The Fuji X-Pro1. Third Time's a Charm?

When the Fuji X-Pro1 came out, like many others I thought, "this is it, the poor man's Leica!" How wrong we were. This is the third time I've bought a Fuji X-Pro1! First one I had was running v.1 firmware with the 18-55mm kit lens and it was as unresponsive as the worst point and shoot I ever owned. I always felt like I was launching a missile attack using an old Commodore 64 and losing the war. I also didn't like using my Leica glass with an EVF. So, I sold it. Later firmware v.3 came out and was supposed to speed up the AF to "near DSLR" speed. I bought another with the kit. The Fuji camp really over estimated the AF speed on that one. Sold that one too. I was basically over the Fuji X craze. My Leica M9-P was the perfect shooting machine. A camera that got the hell out of the way and let me do what I do best, make photographs. I amassed a good collection of Leica and other various M-mount lenses and I went happily along shooting my M9-P for both work and pleasure.

No matter what anyone thinks, all Leica shooters are not doctors, lawyers, sheiks, famous people, and rich collectors. Some photographers, like me, saved up by working our asses off to buy these cameras. Some photographers, like me, use their Leicas to make money. Some, like me, even use them hard. 

When my M9-P took a severe hit, the vertical alignment of the rangefinder mechanism was knocked way out. I had to send it in to get repaired so I figured I'd get the sensor upgrade while I was at it because I was getting some pretty bad artifacts shooting stopped down and with lenses 28mm or wider. I had a backup M8 at one time, but I sold it to fund a lens, and me not being rich couldn't afford to buy another M9-P or even to do the discounted upgrade to the M-P (240). The repair wait time is pretty long so I decided I needed a stop-gap camera to get me by. I didn't want to spend more than $400 because this was a temporary camera just to use my M-lenses with. The first camera on my radar was the X-E1. No OVF, but I didn't need that because M-lenses don't use OVF. The XE-1 was also going for about $300. Sounded right. I did some research and found that the X-E1 had a better EVF, but slower refresh rate, and the LCD was smaller with less resolution than the X-Pro1. The Pro was more expensive, but I found one for $336 and decided to jump on it (of course since it had an OVF I also bought a Fuji 18mm f/2 for $300 getting me in over what I wanted to spend, but that's another story). I was determined to make this camera work for me this time.

I decided to do this write-up because I know there are people out there looking to get into the Fuji X-System at a good price. These cameras are still relevant, but the reviews are mostly outdated. I did a lot of research and found nothing but old news, lots of praise for a camera that was groundbreaking in 2012, but not really applicable to the camera near the end of 2015. In many ways this write-up will apply to the X-E1 as well with the omission of the OVF. And I hope that it can help some people looking to get into the system on a budget.

Today I took to the streets with the Fuji X-Pro1 and a 1935 Leitz 50mm Summar f/2 collapsible and the Fuji XF-18mm f/2 R to give it a good test run on some serious street shooting. I'd been shooting it around the house, but wanted to run it through the paces. Keep in mind I use my Leica to shoot concerts, sports, street, and portraiture. I'm pretty adept at manual focusing quickly.

Given adequate time to focus and compose (without the subject noticing you) you can capture a nice candid image

Here are my thoughts on my experience on really getting down to some street shooting. I hit downtown Austin because I knew it would be packed with tourists in for the ACL Music Festival.

The learning curve of shooting street with a real vintage Leica lens and a Fuji X-Pro1 is steep. The focus peaking is almost nonexistent without using the zoom feature, but the zoom amplifies camera shake and makes it difficult compose on the fly because you lose the composition, plus you have to move the AF point to where you want to zoom in on the focus. It's hard to be quick to shoot and catch the moment especially shooting wide open because of the length of time it takes to get focus and composition perfect. The other problem is the display. I found myself constantly trying to remember which button to push to do what. I want to conserve battery power so I turn eye-sensor off, but I want to review the image on the LCD so I have to press a button again, look at the image, then remember to press it again to get back to my preferred setting.

My assessment so far is that it's a terrible street camera. I missed more shots than I got. Basically nailing a sharp image wide open is more luck than skill. I know some people will completely disagree with me, but this is just my own observation and as I said, I'm very adept with manual focus lenses.

I was lucky to nail two in focus images of this delivery man moving towards me at a fast pace. The contrast was so high the focus peaking was useless and I was shooting at f/2. You can also see the distinct lack of contrast from the older glass. 

The other thing about using vintage Leica lenses in the Fuji is that some of the character of the glass comes through, but it doesn't translate well with the X-Trans sensor, especially in black and white. This '35 Summar just shines on my M9-P, but the X-Pro1 makes everything flat and dull. The lens loses it's Leica "glow" and really takes on the look of veiling flare. With a bit of post-production the images can be made to pop, but it never gets that "Leica look". With color images you can get a nice "VSCO film" feel to it, but it doesn't have the organic feel that a digital Leica (especially a CCD sensor) does. Yes, this is a really old lens (80 years old!), but it was sent back to the factory in the 50's for coating and the glass is immaculate. This is just my assessment on this particular lens. I'll check back in when I test out some newer glass. My Voigtländer 35mm f/1.2 ASPH v.2 is in the shop, and I feel that it may work a little better with it. Meanwhile I'll check my '73 50mm Lux and a CV 28mm Ultron. I have a feeling my '39 90mm Elmar and my '67 50mm Jupiter-8 are going to act similar to the Summar.

Shooting the X-Pro1 using the standard Provia setting with the old Summar gives a nice subdued color to some photos not unlike a film simulation plug-in like VSCO. 

I will admit that stopping the lens down sharpens up the image a lot and increases the contrast, but you lose the vintage Leica look which is why you adapt the lenses in the first place, right? Left at f/2. Right at about f/12.5

Moving on, I brought out the Fuji XF-18mm f/2 as well. This lens, while not the best, really shows what the X-trans sensor can do (even though the lens is quite chattery). The colors pop and the images are pretty sharp. The problem that comes up is not really the slow focus, but the fact you have to press a button to to move the focus point and when you half-press you have to press the button again to access the focus points. That slows me down more than the CDAF. If there were some way to bring the focus point selection screen back up after releasing a half-press that would speed AF up immensely by letting me move the AF point more fluidly (like a DSLR). It's not just about CDAF and PDAF it's about implementation as well. Focus/Recompose really doesn't work well with the 18mm f/2 because of the immense field curvature and if the subject is moving they're out of your focus range before the shutter clicks. This leaves you with two options. Guess where the subject is going to be, lock focus, and shoot when they step in or close down the aperture and hope there's enough DoF to cover any errors (basically zone focus without the aid of a real DoF scale on the lens). I like to shoot wide open so neither of these works well for me.

You can see the marked improvement in color and contrast when switching over to the XF-18mm f/2. The only downside is that I caught no photos of the fireman at work because I couldn't get the focus point where I needed it fast enough and the lens just couldn't keep up with the movement. 

There are a few things I DO like about the X-Pro1. The OVF/EVF hybrid. Using the EVF in bright sun is almost impossible. The OVF makes it super easy to see what's happening once you clear all of the extraneous info junk off the screen. I like the histogram, but the rest of it can go. The camera is light. Much lighter than my Leica. It doesn't feel as solid as my Leica, but it doesn't feel cheap. The shutter is almost silent, not like the ka-thunk from the M9-P. Similar to the Leica it attracts some attention from camera fans and I don't mind chatting about cameras so that's fun. The image quality is pretty good. It definitely bests the Leica M9-P in high ISO, but the way the sensor renders feels a bit sterile to me. I was hoping the vintage glass would help knock the edge off, but it really didn't complement the vintage lens at all.

The black and white mode is great if you tweak the settings a little to add contrast. I found it to be a little flat out of the box. I also had to remove quite a bit a barrel distortion from the 18mm f/2 in post. 

Yes, I am aware that this camera is well over 3 years old and that's ancient in camera years, but I don't think many of the real issues will be fixed with an X-Pro2.

As I mentioned, the focus speed is less of a problem than getting the focus point where you need it to be quickly whether you're focusing manually or using AF. I doubt they will change that. I think the sensor is just fine if a little to "digital" looking for my taste. The EVF is OK, even if it were better like the XT-1 it wouldn't really change things all that much for practical shooting. There are too many buttons and they're in places that are easy to accidentally press, and I doubt they'll take away buttons on a newer model. If anything they'll probably add more.

Sharp, detailed, with great color. You will get that with Fuji lenses. Unfortunately, I wasn't able so successfully capture a moving subject using AF. 

The Fuji X-Pro1 is not a poor man's Leica. It's an entirely different experience. It's like flying a fighter jet compared to a single engine prop plane. As I mentioned the learning curve on these cameras is steep. You're talking to someone who has written dozens of books on many different cameras. Give me a DSLR and I can have it shooting the way I want to in 5 minutes. I'm pretty much able to master all the settings on any Nikon or Canon camera in about 30 minutes. The Fuji menus are so goofy and the user interface is so complicated I feel frustrated using it. And to clarify I've also used the X-E1, X-E2, X100s/t, X-T1 and X-T10. No matter how fast the AF gets on the new cameras the user interface is not intuitive to me and that slows me down. And not in a good way. In a frustrating way. My Leica M9-P isn't due back for at least a couple of months so that will give me a lot more time to get to know this Fuji better. I'll give an update in a few more weeks to see if things have changed (if I haven't given up and gone back to my Df).

*disclaimer: This isn't an anti-Fuji rant. These are the musings of an experienced Nikon and Leica photographer. I chose the X-Pro1 because of the low price and the ability to used my Leica lenses with a "rangefinder styled" camera. 

Walker Evans on the SX-70

This excerpt from a 1974 interview from Yale Alumni Magazine of Walker Evans, the famous FSA photographer that created some of the most iconic images of the Great Depression discusses how Evans first felt about the Polaroid SX-70 camera. This interview is 41 years old and basically the SX-70 was the "digital photography" of that era. Looked down upon by professionals as a camera that any hack could use to take photos with.

I feel the insights he provides about his feelings on the SX-70 still have a profound meaning today if you replace SX-70 with "digital photography".

Yale: What do you think of the modern emphasis on technology?

W.E.: Well, I don’t think much of it and so I’m very confused about that new camera. I took it to England last summer and a friend of mine who is an art critic said, “But it’s a precept that hard work and mastering a difficult technique is a necessary part of artistic achievement, and therefore this thing is immoral.” True, with that little camera your work is done the instant you push that button.

But you must think what goes into that. You have to have a lot of experience and training and discipline behind you, although I now want to put one of those things in the hands of a chimpanzee and a child and see what happens. Well, not the chimpanzee — that’s been done before. But I want to try that camera with children and see what they do with it. It’s the first time, I think, that you can put a machine in an artist’s hands and have him then rely entirely on his vision and his taste and his mind.

Yale: Maybe that’s one of the worst things about the SX-70 — that there is no technical hurdle. Just anyone can take shots.

W.E.: Well, that isn’t the worst thing. That’s always been true with anything, whether there’s any technical need or not. For example, we’re all taught to write, and anybody can sit down and write something. Not everybody can sit down and write something that’s worth writing.

With a digital camera anyone can take a photo, but not everyone can take a photo worth taking.

You can see the full interview on the ASX website: Walker Evans interview with Yale

Adobe Lightroom 6 standalone and upgrade

If you're a Lightroom user you've no doubt gotten the update notice from your software. Unfortunately in Adobe's effort to continue to push the "Creative Cloud" rent-a-software model when you click to do the "upgrade" you are directed to the "Adobe Photoshop Lightroom CC" splash page, where it dazzles you with descriptions of the features.

Unfortunately, when you click "Download" or "Buy now" you are taken only to the Lightroom CC option. You are not even made aware that a standalone version is even available and what's worse is that they don't even hint to current users that there is a less expensive ($79 US) upgrade path if you own an existing version of Lightroom.

I searched and searched looking for the the upgrade path and couldn't find it I tried reaching out to Adobe and the Lightroom team via twitter, no response. I also tried their online chat tech support where an open chat box lurked there for over an hour every once in awhile beeping to let me nobody was home.

So I just had to keep digging until I finally found it. I figured I couldn't be the only one with this problem, so I decided to share the link so you can buy or upgrade to the standalone version instead of being shamelessly pushed towards the Creative Cloud "pay in perpetuity" model that Adobe has forced upon it's loyal user base. Well, some of us are loyal simply because their isn't another viable option out there.

In any case the link to the standalone version of Adobe Photoshop Lightroom 6 is on the Adobe Products page. Click the link, scroll down to Photoshop Lightroom 6 and click "Buy" it will show the price of $149. If you don't already own a copy of a previous version click "Add to Cart" and then complete your purchase. If you already own a version of Lightroom 1-5 you can upgrade by clicking on the "I want to buy:" dropdown menu. Select "Upgrade". Another sub-menu appears that reads "I own:", click on that and select the version of Lightroom you own (1.x-5.x) at this point the upgrade price of $79 appears. Now click "Add to Cart". This will take you to your cart where you can now checkout. Look over your order to make sure it's correct and click the checkout button. This brings you to the billing process, and since Lightroom can be purchased in a box in most places, you get to pay taxes on it. Enter your payment info and there you go.

Keep in mind you only get a product key with this type of purchase. If you want a full DVD boxed version buy from Amazon by clicking on the Lightroom graphic below.
 
At this time the boxed version isn't available, in the meantime you can run a free trial of Lightroom CC, until your box is shipped.

I hope this helps those of you who are as frustrated as I am that Adobe is making it as difficult as possible to buy/upgrade the standalone version.

Fundamentals of Photography

I recently was browsing a website where someone asked what the "fundamentals of photography" are. And most of the answers ranged from philosophical to out and out BS. One answer was, "just being near something to photograph" and another was "your imagination", and the ever popular "just having your camera with you".

While having a good imagination and being near something to photograph while having your camera handy are all well and good, a basic understanding of the camera settings and composition elements are what I think the "Fundamentals of Photography" are.

What good is your imagination and a great subject if you don't know how to make the camera do what you want to make the image your brain imagines?

So I made a short down and dirty list of the fundamental things you should know in order to be a competent photographer (without getting all philosophical).

• Shutter speed - this is how long the shutter is open for. The longer it's open the more light gets in, but also more chance for motion blur. Shorter shutter speeds can freeze action, but let in less light. Fast and slow speeds both have their uses. Common speeds are 1', 1/2, 1/4, 1/8, 1/15. 1/30, 1/60, 1/125, 1/250, 1/500... Each full stop doubles or halves the light. Most current cameras also adjust shutter speeds in 1/3 stops
• Aperture - this is how wide the diaphragm of the lens is. The wider it is the more light reaches the sensor. Wider apertures also produce a shallower depth of field (this depends on focus and background distance as well). The aperture numbers are ratios of the size of the actual opening in relation to the focal length. They are known as f/stops.  The smaller the f/stop number the wider the opening. for example, f/2 is wider than f/16 because mathematically f/2 is 1/2 and f/16 is 1/16. So a 50mm lens at f/2 has a 25mm opening and at f/16 it's just over 3mm. The common aperture numbers in full stops are 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, and 22. If you look close you will see every other one is doubled. Also if you multiply the one before it by 1.4 you get the next number. 1.4 is the square root of 2. Each stop doubles or halves the light. Again, most cameras also adjust f/stops by thirds.
• ISO - this used to be called "film speed", but it's just the sensitivity of the medium, typically the the sensor. The common speeds are 100, 200, 400, 800, 1600, 3200, 6400. These are full stops and also double of half the sensitivity to light. Once gain most digital cameras adjust these in thirds as well.

This is the essence of exposure. Without knowing this you don't know photography. You can put your camera on auto and make great photos, but you still won't know the fundamentals. Another thing that's important to know is that to maintain an equivalent exposure if you change one of these settings you must change another with the equal value. 

Next on the fundamentals list is composition. These are generally guidelines to go by rather than rules, but it's best to learn them so you know when to use them and when you can break them. I won't go into detail, but some of the most common elements of composition include:

• The Rule of Thirds
• The Golden Ratio
• Leading Lines
• Patterns
• Negative Space
• Balance
• Asymmetrical balance
• Use of complementary and analogous color
• Framing

You can use google images to see examples of these. That's the down and dirty, yet thorough, answer on fundamentals. 

When you set out to learn these things, don't look at them like a stumbling block. They become intuitive very quickly. Make sure you have fun experimenting with the different settings, that's the best way to learn and make everything stick.

*the picture has nothing to do with the subject, I just don't like to post things without eye-candy.

The Lens Flipper part 2

A few months ago I found a little device I thought was ingenious. It allowed you to carry and swap out lenses without the fear of dropping a lens because the lens was always locked into a device (either the camera or Lens Flipper itself).

During my initial review (see here) I mentioned that I was nervous about putting a heavy lens on it because I didn't feel it would stand up to the weight. I received an email stating that the Lens Flipper was tested to hold about 132 pounds. Taking their word for it, I set off to photograph the Austin City Limits Festival and I used the Lens Flipper to carry the new $Sigma 120-300mm f/2.8 | S lens that was on loan from Sigma. The lens weighs about 7.5-8 pounds. A far cry from 132 pounds.

Well the unthinkable happened. The Lens Flipper failed and the Sigma lens dropped to the asphalt and smashed many of the internal elements. This is what the $3599 lens looks like after falling straight to the asphalt.

After a bit of back and forth with the Lens Flipper company (which initially expressed some doubt that they were at fault) I was informed during the manufacturing process in the plant in Korea the screws were not tightened down to the correct specifications and therefore were prone to loosening. The loose screws caused the lens mount to flex and warp enough that the locking pin that holds the lens securely in place was rendered useless resulting in a catastrophic failure. 

Here you can see the loose screw.

This shows how the metal lens mounting flange warped under the pressure of the weight of the lens.

This also shows warpage of the metal flange.

In this image you can see that the loosening of the screws cause the locking pin to remain recessed therefore leaving the lens dangling with no way to stop it from twisting it's way loose from the lens mount.

 

The Lens Flipper company has released a statement saying that only the Nikon F and Sony E mount Lens Flippers were affected. They claim that simply taking a small precision screwdriver and tightening the screws will alleviate this problem. I no longer have a Lens Flipper so I cannot personally attest this will fix the problem or not. 

In my opinion I would be very cautious using this product, especially with large telephoto lenses. To be fair, Lens Flipper is working with Sigma to repair or replace the damaged lens. 

Personally, I cannot in good conscious recommend the Lens Flipper to any of the readers of my blog, my magazine articles, or my Nikon Digital Field Guides. Even after you tighten the screws down there is no guarantee that they won't work themselves loose again with repeated use. To be on the safe side I would return any Lens Flipper for a factory replacement at the very least.

If you are familiar with my blog and books then you know I have never posted a bad review on any other product. While this device is a great concept, in my personal opinion the quality control was seriously lacking and that the product could make use of better material such as thicker metal mounts and longer locking pins to minimize warpage that can cause the locking pin to become flush with the mount causing the lens to release and drop to the ground. 

Note: This review is my personal opinion relating my own experiences to using the Lens Flipper. 

DIY Weather Proofing for your Sigma 35mm f/1.4 | A

It's no secret that the Sigma 35mm f/1.4 | A is one of my favorite lenses. It's just a good lens. It's well built, beautifully designed, and most importantly the image quality from the lens is second to none. Click the link for my review of the Sigma 35mm f/1.4 | A.

Anyway... This isn't an updated review on the lens, but whenever I see discussions about this lens on camera forums all over the web invariably argument, "well the Nikon/Canon 35mm f/1.4 versions are weather sealed" comes up. I've got a quick and easy solution for that.

With fall and winter coming, the weather tends to get cooler and wetter. So what I have here is a simple do-it-yourself way to weather seal your Sigma 35mm f/1.4 | A. The best part is that it's probably better than Nikon or Canon's factory weather sealing. It also protects against minor impact damage keeping your lens in perfect shape. You can't say that about Nikon or Canon's weather seals.

Let's get down to it. First you need a beer koozie. Or can-cooly, beer sleeve, or can-cooler if you prefer (if you're an Aussie you might know these things as a "stubby holder"). Secondly you need a pair of scissors. That's it.

The great thing about beer koozies is that you can get them for free at just about any event. So weather proofing your $900 Sigma lens won't cost you one red cent! Can't beat that.

Instructions:

1. Take the beer koozie in your hand. It should be folded flat naturally. 
2. Notice the bottom part. Take the scissors and cut that bottom part off. 
3. Slide the koozie over the lens like it was a can of beer. 

That's it! It's really that simple. The neoprene koozie is water resistant and takes the impact of the occasional bump that can often happen to a lens. Just to clarify, this does not make your lens waterproof, but it will protect your lens from splashes and light rain and snow. Of course this works best if you also have a weather sealed camera body. 

So, let's take a look. 

First of all here's the naked Sigma 35mm f/1.4 | A

Here's your beer koozie. I like the Sailor Jerry brand because it has that old school tattoo look. You can choose one that fits your own personality, like a sports team, a company logo, your favorite beer brand, or whatever free koozie that you have on hand!

A typical beer koozie is the perfect length to fit the Sigma 35mm f/1.4 | A lens leaving enough room to attach the lens hood. Coincidence or design?!?

Once your beer koozie is on the lens and the lens is attached to the camera, slide it down to help seal the lens mount. 

There you have it. Not only is your lens weather proofed it's also stylish! I had pinstripes added to the lens hood for extra old school hot-rod appeal (guaranteed to add at least 10hp to your camera!)

A few things you should know before putting one of these on your lens. 

1. You will not be able to access the M/AF button on the lens. Don't worry, just about every camera has one on the body. 
2. You won't be able to see the distance scale on the lens. How many people use these on AF lenses? I don't. 
3. Due to the awesome HSM motor the focus ring does not turn when autofocusing so don't worry about the koozie impeding autofocus functions. I've had mine on for two years with no problems!
4. The focus ring is on the front part of the lens. You can still manually focus by firmly gripping the front of the lens and turning the focus ring. At first the koozie will be tight and you will have some resistance, but in time it will loosen up and turn freely. 

*This DIY weather proofing may or may not work with your zoom lenses. I haven't tried it on any of my zooms, but I'm guessing it will be a pain in the butt. This may work well with other prime lenses of similar size. Again, I haven't tried it on any of my other primes because most of them are too small or too big. If your lens doesn't have an HSM, AF-S, USD, PZD, EF-S or some other type of lens motor that doesn't require the focus ring to turn I would not use this.

Edit: After using this koozie on the 35mm for a couple of years it got pretty loose. I removed it and replaced it with a new one. I tried the old one on my Sigma 24-105 f/4 | A and it works brilliantly. 

New and improved full color koozie!

The old loose koozie on the 24-105

The Nikon D750 preview

Well, I was really hoping that Nikon was going to surprise me with a D4 sensor in a D810 compact pro body, but as I mentioned before in my Nikon Df review Nikon would never do that again. Basically Nikon got everyone all psyched up for the D750, which sounded like the D700 replacement and let us down with what is basically a D620.

Don't get me wrong, there are a lot of really good upgrades such as a tilt-screen, better video, the amazing D4s 51-point AF system, highlight-weighted metering, Expeed 4, power aperture in Live View and more, but they jammed it into a consumer body with a non-pro build and an awkward layout (if you're used to the pro bodies). If you're advancing up through the D7000-D600 series cameras you're going to be right at home, so for many folks this body will be great as an upgrade camera or as a complementary camera to a D600/610.

For those of us who are really used to the D700/D800 style bodies this was a pretty big miss from Nikon. Things we're missing on a real D700 replacement are dedicated ISO/QUAL/WB/BKT top mounted buttons, a full magnesium alloy body, a body that's a little larger for a nice solid grip that doesn't cramp your hands when shooting for extended periods. A mode button that only has PSAM and none of the scene and effects modes that most pros and advanced shooters find unnecessary. And very importantly a camera that was killer in low light with a fast frame rate of 8fps or better.

Looking at the D750 as a whole it's a really great camera, but the D750 is what the D600 should have been in the first place. And after all of the D600 issues and the quick "upgrade" to D610 I think Nikon is simply trying to bury the stigma of the D600 moniker by laying it to rest and trying to associate it with one of their best cameras, the D700.

It looks like there will be no lightweight alternative to the D4s, but I knew that all along, but didn't want to believe it.

We're still an hour away from the official release, but photos and an official Nikon video have been leaked already. Check 'em out below.

Edit: Official specs have leaked as well:

• Tilt the screen, including a change in the diaphragm in the live view mode, Wi-Fi, and D610
• Size: 5.5 "x 4.4" x 3.1 "(139.7 x 111.76 x 78.74mm)
• Weight: 1 lb 10.5 oz (751.26g)
• 24.3 megapixel FX CMOS sensor specifications
• EXPEED 4 Image Processor
• 1080p 24/25/30/50 / 60p
• Recording ISO, shutter speed, and aperture manually control
• Uncompressed HDMI (8-bit 4: 2: 2)
• Flat profile picture
• ISO 100-12,800 (Lo 1 is ISO 50 plus (?), Hi 1 and 2 up to ISO 51,200)
• 91K RGB metering, center-weighted metering / Spot metering / highlights weighted metering
• Advanced Scene Recognition System
• Group area AF
• 6.5 fps at full resolution
• Built-in Wi-Fi
• Eye-Fi card support
• Image transmission over wired communication unit transmits the UT-1 through 5 WT-radio transmitters Wireless Image / Ethernet
• Body separately $ 2300 / $ 3596 basic lens kit

The Nikon D750 from Andrew Reid on Vimeo.