Whether you’ve just purchased the Nikon D750 or you’re still in the research phase, you likely already know this is a DSLR with an amazing price point. It’s still one of the top rated cameras, even after more than 5 years on the market. Lightweight and extremely reliable, with excellent dynamic range, the Nikon D750 is a full frame DSLR Continue Reading
The post Nikon D750: Answers to Your Real Questions appeared first on Photodoto.
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The Nikon D750 was one of the best enthusiast-and-up DSLRs on the market at the time it was announced and is still a popular workhorse for many photographers today. Its 24MP sensor is still very competitive but its video specs in particular are looking very outdated.
If I were a D750 shooter today, ‘should I upgrade?’ would be a question on my mind. Our own Dan Bracaglia had some thoughts of his own on this, but let’s take a slightly deeper dive into just what Nikon’s updated, and whether those updates are worth it.
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Probably the first thing most D750 owners will start to notice if they move across to the D780 is the improved autofocus. The D750 is certainly a capable camera in this regard but the D780 gains a couple of updates that should boost its performance.
In conventional DSLR mode, the D780 uses the same 51-point AF module as its predecessor but the AF system is informed by information from a 180,000 pixel metering sensor, rather than the 91,000 pixel sensor in the D750. This, combined with algorithms derived from those of the D5 professional sports camera, should significantly improve the D780’s AF performance, particularly in terms of subject tracking.
Even more significant will be the autofocus improvements in live view mode, which we’ll come to in a bit.
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Although both cameras have sensors that come with 24MP, the unit in the D780 is a newer design, either identical or closely related to the one in Nikon’s existing Z6 mirrorless camera. This means it has a BSI (backside-illuminated) design and, more significantly, dual-gain architecture. In essence, this allows the camera to have maximum dynamic range at base ISO with improved noise characteristics at higher ISO values where absolute DR isn’t as crucial a consideration.
We would expect the D780 to produce better JPEGs compared to the D750
We’d expect the D780 to offer a slight upgrade over the D750 for Raw shooters, but one that’s only really visible in comparison and that won’t come close to justifying upgrading.
On the other hand, Nikon’s JPEG engine has improved by leaps and bounds over the past five years. We’ll have to do some more testing to be sure, but we’d expect the D780 to produce JPEGs with better sharpening, more pleasing color and more sophisticated noise reduction compared to those from the D750. And that also makes those JPEGs that much better for sharing over the updated Snapbridge wireless system that the D780 supports.
But that 24MP sensor isn’t all about BSI and dual-gain architecture. It also comes with…
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The D780 has on-sensor phase detection, which provides the kind of distance information needed to quickly drive DSLR lenses. It also gains the AF tracking system from the Z-series cameras, including Face and Eye detection modes. The Face and Eye detection will be a distinct improvement for portraits and people pictures, compared with the D750.
The D780’s live view interface is directly borrowed from the Z-series cameras. This means it works slightly differently that the through-the-viewfinder system: AF tracking needs to be actively cancelled, and always resets to the central position, rather than a pre-selected one, and the Face / Eye detection modes feels like it’s been glued on top of the interface rather than designed to be part of it.
But if you’ve only shot with a DSLR before, you’re likely to be immediately impressed by how well the live view AF performs. Particularly for taking pictures of people, it can be fast, simple and dependable, in a way that even Nikon’s 3D Tracking system isn’t.
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Along with live view autofocus, one of the clearest enhancements on the D780 is its video performance. This is immediately apparent from the fact it can shoot up to 4K/30p or 1080/120p, rather than the 1080/60p of the D750, but it runs a lot deeper than that.
For a start, the vastly improved AF and tracking of its live view mode extend to its video shooting, meaning the autofocus is faster, smoother and more reliable (the difference between being usable and unusable, basically). In addition, the D780 gains Nikon’s latest approach to video settings, which lets you configure different settings, including different button customization, if you wish. You can have the video mode mimic your stills settings if you like, but you can also set it to use a different color mode, or white balance setting if you prefer, meaning it’s easy to jump back and forth between stills and video shooting.
Overall, the D780 is a very capable video camera. It’ll even output 10-bit Log footage to an external recorder, if you’re taking things really seriously. Panasonic’s S1 and S1H are some of the only full-frame cameras to offer significantly better video specs. That’s a huge step forward from the D750.
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Many of the rest of the D780’s specs are broadly similar: it’ll shoot at 7fps rather than the D750’s 6.5fps, but that’s unlikely to make much of a difference. Switch to live view and electronic shutter mode and the D780 will deliver 8fps or 12fps if you’re willing to take the slight dynamic range penalty of dropping to 12-bit mode. However, electronic shutter risks movement being distorted by the rolling shutter and increases the range of situations in which you’ll see banding from the flicker of artificial lights, so it’s not useful for all applications.
The optical viewfinders are the same, too: pentamirror finders with 100% coverage and 0.7x magnification.
Also, the D780 still has an in-body (screw drive) focus motor and AI tab, to allow its use with a broad range of older F-mount lenses. The D750 had both features, but notably the FTZ mount adapter for the Z-mount cameras doesn’t.
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The D780’s rear screen still tilts up and down on a rugged-feeling cradle like the D750’s did, but the dot-count has doubled and it’s now touch-sensitive, making the camera much more usable in live view mode.
The other big difference is that the D780 uses Nikon’s Snapbridge communications system, rather than the more conventional Wi-Fi system on the D750. Snapbridge maintains a constant Bluetooth connection between a smart device and the camera, which makes it quicker to establish a Wi-Fi connection.
We weren’t impressed with the early implementations of Snapbridge but it’s gained a lot in the way of features and stability since then. There’s an option to auto-send 2MP versions of every image you shoot, you can set the camera to transfer images you’ve marked in playback mode (these transfers will happen even when the camera is off), or you can browse the images on the camera from your phone. It now supports Raw and video transfer over Wi-Fi, along with geotagging of images based on phone location and extensive remote control of the camera.
The D780 has a new shutter mechanism, capable of 1/8000 sec exposures. The downside is that its shutter shock at moderate exposures is more pronounced than on the D750. You can work around this by selecting ‘Electronic front-curtain shutter’ in the menus and always shooting in Quiet mode (apply the minimum 0.2 sec exposure delay when resolution is really critical), but it’s worth being aware of.
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Not all of the D780’s specs are an improvement on the older model, though. The D780 repeats some of Nikon’s recent product planning decisions that omit some features that were included in the D750.
The most immediately apparent difference is the lack of internal flash. Nikon says the camera can be better weather-sealed if you don’t include a pop-up flash, but anyone looking to use the D780 with off-camera flashes will have to consider the significance of that trade-off for their shooing. You can mount a variety of flash commanders to the hot shoe or push a WR-R10 radio transceiver into the Remote socket on the left of the camera, if you have the latest radio-controlled Nikon Speedlights.
The other obvious omission on the D780 are the connectors to allow duplicate controls on an accessory grip. There’s nothing on the base of the camera and nothing in the battery compartment meaning that, if Nikon does decide to offer a battery grip, it’ll be like the one for the Z6 and Z7, that just adds room for a second battery.
We suspect a lot of users will find the D780’s rating of 2260 shots per charge more than sufficient (especially considering it’s common to get more than twice the rated number, depending on your usage). However, there will be some users that liked the extra reassurance or improved portrait-orientation ergonomics that an accessory grip offers.
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The D780 uses the latest EN-EL15b battery. It looks like a slightly more angular version of the existing EN-EL15 batteries, the distinction being that the ‘b’ variant can be charged over the camera’s USB socket. The D780 can still use the older 15a and 15 batteries but without USB charging, and with significantly reduced battery life if used with the original EN-EL15 batteries not marked Li-Ion20.
Interestingly, like the D750, the D780 continues to use twin SD card slots, now compatible with the newer UHS-II cards. This may seem odd, given the closely-related Z6 uses the more exotic XQD card format. But there’s not much that the D780 does that would demand higher throughput that the 90MB/s rates maintained by the latest v90 SD cards.
Equally, if we see the D780 as an F-mount alternative to the Z6, then it makes sense that it should maximize its backwards compatibility in terms of cards as well as lenses and (to an extent) batteries.
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Considered in isolation, the D780 is a tremendously well-rounded, capable camera, much as the D750 was, but with that capability now extending to video as well as stills shooting. However, it’s also worth considering the question ‘why would you buy this instead of a Z6?’
The Z6 was launched for $ 300 less than the D780 and that was over a year ago, so the current price difference is even greater. The Z6 uses Nikon’s latest lenses, and clearly represents the direction the company and its development efforts are going in, so what would prompt people to still buy a DSLR?
The most compelling reasons would be either because you have a significant investment in F-mount lenses, your style of shooting demands an optical viewfinder, or simply that you prefer using an optical viewfinder. In which case, the D780 looks like a great do-everything option, and one that has been appreciably improved, compared with the D750.
We suspect this is a trend we’ll see from Canon and Nikon for at least a generation or two of camera releases: a variant of their latest mirrorless cameras, built into (perhaps modestly updated) versions of their DSLR bodies, since both companies have die-hard DSLR users. The breadth of the model range might contract, over time, making it less likely that there’ll be a model at the price you want to pay, but there are enough Nikon lenses out there that there’ll be an audience for Nikon DSLRs for a while yet.
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Whether it’s worth upgrading from a D750 is a more difficult question. If you primarily shoot stills, it might not be. There are certainly improvements in terms of image quality particularly on the JPEG side of things, but these alone are unlikely to justify the cost of upgrading. If you only shoot stills through the viewfinder, and haven’t found yourself hankering for improved AF tracking, then it probably makes sense to stick with the D750.
If you only shoot stills through the viewfinder then it probably makes sense to stick with the D750
However, if you would like a camera with the simplicity and accuracy that eye-detect AF brings, it’s well worth a look. It’s also certainly an easier camera to shoot at high and low angles, thanks to its much more usable live view. Most of all, if you have even the slightest interest in video, the D780 is a significantly better camera. If nothing else, it’s a great way to get that familiar DSLR feel with the option of experiencing what Nikon’s Z-series cameras are like to use.
But then, if it’s the video and mirrorless features of the D780 that make you want to upgrade, maybe you’d be better off with a Z6.
Articles: Digital Photography Review (dpreview.com)
The post Nikon has Announced the D780, an Update to the Hugely Popular D750 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
If you’re an enthusiast photographer wedded to your Nikon DSLR, then you’re in luck.
Because Nikon has just announced a new DSLR, dropping at the end of January:
The D780.
The Nikon D780 comes as a long-awaited upgrade to the Nikon D750, a powerhouse camera that packed a full-frame sensor into an affordable body. The D750 offered full HD video at 60p, excellent low light performance, impressive autofocus, dual card slots, and a tilting LCD, features that won over a slew of photographers back in 2014.
But can the Nikon D780 build off of the D750’s success? And what can a new midrange DSLR offer in a world where DSLRs are becoming less and less valued?
In some ways, the D780 doesn’t seem like a big step up from the D750; it offers a full-frame sensor with 24.5 megapixels (compared to the D750’s 24.3-megapixel sensor), a 51-point AF system with 15 cross-type points (specs that are identical to the D750’s AF system, though the D780 packs the D5’s focusing algorithm), and 7 frames-per-second shooting (compared to the 6.5 fps on the D750).
But in other ways, the D780 more than lives up to expectations. While the megapixel count is nearly identical to the D750’s, the sensor itself is borrowed from the Z6, one of Nikon’s two full-frame mirrorless offerings, and an impressive camera in its own right. This means we can expect a jump in ISO performance, which should excite Nikonians who often find themselves shooting in low light.
We can also expect significantly improved Live View autofocus, given that Nikon has imported the D780’s 278-point Live View AF straight from the Z6.
Not to mention the enhanced video performance on the D780: with 4K video at 30p with a full pixel readout, full HD video at 120p and 60p, and features such as focus peaking, this is the most powerful Nikon DSLR for videographers to date.
So if you’re an enthusiast photographer who is looking to upgrade to full-frame, or you’re simply looking for a great full-frame option, then the Nikon D780 is worth a look.
It will begin shipping at the end of January for $ 2300 USD (or $ 2800 with a Nikkor 24-120mm f/4G lens).
The post Nikon has Announced the D780, an Update to the Hugely Popular D750 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Customization is a big trend. From 3D printing to personalizing phones to our face, customization is becoming a requested product feature and a competitive advantage. Cameras also try to provide more and more customizable features to cater to our individual shooting styles. In this article, I will present and compare the Nikon custom modes of the D750 and the D500 including:
A D750 features ‘U1/2’ and a D500 the ‘Memory banks.’ In this article, you will learn ways to set both up. Shooting scenarios showcasing the usefulness of custom settings will be included. Finally, I will share my preferred settings for each one, as well as some thoughts on both methods.
The location of U1/2 on the D750
Generally a warmly received feature, U1/2 can be found on the top dial of the cameras that include them.
The way to move between them is to push the button next to the dial and spin the dial until the required setting aligns with the white indicator line next to the dial. This then becomes the active combination of preselected settings.
On the other hand, Memory Banks are not assigned upfront directly to physical controls. Instead, these are selectable through the menus or are assignable to button and dial press-and-turn combinations.
There are different ways to access and activate banks. The most common are:
and ‘custom’ 
menus shown below. It is the top option on both menus. These switch between the four (A/B/C/D) available photo shooting menu banks (in the photo shooting menu) and the four (A/B/C/D) available custom setting banks (in the custom setting menu). This is the longest way to set banks up, as it resides deeper in the menus.
Screen of photo shooting menu on the D500
Screen of custom setting menu on the D500
button at the back of your camera. Pressing this opens up a menu and the two topmost options are: ‘photo shooting menu banks’ and ‘custom settings banks.’ There is no way to change the order in which they are shown.
tab. With this menu, you assign them in any ranking that suits you. A variation, for quicker access, is to first place either of them (but only one at any time) as the top item in ‘my menu.’ To follow, assign the shortcut ‘access top item in my menu’ 
to any permissible button. The buttons 
/ 
/ 
/ 
work for this shortcut (sub-selector press). / / (sub-selector press) / 
(movie record button next to the shutter button). For the combination with the movie record button to work, the live view selector needs to be in rotated to .
Live view selector to photography mode position on the D500
Now you should know how to access and activate both custom settings. I will now discuss the rationale behind them using them.
Firstly, I will talk about useful ‘generic’ concepts:
These concepts are a framework for you to consider in the use of custom settings. I prefer this framework, rather than simply answering ‘which custom settings are best for portrait, sports, nature or any other photography genre?’ I have intentionally left out perspective (I consider this primarily impacted by lens selection) and composition (as this is the photographer’s prerogative).
Core Settings: Aperture, shutter speed, ISO, and metering. These are at the heart of photography, regardless of genre. Most of these are changeable on the fly while shooting through the dedicated button and/or dial press/turns.
Output Settings: Most of the settings of the ‘photo shooting’ menu. These affect the output file type, size and look, such as file quality (raw and jpeg), picture control system (standard, vivid etc.), and white balance. An exception is the ISO setting, which I consider core.
Fine-tune Settings: The menu options of the ‘custom settings’ menu. These are important adjustments to the way the camera looks at and reacts to the scene/subject.
Scene variables: I keep it simple, by including (available) light levels and subject movement only.
Photographic intent: This is the part where you decide what you want to convey or achieve through your photograph. Do you want to freeze or show movement? Go high or low key on the scene? Are you isolating your subject from its surroundings or showing some background detail? These (and many more) are the meaningful aesthetic choices, which make each photographer unique.
Enablers: Out of the many props/modifiers available to photographers, I include here the flash and the tripod. These two (arguably filters as well) make possible, more than anything else, the realization of our vision in diverse genres of photography (e.g. landscape, long exposure, night photography, macro etc.). Additionally, each of them has their own distinct group of settings to maximize their effectiveness.
Any given scene can be broken down to any pair of variables (marked with x) in the table below.
I argue that superimposing our photographic intent on these sets of variables, assisted by suitable enablers, is the art and technique of photography. In my view, the custom settings number one goal is to facilitate effortless interplay between variables, intent, and enablers.
To achieve this, they should allow a quick switch from one bundle of the core, output and fine-tuning settings to another. U1/2 and Memory Banks do this in different ways, as I will demonstrate below.
Key: U1 (User-defined 1), U2 (User-defined 2), C1 (Core 1), C2 (Core 2), O1 (Output 1), O2 (Output 2), F1 (Fine-tuning 1), F2 (fine-tuning 2)
The tables above summarize the difference in the logic of U1/2 and Memory Banks.
‘photo-shooting’ menu allows for the other settings (aperture/shutter/manual priorities, aperture, and shutter values as well as exposure and flash modes) to be embedded in the photo shooting banks.Before I provide some examples of real-life shooting using both custom settings, I will make a few important working assumptions about a ‘generic’ shooting style:
Now, I will walk you through one of my typical shooting situations – walking around town or traveling, to show what I ideally expect from my custom settings.
Scenario One:
As I am strolling along, I see a nice background for a portrait. I want my camera to be on the ready with pinpoint focus accuracy (AF-S single point) with a nice shallow depth of field. Depending on surrounding light levels and contrast, I may or may not want to add flash-fill or even overpower available light using high-speed sync, so it is handy to be able to quickly access a convenient flash exposure starting point.
Portrait of a friend taken with the D750
Scenario Two:
Along the road, a cute animal is playing. I’d like to shoot it as it moves, freeze it or do a nice pan. My camera needs to be ready to follow motion (AF-C combined with any preferred focus area mode). Also, I need quick flexibility on my shutter speed selection from a 1/1000th sec (to freeze action) down to around 1/30th sec (to pan).
A portrait of a dog taken with the D500
Scenario Three:
I enter a beautiful garden. Flowers are perfect to photograph close-up (macro) so I set up my tripod. Here, I require a deeper depth of field and pinpoint focus accuracy again (AF-S single). If the light is not plenty, I may need a longer than usual exposure.
Turning ‘on’ long exposure noise reduction and exposure delay, provides better image quality in these scenarios. To further mitigate shake risk, I also engage mirror lock-up. Unfortunately, mirror lock is not pre-configurable in U1/2 or in Memory Banks.
A Flower close-up taken with the D750
Scenario Four:
On any trip, it is great to take a nice landscape photo. In this case, the macro settings above, more or less apply. If there is plenty of light, shooting handheld is not an issue.
A landscape taken with the D750
Scenario Five:
Finally, during a town-by-night walk, a nice long exposure is always memorable. Again, the macro scenario settings and my trusty tripod come in handy.
A long exposure taken with the D500
Based on these realistic hypothetical-shooting scenarios, it is evident that settings vary considerably from auto-focus mode to shutter speed and aperture, to flash or no flash etc. You may also want to give your camera to someone for a quick snap, without having the time or inclination to explain focus, recompose or other settings.
If there is an ‘auto’ option on your modes dial then all is good, if not, then resetting to ‘waiter’ or ‘dumbbell’ mode (as full-auto is also known to some) is not quick nor easy without custom settings.
Now, I will briefly show my settings for both modes and a few tips to further increase their flexibility.
U1 is my ‘General Shooting Mode’ and the settings are shown in the screen below. If you employed back-button focus, then you would use AF-C instead of AF-S
My U1 settings in D750
U2 is my ‘Flash Shooting Mode’ and the settings are shown in the screen below.
My U2 settings in D750
It is important to mention that you have additional options by customizing M/A/S modes.
My photo shooting banks are named A=General B=JPG C=Shutter D=Manual
The custom banks are named A=General B=Flash C=Tripod D=Waiter
I have set banks this way to be able to move from my usual working best quality output (e.g. A/A) to basic point and shoot output (e.g. B/D) within just a few seconds by using the ‘info’ button and changing the ‘custom settings’ banks.
Tips to maximize both methods:
‘my menu’. This will allow quick access and change of settings that are not pre-programmable in any mode (e.g. mirror lock up).After comparing U1/2 with Memory Banks for versatility in the above scenarios, my conclusion is that banks provide me with the highest flexibility thanks to their matrix structure. However, banks demand greater discipline in their set-up and use to remain helpful. This is because U1/2 are ‘sticky’, while banks are not.
Once settings are saved in U1/2, no matter what changes you make while shooting with U1/2 selected, you will not impact the saved settings. Simply reselect U1/2 and you are at your initial settings in a blink, hence ‘sticky’. However, all 8 banks save settings dynamically in real time as you apply them during your shooting. Following is a simplified example to elaborate:
You have U1 set up as A-priority, AF-S at f/5.6 and matrix metering. During your shoot, you move from the matrix to spot and f/8. Do you want to go quickly back to your base settings? Simply turn the dial from U1 to U2 and then back to U1 again, and you are back to f/5.6 and matrix.
In banks (both custom and shooting), if you wanted to keep your selected bank identical to the starting configuration, you would need to manually bring metering and apertures back to their initial values.
So, in the grand scheme of things, I have no complaints from either method in the Nikon Custom Settings. I am glad to have both available. I value the ease of use of U1/2 and I love the greater choice that Memory Banks give me. For example, being tripod-ready for landscape or macro, without having to remember to change many settings makes things easier and quicker.
It would be great to have an option to easily save and restore banks in camera to provide the best of both worlds, or to have the quick recovery of U1/2 with the greater choice of the banks.
Join the discussion and let us know your preferred method and way of programming Nikon Custom Settings on the D750, D500 or any other camera featuring U1/2 or banks.
The post Nikon Custom Modes of the D750 and D500. Which mode is best? appeared first on Digital Photography School.
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I’ve spent a few weeks shooting around with the Nikon Z6. And in that time, I’ve made up my mind that as a current D750 owner of 3+ years, I will not be trading it in for its mirrorless sibling. But maybe you should. Here’s why…
The Z6 offers a size and weight advantage over the D750 but it’s less than you might think. At 675g, it’s about 10% lighter than the D750 (750g). And though the D750 feels a little chunkier in hand, I prefer its grip. I can get my pinky on it comfortably and access the front function button with ease. On the Z6, there’s no room for a pinky and its two front function buttons are awkward to reach. Of course, everyone’s hands are different, and the Z6 might fit more comfortably in your hands.
Raw image quality between the two cameras is nearly identical. As a music photographer, I shoot a lot of personal work in low light environments. And in extreme cases of shadow pushing, the Z6’s on-sensor AF points can show up as banding. This isn’t the case for D750 files.
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| Shot on the Nikon D750. I love to shoot live music in underground/DIY venues, like basements and living rooms; places where lighting is dim and flash photography is generally unwelcome. The D750 is my go-to camera for this and all kinds of still photography work because it’s reasonably small and light, offers great dynamic range and, most importantly, has rock solid low light autofocus, not to mention reliable tracking. ISO 3600 | 1/320 sec | F2.2 | Shot using the Nikon 35mm F2 D |
In my experience, the D750 is a more reliable autofocus performer in dark conditions than the Z6. Nikon even rates it as 1EV more sensitive, -3EV vs -2EV, when using normal AF modes (the Z6’s ‘low light AF’ mode is sensitive to -4EV, but Contrast Detect-only). Simply put, I found the Z6 hunting in conditions the D750 doesn’t. And when using the D750’s central cross-type points, it has proven to be a top performer, whereas initial impressions suggest the Z6 is about as good as the Z7: which is to say, not great.
While I stick to a single, central point on the D750 in very low light, I like to use 3D-Tracking in brighter conditions. And it couldn’t be easier to use – simply hit the AF-on button and watch the camera track whatever is under the current selected AF point. From a compositional standpoint, the AF focus area can be somewhat limiting, but the reliability of the system is top notch.
With the Z6, the 273-point system with 90% coverage offers virtually no compositional barriers but engaging tracking is needlessly cumbersome to do when shooting with an eye to the finder. It’s only available in the camera’s Auto AF area mode and requires you to first press the camera’s ‘OK’ button in the center of the directional pad, which I can’t quite reach without compromising my grip.
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Shot on the Nikon Z6. As a Nikon DSLR shooter, the Z6 has a familiar feel to it. Still, I prefer the reliability and usability of the D750’s AF system to that of the Z6 (even if the point coverage on the Z6 is way better), as well as the D750’s greater usable dynamic range. |
Almost all of my lenses are Nikkor AF-D, which use a Nikon DSLR’s internal focus motor to drive focus rather than having a motor in the lens. These lenses represent excellent value for Nikon DSLR users and are generally very fast to focus, though noisy. Jumping into the Z-mount would render these lenses useless from an AF standpoint, as Z mount cameras have no motor. However most newer Nikon lenses have built-in motors and work with no noticeable penalty adapted via the F to Z adapter.
Video is the one area the Z6 has me hung up because it absolutely smokes the D750. If you have even the slightest interest in video capture, the Z6 is a far better choice than the clunky, prehistoric video offering found in the D750. The Z6’s 4K quality is excellent (sorry, only 1080p on the D750), in-body image stabilization is super useful (not available on the D750) and the camera’s touchscreen for AF point placement (also not available). Focus during video is solid on the Z6 in contrast to the downright awful Contrast Detect video AF found on the D750. And did I mention it shoots 10-bit log over HDMI?
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As I’m primarily a stills shooter, at the end of the day, image quality and AF reliability (especially in low light) are the two things that matter most to me and the D750 holds its ground in both regards to the Z6; all the touchscreens and in-body IS systems in the world can’t change that. For these reasons I’ll be holding on the my D750 and waiting at least another generation before making the move to Nikon mirrorless.
But those interested in video would be wise to give the Z6 some serious consideration because it really is that good. Plus other features, like better AF precision without a need to micro-adjust, live exposure and depth-of-field previews in the finder, and greater AF coverage, might also win you over.
If you’re even remotely tempted, consider this: used D750’s sell for upwards of $ 1000, depending on the condition, which puts you about halfway to a Z6. Just don’t forget the adapter…
Articles: Digital Photography Review (dpreview.com)
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For the past few years, I’ve been recommending the Nikon D750 to enthusiasts and semi-professionals needing a reliable DSLR to grow in to – probably more than any other ILC on the market. It was even my Gear of the Year in 2015 for its excellent feature set to price ratio.
Though it debuted in late 2014, the D750 remains a relevant and reliable workhorse years later. 24MP of resolution on a full frame sensor is a sweet spot for a lot of shooters, and the D750 still offers competitive dynamic range and excellent high ISO performance. It also has terrific autofocus, with Nikon’s reliable 3D Tracking.
The D750 has proven to be among the most future-proof full frame DSLRs in recent memory
And as far as full frame DSLRs go, it’s among the lightest ever made. But it’s also a camera we know will likely stand the test of time thanks to aggressive weather-sealing and sturdy construction. In short, the D750 has proven to be among the most future-proof full frame DSLRs in recent memory. Even today it’s still priced aggressively enough – with technology that is relevant – to warrant my recommendation, not to mention the recommendation of the DPReview staff in our Best Camera Under $ 2000 roundup.
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| I swapped out my Nikon D750 to shoot a show with the Sony a7 III: the combination of excellent AF coverage and good low light IQ left me questioning whether it’s time to recommend this Sony over the Nikon I’ve come to love. ISO 12800 | 1/400 sec | F4 | Shot on Sony FE 35mm F1.4 ZA | Edited to taste in ACR |
But like all of us, the D750 is starting to show its age. Though it offers an articulating LCD (a Nikon full frame first), the live view experience is just plain unrefined when compared to a modern mirrorless camera. This is because the D750 relies on Contrast Detect AF in live view, which is painfully slow and often misses.
Though the 51-point AF system performs admirably, even in low light, it only covers the central potion of the frame, limiting compositional freedom when using 3D Tracking. And though the D750 offers decent-looking 1080/60p video, the lack of continuous AF in video limits its use. Plus the lack of 4K makes the camera’s video spec feel dated.
The a7 III just might be my go-to recommendation moving forward
If only a camera matched or surpassed what the D750 is capable of, all for a similar cost! Enter the Sony a7 III. Its debut price is a couple hundred dollars less than that of the Nikon and as of this writing it can be had for just a few hundred dollars more than the now heavily discounted D750 (new). As a result, the a7 III just might be my go-to recommendation moving forward.
On paper, it has all the ingredients to make it a relevant camera for years to come. This includes a 24MP Full Frame sensor, high-quality stabilized 4K video (with AF-C), AF points covering 93% of the frame with reliable subject tracking and Eye AF, solid battery life, a small form factor and good build quality. Plus, every lens you put on it – even adapted ones – automatically becomes stabilized thanks to its 5-axis IBIS system (rated at 5 stops).
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| AF performance from the a7 III is excellent, even in challenging light. ISO 12800 | 1/400 sec | F2.8 | Shot on Sony FE 35mm F1.4 ZA | Edited to taste in ACR |
Of course specs are one thing and in the field operation is another – something a few readers occasionally forget. That said, I’ve been really impressed by how refined this recent generation of Sony full frame cameras are – the Sony a9 was even my 2017 Gear of the Year. And thankfully one evening spent shooting live music with the a7 III proved that it largely operates like its $ 4500 high-speed sibling.
The a7 III’s lock-on AF is reassuringly effective at tracking a subject and nailing focus in low light, just like the D750’s 3D Tracking. The main difference? The AF point coverage is significantly greater on the Sony, giving me far more room to place my subject in the frame. On the downside, it’s nearly impossible to see what AF point you’ve selected on a Sony when shooting in the dark (or even in daylight) because the AF area does not illuminate when moved with the joystick. To work around this, I left my initial medium lock-on point dead center and began each new acquisition with my subject in the middle of the frame.
One evening spent shooting live music with the a7 III proved that it largely operates like its $ 4500 high speed sibling
Image quality also impressed me – I was pleased with the Raw files I came back with and was able to make some nice edits despite the high ISO nature of my shots. But don’t take my word alone, have a look at our studio scene, which proves both cameras (a7 III and D750) perform exceptionally in low light. The a7 III’s shadows are actually cleaner at high ISO, thanks to its higher dynamic range at ISOs above 500.
The live view experience using the LCD, by the very nature of mirrorless, was also refreshing. Unlike the D750, AF works the same when using the LCD or EVF. This meant I could actually use the LCD to get shots without having to worry about missed focus.
And while I didn’t make use of the camera’s silent shooting mode, it’s something I could certainly see appealing to wedding or event shooters. Same goes for the a7 III’s over-sampled 4K video; though I didn’t put it to use at the show, the footage I’ve seen from fellow editors proves it’s both extremely detailed and offers high dynamic range with minimal rolling shutter.
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Normally I micro adjust lenses before a shoot. With the a7 III there’s no need. |
Despite my largely positive shooting experience with the camera, I still have a few hesitations about it: First, there is a perceivable lag when turning dials on the a7 III (and other Sony cameras for that matter), something that is not the case with other DSLRs at this price point. I also find the EVF can take a fraction of a second to engage when one’s eye is brought to the finder. This sounds like nitpicking, but those used to an optical EVF might find they miss shots, as I did, due to this. Other annoyances include the occasional operation error.
The lack of weather-sealing on the battery door concerns me when it comes to the longevity of this camera
Fortunately, all of those concerns can likely be addressed via firmware. But something that can’t be fixed so easily is the lack of weather-sealing on the battery door, which concerns me when it comes to the longevity of this camera – I’d hate to recommend a product that might fail due to a little water. Adding to my concerns, our pals over at Imaging Resource ran a sort-of-scientific test looking at the weather sealing on high-end cameras, including the a7R III. The results were, to put it lightly, not encouraging for Sony cameras.
Another hesitation in recommending the well-priced a7 III is the present lack of well-priced autofocusing glass available for it. One major reason I like to point folks to the D750, especially those on a budget, is due to the enormous catalog of autofocusing lenses offered for the system at varying prices. With Sony full frame, most AF lenses are pricey, large and the selection is currently limited. But it’s encouraging to see third party lens manufacturers like Sigma, Tamron and Tokina getting into the FE game.
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The a7 III is a lot of camera for the money and will likely be a technologically relevant product for quite some time – if Sony’s a6000-series is any indication, the a7 III will have a long and fruitful product life, with price breaks every so often for years to come. My few hesitations aside, I feel that the a7 III gets enough right for the right price to almost certainly be my new go-to full frame recommendation moving forward.
That said, I’m going to hold off making any serious recommendations until our full technical review – to be published soon – goes live.
Articles: Digital Photography Review (dpreview.com)
No matter which stage you are into the world of DSLR photography, often the big question comes. Which camera do you buy to start or progress your photography journey and get those creative juices flowing?
In this article, I will compare three widely popular Nikon cameras (the Nikon D750 24 MP FX body – $ 1499, Nikon D7100 24 MP DX body – $ 724, and the Nikon D5100 16 MP DX body – $ 189) of different capability levels and price points. It will give you practical insight into their image quality by using them in real-world shooting scenarios (landscape/social events/sports) that you may want to cover in your photography.
According to statistics from explorecams.com, these three cameras (as of 11 September 2017) rank in Nikon photo-count: D7100 first, D750 second, D5100 sixth. So indeed these are cameras trusted and used by Nikon shooters the world over.
This article is not a photography theory, camera specs, best settings, lenses, or camera technical reviews. There are excellent web resources for that and I do fully encourage you to check these out, both here on dPS and other sites. This comparison will give you real-life examples to see which camera may suit your needs, expectations, and wallet better.
All scenarios will have the following structure:
Most probably you will find yourself at some point outside, camera at hand, wanting to capture the beauty that you see around you. In southern Greece, the picturesque village of Planiteros, with its flowing streams and huge sycamore trees, is the perfect setting for our first scenario.
Reasonable companions to this type of photography are a wide angle lens, a tripod, and a remote. The Tokina 12-28 f/4 lens, the Sirui T-025X carbon fiber tripod and the Nikon ML-L3 remote were used. Using the Tokina, which is compatible with both full frame or FX (D750) and crop sensor or DX cameras (D7100 / D5100) allowed photographs of very similar focal lengths to be taken for comparison.
Nikon D5100, capable of handling this situation?
Aiming to give a slightly softer flow rendition of the stream, while maintaining ample depth of field, a longer exposure time and a narrower aperture were desirable. For all three cameras, sensible vibration reducing technique was applied for this type of shooting vision. Mounting the camera on a tripod, using a remote to trigger the shutter, and activating mirror lockup (available on D750 and D7100) or exposure delay (on the D5100, as mirror lockup is not available) are solid steps to getting a good quality landscape photo.
Aperture Priority mode (set at f/8), Matrix Metering, Auto WB, single autofocus mode (AF-S), single point focus, autofocusing on the same point using live view and using the base ISO for each camera (100 for the D750 and D7100, and ISO 200 for the D5100), were the settings applied to extract the best possible quality files from each sensor. Raw files were processed in Lightroom (LR) to produce similar JPGs.
Look at the photographs below and try to guess which camera produced which picture. The answer comes right after the photographs.
Answer: 1) D750 (top), 2) D5100 (middle), 3) D7100 (bottom).
If you could not find an edge between one photo over another that makes two of us. I would be glad to hang 12×16″ print from any of them on my wall. Proper technique in this scenario is more important than the camera used and it creates a level playing field for all sensors.
Gatherings with friends and family are occasions where you want to grab a candid moment or the ambiance shot that will serve as a memento for many years. Good friends Nikos and Athina were kind enough to invite me and my wife over to their place for a glass of wine. This was the perfect occasion to compare the three cameras in a usual social setting.
Contrary to the landscape scenario’s contemplative and slower pace of shooting, social gatherings usually lend themselves more to a handheld, run and gun shooting style. So no particular gear other than the Tokina 12-28 f/4 lens was used here. While this is not a usual focal length for shooting indoors with people, when used from a sensible distance and towards the wider end it can serve the comparison between the three cameras.
Nikon D7100
Aperture Priority mode (at f/4), Matrix Metering, Auto WB, single autofocus mode (AF-S), single point focus, focusing through the viewfinder and using Auto ISO with no High ISO Noise Reduction applied, were the settings used to extract the best possible quality files from each camera.
Using Auto ISO has to do with my individual shooting style. In this scenario, it is actually the same as using ISO 1600 for D5100 and D7100 and ISO 3200 for D750. These are, in my experience, the highest ISO levels that each camera can handle (especially for straight out of camera JPGs) before noise becomes too obtrusive.
Both the out of camera JPGs and those made following similar processing of raw files in Lightroom are provided in the next section.
Let’s start with the camera JPGs. Which camera produced which photo will come right after both sets of pictures (camera JPGs and LR processed JPGs).
And here are the LR processed counterparts in the same order.
Answer: 1) D7100 (top), 2) D750 (middle), 3) D5100 (bottom).
Again, as in the landscape scenario, you would be hard-pressed to find a winner here. Less than perfect focusing (front or back focus) or camera shake (due to a slow shutter speed) have a lot more impact than the camera model in such shooting environments (e.g. the domestic indoor lighting here).
Photographing movements, be it your loved ones playing in the backyard or shooting any sport, can generate highly dynamic, catchy, and memorable photographs. Usually, I play football with my friends once a week. For the sake of this article, I put my football gear aside and grabbed my photo kit to shoot the sports scenario.
Depending on the sport and the venue, different lenses can be employed in your gear arsenal. The consensus seems to be that a telephoto zoom is an invaluable piece of kit for sports in general. A Tamron 70-300 f/4-5.6 lens was used for this test, as it is compatible with both FX and DX cameras. A Sirui P-224SR Carbon Fiber Monopod and a Manfrotto 410 Junior Geared Tripod Head were used to create the support platform.
Hand holding a DSLR camera with a lens attached is achievable for periods of time. However, when shooting sports, perhaps for hours, and consistently following the action as it unfolds requires more support. This monopod and head combination is working very well for me.
Nikon D750 really excels in this situation.
Usually, sports photography lends its self to shutter priority mode. Select at least a 1/500th of a second. Then take it up from there to freeze action as needed (unless panning is used, where perhaps even 1/60th or slower may be sufficient).
Unfortunately, in the available light conditions of this scenario, not even 1/20th was attainable with any of the three camera-lens combinations, while using reasonable ISOs as discussed before. To somewhat combat this, a minimum of ISO 3200 was used for all cameras. This pushed the limits of acceptable noise, but bought a few more precious tenths of seconds of speed.
With this important point in mind, Aperture Priority mode (varying between f/4 and f/5.6 across the zoom range), Matrix Metering, Auto WB, continuous autofocus mode (AF-C), Dynamic-area AF mode (d9 for comparability), autofocusing through the viewfinder and no High ISO Noise Reduction, were the settings used to extract the best possible quality files from each camera.
Both out of camera JPGs and JPGs following similar processing of raw files in Lightroom are shared in the next section.
Finally, to showcase how high ISO performance has evolved over the years, I will include a bonus JPG with Hi-2 (ISO 51,200) straight out of camera from the D750 (only cropped and lens profiled in Lightroom).
First up the camera JPGs, then the LR processed ones. Which is which is shown at the end after both sets:
And here are the LR processed counterparts in the same order.
Answer: 1) D7100 (top), 2) D5100 (middle), 3) D750 (bottom).
The bonus ISO 51,200 file from the D750.
Shooting sports is indeed a completely different animal. Gear that will get perfectly adequate photos in normal situations (e.g. nature and social situations as above) simply will not be enough for sports. It is not an accident that you see big glass and pro bodies used in sporting venues the world over.
Having said that, it is possible with any of the three cameras discussed here to get some usable shots by capturing the peak of the athletes’ movement. My learning is also that increasing ISO even well above 3200 may be sensible for all these cameras. The higher shutter speed benefit offsets the increased noise.
The key differentiator between the three Nikon cameras is not the quality of the keeper photos. It is the vast superiority of the D750’s autofocus system, frame rate and ISO performance that will allow you to create a lot more keepers, long after the other two bodies have given up trying.
You went through a lot of info here. Now it is time to make some sense of it. I will hopefully help by offering my insights following this Nikon camera comparison and my few years of trying to decipher photography principles and gear choices.
The latest most expensive camera, with more Megapixels, is neither necessary nor is it a guarantor of getting good photographs. The 4/2011 launched DX D5100 coupled with a suitable (i.e. with built-in focus motor) lens, can create the same quality photographs in many situations as its more capable 2/2013 launched DX D7100 or the 9/2014 launched (and much more expensive) FX D750 siblings.
Solid shooting technique and basic gear (e.g. a tripod) is essential no matter which camera body is used.
Higher spec bodies do offer tangible shooting benefits other than image quality. This was apparent in the sports scenario. Be it superior focus performance, internal focus motor, larger viewfinder, commander flash capability, AF fine tune, physical buttons for more functions at hand, prosumer (D7100) or semipro (D750) bodies can help you get your photography to that next level of refinement.
Consider carefully your lens purchases. Ensure the best possible compatibility in case you ever decide to move from DX to FX. A few clever purchases can give you great value-for-money FX and DX compatible lenses (hint: Tokina).
However, do rent or try out gear from friends before you commit. I cannot overstate the real-life ease-of-use factor versus any specs’ sheet excellence.
Just starting out. Don’t feel pressured to get an expensive high-spec body. A sensible approach may very well be to grab a dirt cheap used D5100 and an 18-200mm inexpensive used lens. See if DSLR photography suits you and your lifestyle and take it from there. Give it time and do not splash out immediately on many different lenses. Plus the D5100 can also act as a great video camera thanks to its rotating screen.
The bug has bitten you. It takes an honest discussion with yourself to see if you really need all the bells and whistles of that new body versus an early D5xxx or a D7000 model. If the answer is yes, then my proposal is to hang in there. Skip the D7100 and save the cash to spring for the D750 (new or used), unless the more recent D7xxx series have similar autofocus and ISO performance for a lower price.
You are ready to make money from your photography and turn semi-pro or even full-time pro. Congratulations! By now you have probably outgrown even the D750 for the sake of other pro FX and DX bodies. There’s not much I can offer in terms of advice here, other than a D750 can always be a light backup body, great for both stills and video.
Thank you for the time reading this article and see where your photography passion takes you next!
Do you have and use any of these Nikon cameras? What types of photograph do you shoot? Please share your experience in the comments below.
The post Camera Comparison of 3 Popular Nikon Models: D750 – D7100 – D5100 by Konstantinos Skourtis appeared first on Digital Photography School.
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Nikon has updated multiple camera models with new firmware, bringing many bug fixes, as well as some new lens support and improvements to the D600 (version 1.03), D610 (version 1.02), D750 (version 1.12), and KeyMission 80 (version 1.2). All four updates are available to download now from the Nikon website. The full update changelogs are listed below:
Nikon D600 v1.03
Nikon D610 v1.02
Nikon D750
Nikon KeyMission 80
Articles: Digital Photography Review (dpreview.com)
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| The Nikon D750 shutter unit has been causing problems for 2 years. Photo: Nikon |
It seems Nikon D750 shutter issues are still plaguing the company 2 full years after it initially issued a recall on some serial numbers produced between October 2014 and June 2015. In another update issued yesterday, Nikon expanded the recall to include more cameras—specifically: models produced between July 2014 through September 2014 and from July 2015 through September 2016.
This issue first cropped up on the Nikon advisory page in July of 2015. At the time, Nikon claimed the issue—which could result in the shutter shading a part of your photo—was limited to units made in October and November of 2014.
Then, in February of 2016, Nikon expanded the recall to include units made between December 2014 to June 2015.
Today’s update makes three, and expands the recall to include units manufactured between July 2014 to September 2014 and those made between July 2015 and September 2016. If you’re keeping score, that means that affected units were being manufactured from July of 2014 all the way through September of last year.
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| Check your serial number using Nikon’s website to find out if your camera is affected. Photo: Nikon |
As with the original advisory and the previous update, D750 owners can check to see if their camera is affected by using Nikon’s serial number lookup tool at this link. If your camera is affected, that tool will provide instructions on sending your D750 to Nikon for repair free of charge regardless of warranty status.
Read the full service advisory text below for more details.
Thank you for choosing Nikon for your photographic needs.
In February of 2016, we announced in an update that the shutter in some Nikon D750 digital SLR cameras manufactured between October 2014 through June 2015 may not function normally, sometimes resulting in a shading of a portion of images. Since that time, we have learned that the same issue may affect D750 cameras manufactured from July 2014 through September 2014 and from July 2015 through September 2016.
For those who have already purchased a D750 and would like to have their camera serviced for this issue, free of charge, Nikon service centers will service cameras as indicated below. We sincerely apologize for any inconvenience this issue may have caused.
Identifying affected D750 cameras
To check whether or not your camera may be one of those affected by this issue, click the Check Your Serial Number link below and enter your D750’s serial number as instructed.
If your D750 camera is one of those that may be affected, instructions for obtaining service will be displayed. If your D750 camera is not one of those to which this issue may apply, rest assured that service to your D750 camera as to this issue is not necessary and you may continue using your D750 camera without concern for this issue.
Check Your Serial Number
The camera’s serial number is the 7-digit number indicated by the red frame in the image above.
Resolution
If your D750 camera may be affected, as confirmed with the serial number check above, you will be provided with the necessary information to obtain service for this issue free of charge. Once your D750 camera is received by Nikon, your D750 camera’s shutter will be examined and replaced, and your D750 camera returned to you free of charge, even if your D750 camera warranty has expired.
We sincerely apologize for any inconvenience this matter may have caused you.
Nikon will continue to take all possible measures to further improve product quality. Therefore, we hope that you will continue to choose Nikon for your photographic needs.
Articles: Digital Photography Review (dpreview.com)
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The Nikon D500 and D750 scored 91% and 90% respectively when we reviewed them. They both received gold awards. They’re about the same size, pretty much the same weight and currently, they both cost about the same amount of money, too. So if you’re a Nikon shooter looking to upgrade your camera, which one is right for you?
Join us, as we take a look at the main differences between the D500 and D750.
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The largest difference – no pun intended – between the Nikon D750 and the D500 is in terms of sensor size. There’s a small disparity in resolution (the D750 offers 24MP whereas the D500 lags a little, at 21MP) but more significant is the fact that the D750’s sensor is full-frame. The D500, by contrast, is built around a smaller, DX format (APS-C) sensor, which introduces a 1.5X crop factor, meaning that a 50mm lens on the D500 offers a field of view equivalent to a 75mm lens on the D750.
Leaving aside the effect of the crop factor, typically, we’d expect full-frame sensors to offer better image quality in poor light, at high ISO sensitivity settings, and broader dynamic range, compared to APS-C and smaller sensors. The D500’s sensor is very good, but physics is physics, and at any given ISO sensitivity, the D750′ noise performance is about one stop better than the D500.
In terms of dynamic range, the D750 offers around 0.8EV more dynamic range at base ISO than the D500, which might not seem like a lot, but it’s enough to make a difference in some shooting scenarios (like the scene above, which was exposed in Raw mode for highlights, with shadows and mid-tones brightened in post). On the flip side, the D500 provides an electronic first curtain shutter option, which allows landscape photographers to ensure vibration-free images – something that can be a challenge with the D750.
Verdict: Both cameras offer excellent image quality, but if you need the extra dynamic range, the D750 is the best choice.
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We’ve already mentioned the crop factor inherent to shooting with the DX-format D500, but there are other consequences of the smaller sensor. For one thing, it’s slightly harder to achieve shallow depth of field with APS-C sensors compared to full frame (you would need a 16mm F1.2 lens to achieve the same DoF as Rishi’s 24mm F1.8 FF shot above).
This is because an F1.4 lens on APS-C is equivalent in DoF terms to an F2.1 lens on full-frame (and so on – F2.8 becomes equivalent to F4.2, F4 becomes equivalent to F6…). This might not matter much in everyday shooting, but if you’re a fan of very shallow depth of field portraiture, the effect is both easier and cheaper to achieve on full-frame, if you consider the typical price (and size) difference between F1.4 primes and F1.8 equivalents.
This is the reason why lens manufacturer Sigma introduced its 18-35mm and 50-100mm F1.8 zoom lenses – they’re intended to provide a fast maximum aperture for APS-C users equivalent to the unofficial professional standard F2.8 on full-frame.
There is a plus side to shooting on a DX-format camera though – the 1.5X increase in effective focal length is very handy for telephoto shooting.
Verdict: If you need shallow DoF, go for the D750, if you want extra reach, the D500 is a better choice.
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Still on the topic of lenses, another thing to consider when weighing the D500 against the D750 is the fact that lenses designed specifically for the smaller APS-C format of the D500 won’t work very well on full-frame. Nikon’s DX and FX lens ranges are technically cross-compatible with all FX and DX format Nikon DSLRs, but most DX lenses vignette heavily on full-frame, greatly reducing the usable image area.
Also bear in mind that Nikon has a considerably better developed range of FX lenses than DX, and we strongly suspect that this won’t change any time soon. As such, given that FX lenses can be used without any technical limitations on DX, if you’re inclined towards the D500, you might still be better off investing in FX lenses – especially if you think you might move up to full-frame in future. The downside is that you might start off with some weird equivalent focal lengths (i.e., a 24-70mm will behave like a 36-105mm).
Verdict: We’re calling this one a draw.
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When it comes to speed, the D500 is a clear winner. In many respects a scaled-down D5, the D500 is significantly faster than the D750 and much better equipped to cope with the demands of action photography. A maximum frame rate of 10fps and seemingly infinite buffer (200 Raws) leaves the D750 in the dust.
It’s not just about frame rate though. The D500 (pictured above) can also accept faster XQD memory cards, capable of data transfer rates up to 8 Gbit/s.
A USB 3.0 interface and 1/8000sec maximum shutter speed (compared to USB 2.0 and 1/4000 respectively) cement the D500’s action-shooting credentials.
Verdict: D500 wins, by a mile.
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It’s a similar story with autofocus. While the D750’s 51-point AF system is extremely capable, and more than a match for pretty much any competitor in the sub-pro full-frame market segment (including the D810), the D500’s AF system is in a different league.
The D500’s AF system features 153 AF points, of which 99 are cross-type. Of this total of 153, 55 points can be manually selected, and the center point is sensitive down to -4EV. The D500’s smaller sensor actually benefits its AF system, because it means that frame coverage is much broader than the D750 (and any other Nikon full-frame DSLR).
Combine an AF array that covers almost the entire imaging area with a huge degree of AF customization and 3D AF tracking (the D500’s 180,000-pixel RGB metering sensor significantly boosts the performance of an already market-leading system) and you get an autofocus powerhouse.
Verdit: D500 wins.
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On paper, the D500 roundly beats the D750 in terms of video specification, thanks to the addition of 4K video – a feature that Nikon only offers on two DSLRs (the other being the flagship D5). But as good as the D500’s 4K output is, using this mode does come with one big limitation.
In 4K video mode, the D500’s crop factor increases from 1.5X to 2.25X. This is pretty limiting when shooting anything that requires a wide field of view, purely from the standpoint of finding a wide enough lens. Even Nikon’s super-wide 10-24mm DX format zoom becomes an pretty standard 23-55mm equiv. (with a maximum aperture equivalent to F8-10 in depth of field terms). In HD video mode, there’s not much to separate the two cameras. The D500 and D750 offer an extremely similar specification and deliver similar-looking video footage. The addition of a touchscreen on the D500 makes AF point positioning easier, but that’s about it (and bear in mind that AF in video mode is pretty poor on both cameras, so you might find that you don’t make use of this function much anyway),
Verdict: If you need 4K, go for the D500 – just make sure you have a wide enough lens.
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Nikon is pitching the D500 as a ‘professional’ DSLR, despite its sub full-frame sensor. As such, like the flagship D5, it lacks a built-in flash. This cuts down on weight, and also means a theoretically increased resistance to dust and water incursion. The downside is – well, there’s no built-in flash.
We actually really like the small built-in flashes on cameras like the D750 and D810, not because they’re particularly useful as flashes, but because they can be used to wirelessly trigger groups of Speedlites off-camera. That’s conventional optical triggering, but unlike the D500, the D750 is not compatible with Nikon’s WR-A10 wireless controller ($ 200), which allows off-camera flashes to be radio triggered (important when line-of-sight won’t cut it).
Verdict: D750’s built-in flash offers greater versatility (unless you need radio control), at the expense of reduced environmental sealing.
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Ergonomics and handling are pretty subjective. One person’s ideal control system might be maddeningly complex to someone else. Some people really like touchscreens, some people can’t see the point of them. Some members of the DPReview editorial team (who shall remain anonymous) actually like Olympus menu systems.
The point being – ergonomically, which of these two cameras is better depends on your personal preferences. Their basic control layout is extremely similar, but they do feel somewhat different in the hand. Despite its smaller sensor, the D500 is actually the larger, heavier (by more than 100g) of the two cameras. The D750 is surprisingly svelte for a full-frame camera, but the D500 feels like it could be used to bang in a few nails.
The D500 provides many more options for customization than the D750, available via a dedicated custom settings GUI. This makes it more versatile for a professional moving between different shooting scenarios.
It also offers a couple of other pretty major features that the D750 doesn’t: a touchscreen, and backlit controls. We’ve found the D500’s touchscreen invaluable for things like AF point positioning in live view (especially from awkward low angles) and backlit controls are a huge benefit if you do a lot of shooting at night.
Verdict: D500 offers more. A touchscreen, more customization and backlit buttons.
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So if you’ve got a couple of thousand dollars burning a hole in your pocket, which camera should you buy?
The Nikon D750 (above) is one of our favorite DSLRs – ever. Its combination of refined handling, a highly capable autofocus system, a surprisingly small and light body and excellent image quality make it fantastic camera for everyday use. The D750 is one of those cameras that we consistently recommend to friends and family, and for most Nikon photographers, there are very few reasons to spend more on the D810.
But then along came the D500. It’s an APS-C format camera, but not only is it more ‘pro’ than any previous DX format DSLR from Nikon, but it outperforms most of the company’s full-frame DSLRs, too. The D500 is designed for heavy professional use, with an emphasis on speed and reliability. As we’d expect from a camera that shares so much with the flagship D5, the D500 is a real workhorse, and in many respects (shooting speed, autofocus, video spec, to name just the obvious things) it outmatches the D750, sometimes very significantly.
The D500 also offers 4K video, of course, but unless you really need it, we wouldn’t recommend deciding between these cameras purely on the basis of this feature. The aggressive 2.25X crop in 4K mode is pretty limiting, apart from anything else.
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At the end of the day, if it were our money, we’d probably recommend the D500 over the D750. For a photographer interested in capturing sports or fast-moving action it’s a no-brainer. The sheer speed and focus of the camera, combined with the telephoto-boosting 1.5X crop factor make it a superb tool for this kind of photography. And of course, if you can live with some awkward effective focal lengths, the D500 is fully compatible with all of Nikon’s current lenses.
If you’re not a keen sports photographer, you don’t need 4K video, and you don’t mind not having quite the latest and greatest AF system – go for the D750. You won’t be disappointed.
Want to compare more cameras? Click here
Did we miss anything? Let us know in the comments.
Articles: Digital Photography Review (dpreview.com)
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