While the D750’s model number suggests it is the long-awaited successor of the D700, at first glance it appears to be a high-end camera designed for enthusiasts. It could almost be the twin of the D610, with a similar interface and small, weather-sealed body.

But under the surface, the D750 is an entirely different machine. Its 24.3MP full-frame sensor is an all-new design, while its lightweight body houses a professional autofocus system, a significant upgrade on the D610’s 39-point autofocus. In fact, the D750 is the first Nikon camera to feature the updated MultiCAM 3500FX II, which can autofocus down to -3EV, one better than the D4s and D810 designed for the consummate professional.

This makes for noticeable improvements in the field, especially under challenging light conditions such as low light or backlight. And like the D4s, the autofocus tracking works surprisingly well when shooting moving objects.

While the D750’s maximum ISO is 51200 (one stop higher than the D610), I didn’t see a significant improvement in high ISO between the two cameras. What really impressed me was how clean and wide the D750’s dynamic range is at low ISO. I underexposed a few frames by a few stops, then imported the RAW files into Lightroom and pushed up the exposure. Even if the photo had been underexposed by up to six stops, a few adjustments later I still had a useable image.

The D750 is currently Nikon’s second-fastest full-frame camera, with a burst rate of 6.5fps. However, when shooting at the highest-quality RAW setting, the buffer size is only around 15 images, or just over two seconds at the highest frame rate, though this can be improved with a high-speed SD card. (I slotted in the latest Sandisk Extreme PRO 280MB/s card, which cleared the buffer as quickly as possible.)

The D750 metering system is the 91k 3D colour matrix metering III, the same as the flagship D4s model. It’s consistent and reliable, plus it adds on a new highlight-weighted metering mode—ideal for stage photography.

When Nikon announced the D810 earlier this year, I was disappointed to discover it didn’t include built-in Wifi, as many mirrorless and even compact cameras have it. This has been corrected in the D750, meaning you don’t need to buy and carry an external Wifi adapter to share photos instantly or to use your smartphone as a remote live-view controller.

The D750 is also designed with videographers in mind, with a new 3.2″ tilting LCD screen and the ability to shoot 1080P video up to 60fps, with plenty of manual controls and features. Most importantly, the video quality is Nikon’s best so far—clean and sharp. Aside from the lack of 4k recording capability, the D750 easily matches the top competitors in this area.

With the D750, Nikon blurs the lines between pro and enthusiast cameras. At first glance, it’s a camera designed for skilled amateurs, but on the inside, most of the things that matter are the same as those in a professional model. The main differences are the D750’s controls and smaller body size. It’s light, with a monocoque body made from a new carbon-fibre material that reduces weight without sacrificing toughness. Picking it up, I immediately notice the deeper grip, and the memory card door is rubberised like the D810. These two changes made the camera feel secure enough to hold with one hand, and my fingers didn’t get tired after shooting for a couple of hours.

The fact that the D750 doesn’t have the ‘professional body’ of the D700 is not necessarily a strike against it. Rather, the reduction in bulk and weight is one of its advantages—I’ve already heard of a few professionals picking up a D750 to replace heavier pro cameras.

See more at: www.nikon.co.nz