Today Nikon introduced yet another full-frame DSLR, the Nikon D750. Featuring the same 51-point autofocus system as the D810 and the D4S, 24.3 MP sensor, 6.5 FPS of continuous shooting speed, built-in Wi-Fi, advanced movie recording options and a tilting screen, the camera packs quite a bit for its $2,299 MSRP price tag. Placed above the Nikon D610 and below the D810, the D750 has an interesting mix of features from both. On one hand, it has a slightly faster frame rate than the D810, a slightly tweaked focus system and pretty much all the movie recording features of the D810. On the other hand, with the exception of the tilting screen, its ergonomics and body build closely resemble the lower-end D610. So what is this camera and why the D750 name? Is it finally the Nikon D700 successor that many of us have been waiting for? Let’s take a closer look at the camera and talk about what has changed.
Being a professional photographer, I constantly deal with a large flow of photographs that need to be imported, processed and backed up as part of the workflow process. Although I do everything I can to keep several copies of my photo library on different computers and storage devices, it is still a lot of data to keep track of continuously. Every time I revisit my backup strategy and make changes to it, whether by altering the process or introducing new software or hardware, the thought of potentially losing all of my images scares me to death. Years of hard work, client files and resulting terabytes of data make me nervous whenever I think about potential failures and disasters. Taking backups off-site is not something one can easily do continuously and transferring gigabytes of freshly photographed RAW material to the cloud is not only impractical, but can also get quite costly. And despite our attempts in keeping multiple copies of data at home or in our business offices, what if a real disaster takes place? Floods, tornadoes, hurricanes and fire could strike any time and can be very costly to recover from. What if you had a storage solution that offered fire and water protection, with the capability to withstand temperatures up to 1550°F and protect data from floods up to 10 feet deep, submerged fully in water for 3 days straight? What if this storage solution offered scalability, incredibly fast performance and RAID-level protection utilizing the best of the breed platform? That’s where ioSafe products come in, which are specifically built for protection against such disasters. These unique solutions are powered by the award winning Synology DSM, the platform that I have been a fan of for the past few years.
When providing high resolution images to our clients, or uploading images to this website, I often extract JPEG images between 70%-85% quality. Although some photographers often do extract their images at 100% quality, I rarely felt the need to do it, since file sizes get outrageously big, while the differences in quality are too small (and often impossible) to notice. I recently came across an interesting product by JPEGmini called “JPEGmini Pro“, which is specifically targeted at photographers like me that are looking for a good way to save space without losing image quality. By design, JPEG is a pretty compressed image format that was designed for the web in mind. It applies compression algorithms to reduce massive images in other formats like TIFF and offers the ability to use different compression levels. So when I first looked at JPEGmini Pro, I wondered how different it was compared to the JPEG engine used in Adobe Photoshop and Lightroom, the two programs I use the most to extract images. In this review, I will be exploring the Lightroom version of the JPEGmini Pro, which seamlessly integrates into my workflow without adding any complexity or unnecessary overhead.
Every once in a while, an article we post here at PL creates huge debates due to disagreements between readers and the poster, or between readers themselves on a photography-related subject. Sometimes such discussions lead to very productive results, with all parties learning something from each other. Other times, all we see is provocative and sometimes even insulting comments. One such article that contained a little bit of both was Tom Stirr’s recent post on post-processing difficult images. Before hitting the “Publish” button (and yes, I do personally publish every single article here at PL for different reasons), I already knew that it would spark up some discussions.
A decentered lens contains one or more optical lens elements that are either moved or tilted from the principal axis of the lens. Such shifting or tilting of lens elements can potentially lead to blurring / softness of parts of the image due to divergence of light rays. While very slight decentering of optical elements can be observed in many lenses, especially on superzooms, severe decentering and tilting can render the whole image blurry, with the lens unable to achieve good sharpness across the frame.
Have you ever been in a situation where light conditions were so poor that your camera would completely refuse to autofocus, with the lens constantly going back and forth “hunting” for focus? I am sure you have, since it is a very common problem. Sometimes you want to photograph your loved one in candle light, or snap a shot of your child blowing out candles on a birthday cake. Or perhaps, you are dealing with a DJ that decides to turn off all lights on the wedding dance floor, killing your chances of getting any shots in focus, even when you are fully prepared with flashes to light up your subjects. That’s exactly what happened to me and Lola last weekend when we were shooting a wedding. Lola came up to me and asked if there was anything she could do to make autofocus work again and I thought of an old trick that really does work when dealing with such situations.
We have been working hard during the past couple of weeks on completely redesigning Photography Life and we are happy to announce the new and shiny look that hopefully our readers will appreciate. Over the past few months, we have been gathering feedback from our readers, friends and our team, with the goal to completely revamp the feel of the site, and address some of the design problems of the past. Being a photography site, our number one concern was image size – we just did not want to be limited to showing small images to our readers anymore. So the first thing we did was increase images shown in the site by 50%! In addition, from now on, we will be posting images at much higher 2048 pixel long resolution in our in-depth articles and reviews. For example, most images in our Nikon D810 review and Fuji X-T1 review have very high resolution, which dramatically increases the viewing experience, especially on high-resolution monitors. With the growing popularity of 4K monitors, we will be doubling the resolution of provided images in the future as well.
Since I published my Nikon D810 review, a number of our readers requested me to provide an article with the recommended settings for the camera. The Nikon D810 is an advanced camera and comes with many different menus and settings. In this article, I want to provide some information on what I personally use and shortly explain what some of the important settings do. Please do keep in mind that while these work for me, it does not mean that everyone else should be shooting with exactly the same settings. The below information is provided as a guide for those that struggle with the camera and just want to get started with a basic understanding of the camera and its many features.
In celebration of the launch of the new MIOPS camera trigger, which we wrote about earlier, our good friends at Nero Trigger want to give away the current version of the trigger ($199 value, read our in-depth review) to one lucky PL reader! To enter this giveaway, all you have to do is leave a comment below with your email address (so that we could contact you) and we will choose a random winner on September 12, 2014. Must be at least 18 years old to enter. Giveaway is open to all countries! Only one entry per person.
The latest Nikon DSLRs like D810 (see our detailed review) and D4S came with the a new “Group-area Autofocus” mode. When compared to the regular Single-Point AF Mode, Group-area AF activates five focus points to track subjects. This focus mode is great for initial focus acquisition and tracking of subjects when compared to a Single-Point or Dynamic AF, especially when dealing with smaller birds that fly erratically and can be really hard to focus on and track. In such situations, the Group-area AF mode might give better results than Dynamic AF, showing better accuracy and consistency from shot to shot.