Our latest test scene is designed to simulate both daylight and low-light shooting. Pressing the 'lighting' buttons at the top of the widget allows you to switch between the two. The daylight scene is shot with manually set white balance, but the camera is left in its Auto setting for the low-light tests.
With 24 megapixels the D5300 is a high resolution camera, pushed closer to its theoretical limit by its lack of an optical low pass filter. Our studio scene reflects its impressive resolution when compared to other cameras in its APS-C class. Raw image analysis shows the D5300 to be ahead of the Canon T5i in terms of resolution, which is expected, though the (also low pass filter-free) Fujifilm X-E2 appears to do a better job of keeping up. Another mirrorless APS-C competitor, the Sony NEX-6, doesn't perform quite as well in terms of resolution. The advantage that the D5300's 24 megapixels provides is most easily spotted when comparing how many lines of text are readable.
Both the T5i and D5300 display some moiré patterning in our moiré torture test. Looking at JPEGs from both, the D5300 shows slightly stronger patterning at the center of the target. Switching to Raw shows a trade for one kind of moire to another, as some faint yellow banding appears in the scene.
Moving up to ISO 800 the D5300 still shows more fine detail in JPEGs, though there's a bit more color noise appearing. The trend continues at ISO 3200, by which point most fine detail is beginning to look muddy and more color noise is visible throughout the scene. Fine detail is overwhelmed by noise and noise reduction by ISO 12800 and at the very highest ISO setting. The D5300 presents a little less noise in its Raw files than the T5i - especially when compared at the same resolution.