enhanced Nikon interface. A new 3.2” 2359K dot XGA LCD adds touchscreen functionality, allowing the user to easily pinch, zoom, swipe and scrub in playback, and also enter text faster than ever before. Being the champion of low-light, it is only natural that additional buttons and dials illuminate for enhanced visibility, while two additional Function buttons have been added for increased customization. The camera also features a Quick Release Mode setting for rapid access to release mode settings. Additionally, a new shutter and mirror sequencing mechanism nearly eliminates blackout time and mirror slap for bright, consistent views during high-speed shooting– realizing truly confident tracking of fast, erratically moving subjects that were previously difficult to achieve. The D5’s shutter itself is tested to 400K actuations for maximum durability. When paired with the WR-R10 wireless remote controller (transceiver) and WR-A10 Wireless Remote Adapter, the D5 is also able to interface with Nikon’s newest Speedlight, the RF controlled SB-5000, for new possibilities in lighting control. **
  • Rapid and Flexible Workflow - Further enhancing speed, the D5 is able to utilize the superior read and write speed of XQD memory cards, which are up to 35% faster than CF cards. To appeal to a wide variety of photographers, the D5 will be available in two versions; with either dual XQD card slots or with dual CF card capability. For maximum efficiency the camera is also capable of shooting smaller RAW Size S or M file types (12-bit, uncompressed), for greater flexibility when transferring batches of files from the field, while retaining image integrity. Photographers can also use the built in 1000 Base-T 400MBps Ethernet connection for image transfer, with speeds up to 1.5x faster than D4S.
  • Multimedia Powerhouse with 4K/UHD Video - The Nikon D5 is the first Nikon DSLR capable of capturing 4K UHD video (3840x2160 at 30p), letting users create stunning ultra-high definition video with beautiful clarity and color. Multimedia content creators can also use the D5 to create 4K time-lapse videos in-camera using the Time-lapse Movie function, and can create 8-megapixel still images from frame grabs. A great addition to any production environment, the D5 includes all of the most popular pro-level features of the Nikon D810, including Full HD 1080p video at a variety of frame rates, uncompressed HDMI out, simultaneous live view and headphone/microphone connections. Additionally, the D5 adds a feature to smooth exposure transitions using the Auto ISO function as well as exposure compensation to create natural-looking exposure transitions in video. 

New Radio Controlled SB-5000 Speedlight: Lighting with No Limits

The Nikon D5 is optimized to work with the newest flagship Speedlight, the SB-5000, illuminating new possibilities in creative lighting. A first for Nikon, the flash operates via radio frequency and will operate without a direct line of sight for a range of up to approx. 98 feet (30 meters). This new-found flexibility lets photographers place lights in different rooms, around corners and work seamlessly in bright ambient light with maximum efficiency. When paired with the WR-R10 and the D5 or the D500, this Speedlight can control up to six groups (A-F) or 18 Speedlights for truly advanced wireless lighting. It is also possible to perform Advanced Wireless Lighting using either radio-controlled (up to three groups) and/or optical-controlled units (up to three groups) by simply attaching a conventional, optical-control Nikon Speedlight or the SU-800 Commander (as a master or commander unit) and a WR-R10 (as a commander) onto the D5.

The new smaller SB-5000 Speedlight also has a radically new design that includes its own internal cooling system, which prevents overheating of the flash panel from consecutive firings. As a result, the SB-5000 can fire consecutively for longer than conventional models, without flash cool-down time between bursts, and can fire up to 120 continuous shots at 5 second intervals. Controls have also been streamlined and refined, with the addition of an “i” button for access to frequently used settings. The design also integrates versatile bounce ability, with the flash head capable of tilting down to -7° or up to 90°, and rotate horizontally 180° to the left and right.

New WT-6A Wireless Transmitter

Nikon has also announced the WT-6A Wireless Transmitter for use with the D5. An ideal solution for professional image transfer, the WT-6A can transfer with speeds of up to 130 mbps wirelessly and supports the fast IEEE802.11ac standard. The connectivity distance has been extended to approximately 656 ft. and can be used to transfer images to an FTP server or to a computer. When in HTTP mode, the unit can be used to operate camera controls, begin Live View shooting or start/stop HD video recording.

Price and Availability:

The Nikon D5 DSLR will be available in March for a suggested retail price (SRP) of $6,499.95***. The Nikon SB-5000 AF Speedlight will be available in March for the SRP of $599.95. The WT-6A Wireless Transmitter will also be available in March, with the SRP of $749.95. For more information on these new Nikon products, please visit

D5_35_1.4_front.lowD5_35_1.4_fronttop.lowD5_35_1.4_front34r.lowD5_35_1.4_front34r.lowNikon SB-5000 Speedlight 2Nikon SB-5000 Speedlight 3Nikon SB-5000 Speedlight 4Nikon SB-5000 Speedlight 5Nikon SB-5000 Speedlight 6Nikon SB-5000 Speedlight 7Nikon SB-5000 Speedlight

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  • br0xibear

    Nikonrumors or disqus has crashed, D5 and D500 videos here…

  • Paul

    No led flash for video?

  • 4k 60fps???? That’s all I wanted.

  • Damian Lickindorf

    what’s the bitrate of this 4k?
    is it upscaled as the 1080 was?
    is it full sensor readout? (i do not mean if it’s cropped, but if all the availible pixels are used to create the footage – this gives a much better quality – for egsample sony a7rII in full frame has only partial sensor readout and gives usable footage up to ~iso3200 but in super35 mode it has full sensor readout and it’s usable up to ~iso12800)
    has it got zebras or focus peaking?
    has it got clean 4k hdmi out? is it 8 or 10 bit?

    • Those are good questions, would be interested as well…

    • TechJunkie

      Zebra yes. Focus peaking was not listed as a feature.

  • Mike

    Nikon is last to the radio flash scene. Fuck it. I’m so happy with this announcement.

  • Noor

    So is the new SB5000 fully backwards compatible with previous bodies? Can a D810 command it?

    • I guess current firmware of D810 can’t, but given that it’s controlled via WR-R10, it should be “just a matter of programming”…

      • Noor

        I just watched the how-to video on the WR-R10 and I see how it remote controls bodies, but no mention of flash or a CLS.

        • The how-tos were not updated yet, probably…

  • Ryan

    Does anyone know the pixel pitch?

    • JasonsArgonauts

      D minor.

  • wangbu

    Looks like the 200 RAW buffer is only for the XQD model.

  • TechJunkie

    Why is the wireless transmitter $750!?

    • JasonsArgonauts

      They’re always expensive-limited market and small sales volumes means that all wireless transmitters end up costing the earth.

      • TechJunkie

        Pros will pay the money while the lower end models have both Wifi and Bluetooth. Would have been nice to have it a reasonable cost.

        • JasonsArgonauts

          Yeah, I agree. Even a limited-range wifi module built into the D5 would be welcome. The biggest issue is with the signal through the magnesium shell-maybe the aerial could go under the rubber base plate?

          • TechJunkie

            Perhaps, but would think it’d be just cheaper overall. I think I read someone cobbling a wireless adapter for $20.

            • JasonsArgonauts

              Yeah, you can do a Camranger-style setup for about $20 or so, and it will create an ad-hoc wireless network for you, but it’s a bit messy. Having just looked at the WT6 thing on the website I’m shocked at Nikon for charging that kind of cash for what is essentially $20-$40 worth of plastic and chips!

            • TechJunkie

              I’m with you on the component cost. That’s my only gripe with it. Highway robbery.

            • Isn’t their WiFi super high range or something?

              Not that I actually need that. I would have liked it much better if they had conventional WiFi for cheap folks (if you can include the word “cheap” in people buying a $6,500 camera) and this special WiFi for people who really needed it.

            • JasonsArgonauts

              Yeah, see my previous comments above-It’s definitely one for the sports photographers who have a camera set up on a baseline pointing up with a 14mm on it. Being able to trigger it for 600ft away would be massive for them. But it’s still just a collection of wires and chip in a plastic shell ultimately, so is hugely overpriced! Would have been nice to have a low range wifi chip built in though.

    • Brian

      Same reason the D500 grip is $500

      • TechJunkie


  • John Picking

    Marketing with my fav lens! 35mm F/1.4G. It’s a sign! I will get D500 this year and add D5 later. Replace my D3/D700 combo.

    • Nikkor300f4VR

      Come on! You know you want it! Treat yourself! 😀

      • John Picking

        I’m adding up all the stuff I can sell as we speak!

        • KnightPhoto

          Me too but it’s not getting me there 😉

  • JasonsArgonauts

    That wireless flash is a Godsend for us wedding photographers. Since I swapped systems from Canon to Nikon in October, the one thing I’ve missed is my 600EXRT’s. Problem solved. 🙂 The D5 is massive overkill for my needs, but it would be cool to rock up to a wedding with one all the same. 😀

    • Brad

      What is the benefit of choose the Nikon or Canon system over reliable and much-cheaper 3rd party systems? $600 for one flash seems pretty steep!

      • JasonsArgonauts

        I’ve tried the Mittros+ system and sent it back after the third one broke in two months. I didn’t have a single issue with the 600EXRT’s in two years of use. Sometimes the manufacturers get it right. Reliability, build quality and ease of use all count for a lot when you rely on your tools to make you a living every weekend. 😉

      • captaindash

        I have Nikon flagships, and a couple of the Phottix Mitros+ units and I never use ’em. The interface is awful and even though I spent the dough for the “may as well have the option”, I almost always shoot full manual anyway. I just bought that Yongnuo 560 system and it’s amazing. It takes a fraction of the time to adjust your power levels remotely, you can control 6 groups and even the zoom levels. $70 for a flash with built in receiver (and can act as a transmitter for 3 groups), and the trigger is a ridiculous $45. The price being so low scared me off, but I’m blown away by it and regret getting the Mitros+ system because I never use it. If you shoot manual, pick up the Yongnuo 560 setup for sure. The build quality isn’t 100% up there with the big boys, but it’s absolutely good enough and if the Nikons etc didn’t exist, I’d think the Yonguo’s were well constructed. They are an absolute steal. First thing I did was shoot the same scene, full power with it and an SB800 and the Yongnuo, according to the histogram, was just a tiny fraction more powerful, and the results kept repeating themselves.

        • Brad

          Yeah, the more info I get about this flash system the less I see any reason to jump over to it, cost being one big one. I don’t own any Mitros flashes but I do have the Phottix Odin and Stratos setups which I have used with several different brands of flashes and monolights in my business. They have been rock solid and consistent for me. I know of a lot of other pros who use the Yongnuo stuff and have been happy with performance and reliability. I kind of got scared off from it when I had some of their flashes die on me a few years back but I hear that the quality has improved. One thing I like about Phottix is that they have an established US-based support group that I have dealt with in the past for other brands who is prompt in their replies and competent with support (MAC Group – they also support and distribute Elinchrom, Sekonic, etc..).

          • captaindash

            No equipment is 100% perfect. Even the best stuff can go down. At $70 a flash it’s no big deal to have an extra flash and $45 trigger with you just in case. To be honest, I prefer them not for the price, but for how much better the ergonomics are on the trigger vs the other systems.

    • Eric Duminil

      Wireless flash sounds good, but I’m a bit scared by the range (up to 30m). Any other system I’ve used (Pocketwizard/Cactus V5) are rated at a much longer range, and would never have any problem at 30m.
      Wait and see!

      • JasonsArgonauts

        Are you shooting portraits at 800mm?! 30m is fine for 90% of people I would imagine. Plus, this seems to be a fairly low-powered flash compared to the SB-910, so I would imagine that the next one they bring out will have better specs all round. 😉

        • Eric Duminil

          “Up to 30m” can translate to “maybe 10m” near big metallic structures, water bodies or through glass.

          • PhilK

            Yeah in my experience the 2nd/3rd tier companies tend to be way more inclined to hyperbole when it comes to performance claims than the top-tier companies who have much more to lose if people discover their claims don’t hold water. 😉

            Particularly with things like “wireless range” – there are tons of environmental variables that impact that, and if you’re quoting a figure based on being in the middle of the Mojave desert inside a faraday cage, people will be none too happy when they discover none of that applies when they are using the product in the middle of the Manhattan or Hong Kong business district. 😉

          • JasonsArgonauts

            That 30m range is the same as the 600EXRT’s which I’ve only just stopped using after I swapped systems to Nikon. They would fire at considerably greater distances than they claimed to, despite being next to water and metallic structures. Trust me, the manufacturers will always undersell these things so they don’t get returns if one fails to fire at 32.5m away. 😉 I reckon the furthest I ever tried to fire a pair was about 90m away (in woodland-no line of sight) and it was still firing, tried it a little bit beyond that and it became patchy but still fired 3/5 times. That was with another 600EXRT triggering them. Swapped it to the ST-E3-RT (which is a massive pain in the arse to write on an iPad) to trigger the main flashes and they carried on firing for at least another 20 metres. At these distances though I was shooting a full length couple shot at 200mm (with space around the couple as well) and getting them to move by using our phones on speaker as an intercom. 😉

            • Eric Duminil

              Thanks for the explanation.

      • toyotatundra

        I use the Canon 600EX-RT, along with the Yongnuo version (copy) of the 600EX-RT. Haven’t missed a beat with it. And I use the Yongnuo YN-E3-RT to trigger them both. Much less than the Canon versions.

  • D700s

    The native ISO on this monster sounds incredible. I want one tomorrow!

  • John Picking

    Looks like you build your own eyepiece accessories by purchasing additional DK-27 and screwing in the eyepiece needed. Then you can swap quickly and easily!

  • Just ignore him, he has been doing this for a while because I do not post his stupid sniff videos on NR.

    • Brian

      Fro is a DOUCHE!

    • Ennan Hamill

      Jared Polin Frooooooooooo Knoooooooooows Fuck all. Can’t stand that guy.

      • I’ve blocked him a long time ago – probably the most annoying person I met in the past 8 years since I am running this blog.

        • Maji

          That says a lot about how annoying he is… given the number of annoying people that post here. 🙂

        • Ennan Hamill

          He’s one of the most irritating people on the internet and even beats Ken Rockwell for being the most annoying twat in the photographic community. Someone should shave his head – he’s nothing without the hair.
          Well done once again for calling out the D5 though. Good job as always. And 8 years!?! Where on earth has the time gone?

          • Yes, I will listed the Ken all day long if I have to listed to only 1 minute of the Fro.

            • Ennan Hamill

              At least Ken is funny with his ridiculousness. Fro is like an incurable rash on your ringpiece – a perpetual annoyance that just gets worse the more attention you give it.

          • whereisaki

            Yes, but when it comes to inaccurate information and opinions presented as facts, Ken is numero uno.

            • Ennan Hamill

              So very true.

            • Max

              He only shoots Jpeg Basic lol.

            • Biff

              Good ol Ren Cockwell!

        • ckuklbac

          Try not to keep it inside, Peter, Let it all out!

    • Nikkor300f4VR


    • TheInfinityPoint

      Yeah I hate that guy too. Can’t stand anything he does. Seems like all he ever does is rant about everything.

    • Bo Dez

      Jared Polin is a total loser. Is there anyone that actually likes him?

  • D700s

    I wonder how many are in inventory to ship. Hopefully it won’t be a 6-8 month wait.

  • Brian

    Who needs the D5 now? For $4500 more I get 2 frames per second

    • D700s

      For the native ISO 100-102,400 meaning fast shutter speed in low light shooting.

  • bertbopper

    Suck me sideways…. Want.

  • I haven’t seen it mentioned here – automatic AF adjustement using live view and a few button presses only?

  • Can anyone show comparing coverage of the AF area between D5 and D4/s?

  • York

    Only question is whether it has a global shutter or if users are going to get lots of jello.

    • Eddy Kamera

      I don’t think it has. Global shutter would be a big selling point but they didn’t mention it in the press release.

  • AE Stagge

    Stopped following him a year ago – too many tangents and BS

  • Terry Hansen

    Whoa. Just found this spec on the Nikon site:

    Movie Maximum recording time:
    3 minutes at high quality only for 4K UHD 3840 x 2160/24/25/30p recording


    What are they thinking? 3 minutes maximum per take in 4K? Seriously? That’s ridiculous! A maximum of 3 minutes KILLS the D5 for many types of 4K filmmaking, particularly narrative and certainly documentary. And forget about live event filming.

    Unless I am missing something—and if anyone can point out the error in my thinking, PLEASE correct me!—as I’ve been waiting years for Nikon to offer a suitable 4k filmmaking camera. But, a maximum take of 3 minutes in 4K make this a total non-starter.

  • MyrddinWilt

    That $7,500 Wifi dongle costs more than the camera! Utterly ludicrous when all you need is a $5 Raspberry Pi zero, a battery pack and some sort of case.

    This guy has already done the software three years back!

    OK I exaggerated the cost of the adapter but $750 for $7.50 in parts is not cool.

  • growlingpwn

    yup i see too 3min.. rly ? that turn me off rly.

  • Well, for better or worse, the D500 does have 30 minutes at 4K. So Nikon does have a reasonable 4K camera, just not FX.

    • growlingpwn

      i dont see 30 min whit the d500 its write 3min

      • No, it’s 30 min D500, 3 min D5. See the technology digest PDF on the D500 microsite, page 6/11 – section 4:

        4K UHD / Full HD + HD
        D500: 29 min. 59 s (recorded in separate files) / 29 min. 59 s
        D5: 3 min. / 29 min. 59 s

        • growlingpwn

          any link ? im on official nikon site and its rly write 3 its weird. and why a lower camera can do 30 and high end d5 3min.. something wrong.. (im from quebec not perfect english ) sry

          • Yeah, I’m not sure either why D5 can only do 3 minutes. Confused…

            • growlingpwn

              i guess whit external support maybe more. ??

        • growlingpwn

          ok i found it .. that suposed too write 30min of video in 10 files movie. i guess whitout cutting video

    • Moose1414

      From what i’ve read the D5 shoots DX 4k for 3 minutes and the D500 shoots a 2.2x crop for 30 mins

  • Was anyone able to find a tech sheet like this one more focused on the D5?

    • Nope, I was looking for it but no.

      • I was hoping to get the same detail for the D5. I really want to understand the new viewfinder. I did find a couple accessories listed that are shown as only compatible with the D5/D500, but they have no details about what they really do.

  • Let’s hope that is a typo and it is supposed to be 30 minutes.

    • peter w

      One of both must be a typo. I don’t think a serious brand would bring out a camera “with 4K” if it is crippled like that: 3 minutes doesn’t make it a serious feature.
      We’ll soon know.

  • AYWY

    SB 5000 specs is the big surprise – to me bigger than the D500.

  • Tony Collins

    No built in Wifi? Very, very disappointing. AND Nikon wants me to toggle a $500+ connector to my camera?! Even a 6D has built in WiFi. I’ve been a Nikon user for almost 30 years and this is bad.

    • peter w

      my dear… this is so bad… A camera that focusses at -4 EV and it doesn’t even have wifi. Oh wait, buy the D500. It features both.

  • Just wait for someone to “Magic Lantern” it and push it past that.

    • Terry Hansen

      That would have to be one heck of a Magic Lantern trick to go from an all but useless 3 minute limit to, at the very, very least, 20 minutes and far preferably 30 minutes plus. Nice trick indeed if they could pull it off! That said, the Magic Lantern guy appears to be 100% Canon focused, so somebody new would likely have to pull a rabbit out of that hat.

      Of course, there is also the possibility that an external recorder, such as from Atomos, could be made to work with the D5 and possibly bypass whatever technical limitation the internal hardware/firmware is imposing. Still, a costly and inelegant add on solution to something that should have just been resolved within the D5 design.

      Oh, and by the way, I watched the “Nebraska” video on Nikon’s site, presumably shot on the D5 in 4K at the highest possible quality settings, and I gotta say I was unimpressed. Tons of judder and/or other issues, but that could just be due to the limits of streaming playback. Would love to be able to download an uncompressed file and play that back.

      • PhilK

        The highest res I was offered on that video when I watched it was 720p, so at least for me no matter what I did I certainly wasn’t going to see anything close to 4K.

  • Moose1414

    Joke of a company when it comes to video, can’t even match iPhone specs with their flagship camera.

  • TheMeckMan

    What’s up with the Mode button replacing ISO. WHEN will Nikon standardize it’s layout. One reason I like shooting Canon. From the XXD to the XD line the layout is (for the primary exposure parameters at least) consistent… Seriously I rarely toy with WB, move IT off the dial and stop messing with it…

    • Yeah sure. Canon is also consistent with their DR and IQ over the years.

      • TheMeckMan

        Chill now… I’m a Nikon shooter. It’s a legit issue if you’re constantly going from one body to the other like I do. Sure I can remap, but why not standardize the overall button layout. Case in point I replaced the keyboard on my wife’s HP with an OEM I got en eBay – however they sent me a layout for a UK keyboard. While the @ is still mapped to the 2 that’s not what the keyboard says. While my wife types at 80+WPM but if she even so much as glances at the layout she gets a brain freeze because of what the key says. Same goes for camera bodies. I know I’ve mapped things, but if I look at the body I still trip up. IT’s all about feel, and I wish that they’d stick to a layout. They keep changing every generation. Just look at all the buttons they moved to get ISO near the trigger. What dial will I turn to make that ISO change? If it’s one that requires my trigger hand I’m worst off as at least before I held the ISO button down with my left hand. This is the zoom button crap that Nikon AND Canon pushed on us a few years back…

        BTW we as shooters need to be able to take criticism directed at our gear. IF we don’t we’re just fan boys – and fanboys remarks are just as biased as blind criticism.

        As for Canon IQ and DR it wasn’t long ago that Canon were ahead and it won’t be long before they are again. These things come in cycles and if fanboys like yourself understood that there wouldn’t be so much hostility on forums. Use what works, if you play the fanboy game you’ve missed the boat on what photography is…

        • Nikon is always scolded for making changes to layout very slowly. Same with radical changes to gear. Hence the problem with F mount. Same thing happened with iso button. It was long overdue. If you check, nikon has been slow to implement good changes just for fear of getting responses like yours. But like they say, better to change for better than be wrong forever.
          And if you check my history, you will understand that I critisize nikon in ample measure.

    • PhilK

      Heh. One of the things I hate the most about Canon is their ergonomics. I can do without their consistently lousy ergonomics, thankyouverymuch. 😛

      And for what it’s worth, you can change around the button assignments if you want, eg change the vid record button to be the mode button so now you can change both with one hand.

      • TheMeckMan

        Honestly I prefer the way a 1DX or 5Diii feels in my hand. What I love most about when I shoot Canon is the large wheel dial on the back. I don’t care for some of the button placement but key exposure buttons have been in place for a decade and haven’t moved if you shoot XXD or above. Only rear of camera on the review side of things have things changed. I’m not hating on Nikon (I’m camera agnostic and shoot mostly on Nikon) I just wish they’d stick with a layout for more than just one generation…

        Here’s what I told another reader who posted on this comment:
        It’s a legit issue if you’re constantly going from one body to the other like I do. Sure I can remap, but why not standardize the overall button layout. Case in point I replaced the keyboard on my wife’s HP with an OEM I got en eBay – however they sent me a layout for a UK keyboard. While the @ is still mapped to the 2 that’s not what the keyboard says. While my wife types at 80+WPM but if she even so much as glances at the layout she gets a brain freeze because of what the key says. Same goes for camera bodies. I know I’ve mapped things, but if I look at the body I still trip up. IT’s all about feel, and I wish that they’d stick to a layout. They keep changing every generation. Just look at all the buttons they moved to get ISO near the trigger. What dial will I turn to make that ISO change? If it’s one that requires my trigger hand I’m worst off as at least before I held the ISO button down with my left hand. This is the zoom button crap that Nikon AND Canon pushed on us a few years back…

        • PhilK

          I understand your point, but one way or the other, controls have to change eventually. Unless you’d like to go back to typing letters on a typewriter or something. 😉

          And while one can certainly argue that these particular changes are not “necessary” changes (in the sense that adding completely new buttons are, for capabilities that never existed in the past, eg video), I’m fairly certain that Nikon – which is already quite conservative in their approach to ergonomics to begin with compared to other camera makers with the possible exception of Leica – only takes such steps when they have some sort of overwhelming customer request for them. (Or perhaps if they do detailed ergonomic studies that convince them some other organization is superior)

  • Till Ulen

    So the new SB-5000 speedlight can make 120 continuous shots at 5-second intervals without overheating. Is that better or worse than the SB-910? I can’t find any info on the SB-910 specs.

  • peter w

    Yes: DK-17F Fluorine-Coated Finder Eyepiece!
    I want that on my D800.

    • TheInconvenientRuth

      I NEVER touch the eyepiece yet somehow always have a fingerprint on it…

      • peter w

        hairs, dust, and fat. Even sand.
        I really never have any of that on the front of my 500 F4, which has a much larger contact area…
        Well, it is more distant ;).

        I really don’t need the new 500 F4 version for the Fluorine-coating. Just for the tripod-collar.

    • What? Where, I didn’t see this info…

      • peter w

        Well, it is in the brochure, the pdf, and it is in the technical information for this D5 on nikon dot com.

        • Strange, I read the brochure but missed this. Must read again 🙂 Thanks!

  • TheInconvenientRuth

    In case not everyone reads all the fine print, you can have your Dual CF D5 turned into a dual QXD at any time (and vice versa) at authorized Nikon service centers (for a fee). And the whole detachable eye-piece cover is so you can put another one on the rain cover and mount a rain cover in seconds securely. Well played, Nikon. Well played.

  • peter w

    Well, this is almost as good as D3 / D300. That was a revolution. This is a uhm… revelation?

    (dutch relevatie: relief)

  • Max

    It says in the press release that it has a Nikon-developed sensor. Can’t wait to see how it performs.

  • Chen Bin
  • Brad

    I don’t follow this person or have any opinion on him but I think to continue going on and on with hateful name-calling towards ANY person is certainly detracting from the quality of this website. If someone is hating on you on the internet the best thing to do is ignore it. NR gave that advice but is clearly not following it.

    • I agree 100% and I have been ignoring him for a long time, but it seems that he is still throwing jabs at me. Sometimes you just have to stand up and defend yourself.

      • ZoetMB

        I never heard of him before his mentions on this page, but I went to check his website and while some of his work looks like snapshots that anyone could accomplish, he does have some work that’s quite good. He also has a video up of an apparent radio interview where he describes his work at the Auschwitz concentration camp and while his imagery seems more concerned with the mechanics of the train cars, steps and buildings, it’s quite good black & white work. In the interview, he seems to be intelligent. As to how obnoxious he really is, hard to tell from what he posted. But sometimes, the most talented people are ridiculously obnoxious, Steve Jobs being one of the most obvious examples.

  • PhilK

    Ehh, the price of the WT-6 WiFi adapter is listed as $650 at B&H.

  • ZoetMB

    IMO, it’s fine for narrative filmmaking. How long is each shot? Unless you’re Scorsese doing the nightclub scene in “Goodfellas” or you’re filming the opening of “Spectre”, three minutes is plenty. Watch any narrative film made in the last 10 years. You’d be hard-pressed to find even a 60 second shot. Cutting is so fast today.

    I think it’s also fine for documentaries. What documentary has a three minute shot? (It would be incredibly boring if it did). If you’re doing an interview, you simply say, “wait a sec” and hit the record button again.

    The problem is if you need to record a complete song at a concert that lasts longer than three minutes with one camera. Although it’s probably under a second to start recording again, if you miss a note or two (or three), you’d probably have to edit out an entire verse of a song. One way around it would be to shoot with two cameras (although for that money, you could get a fairly great video camera). Also, does that limit apply if one is using an external video recorder? Another way around it would be to shoot with an external audio recorder and shoot some audience footage or another alternative shot that one could cut to during the second or so between one three-minute recording and the next. I find that on my D800, the audio is quite noisy even using a high quality external microphone and an external recorder should provide much higher quality audio. Seeing as it’s digital audio, I don’t really understand what’s generating the noise unless there are absurdly high levels of compression been used.

    • As I understand, the pre-amps on the D800 are really really bad. That’s before the signal gets converted to digital, so even good compression can’t help.

    • Brad

      The problem with documentary would be if you’re doing a long interview with a subject with static cameras (As is done in just about every single doc around). You’d have to keep restarting it every 3 minutes during the interview. It would be unusable in that regards for an interview.

  • oneuglycar

    Oh, my. That is clean. And that is exactly the sport I shoot. Gymnastics in low light. I need $6500 by March…

  • Gregory Roane


    Thom stated on his site that he found out a couple weeks ago about the D500, Peter. …Methinks that you need to take a trip up to PA pretty soon and have a little “talk” with him. LOL

    (Kidding. All tongue-in-cheek, of course.)

    • Thom always does that – it does’t help me when he tells me that after the announcement 🙂

      • Gregory Roane

        Hence, the trip north for a little … Chat…..

      • Gregory Roane

        Hence, the trip north…. To “talk”… Face to face… And come to an “understanding”.


  • Odysseas Papageorgiou

    A professional DSLR camera in which you can’t even select the exact autofocus sensor you need. Nikon after essentially keeping the same autofocus system for 8 years in its professional DSLR cameras, although it releases updated versions every two years halfway through their product life cycle and these cameras are used mainly for sport photography (meaning very fast erratically moving subjects which by nature demand the best autofocus system) now it replaces the ancient autofocus system first released with the Nikon D3 back in 2007 with one that professional photographers can’t even choose their preferred autofocus sensor, because I imagine that Nikon doens’t trust them that they will choose the right one. Another decision by Nikon which perfectly illustrates the respect that Nikon has for the professional photographers who demand the best equipment in order to cope with the ever increasing requirements of their clients. I predict that when the Canon EOS 1D X Mark II is released will win hands down the Nikon D5 in the autofocus department and will further expand the lead which Canon has even more. That is unless of course Canon doesn’t reapeat any of the mistakes of the recent past, but even in which case the current Canon EOS 1D X (in photography) & Canon EOS 1D C (in 4K video recording) are already superior in comparison to the Nikon D5, although both were released almost 4 years ago. By the way, when cameras the size of the second generation of the Sony A7 series with in built image stabilization can record 4K video internally without overheating, how is that the Nikon D5 which is almost double in size and without an in build image stabilization can’t record 4K video for more than 3 minutes? I guess Nikon should have put more resources into bringing into the market faster its patent of placing a fan inside its cameras to combat overheating, because DLSR cameras the size of the Nikon D5 don’t have enough room internally to cool down by themselves. Nikon users welcome to 1985 when the autofocus was invented and cameras had a hole in the place when the digital sensor is nowadys with the added bonus of opening back film chambers so that they wouldn’t need any fans to cool down. Have in mind that even back in 1992 Canon EOS 5, which at the time was the semi professional model of the Canon SLR line up, had user selectable autofocus sensors. I guess that the Nikon D6, after 4 years, will feature the same autofocus system with the Nikon D5, since Nikon is a professional camera maker which respects tradition, while as an added bonus it will feature limited aperture control in fear of diffraction. Nikon D7, will be the first professional DSLR camera with 399 autofocus sensors, after 8 years Sony first produced such an autofocus module, half of which will be of linear type, so that autofocus of moving objects isn’t that sharp and thus bring an air of nostalgia to the professional photographers who until then they will still prefer DSLR cameras for shooting photos and videos, while at the same time it will also be the first professional DSLR camera to feature only an Auto mode, so that professional photographers can focus entirely in composition, while leaving aperture, shutter speed and ISO control, which by then based on the current rate of ISO range expansion by Nikon will have reach ISO values approximately in the region of 839,680,000 with boost but “only” 6,553,600 native ISO, to the camera. Because Nikon knows better than the photographer.

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