Pangolin - very professional and knowledgeable.

How about “faux camera” ‘cause that’s what they are! Camera means “box” and I don’t see no box.

There’s an owners’ manual???

Chris, I have a D810 and 11 lenses, all Nikkor and primarily AF-D. My main interests are also landscape and scenic with some portrait and macro. I shoot NEF and use LR and PSE for post. There is nothing that my D810 can not accomplish and I likely will never get a D850 It will not improve anything I capture.
I also have an Olympus E-M1 and share my wife’s lens collection (she has an E-M5ii) I use this body sometimes when we travel if weight and bulk is a big issue, and for casual shooting. Since you know what your Nikon will do, I’ll attach a couple of images from my E-M1.

Canada 150 Tulip

(Download)

Scooby Doo at Monster Jam

(Download)

I was a professional photographer - until the pony died.

It’s not fake news, its “alternate facts”.

This is very funny!

I have a Nikkor 35mm f/2D lens which was made before digital bodies were a “thing” and it works very well on all Nikon bodies except the D3xxx and D5xxx series which do not have an on-board focus motor. There is no f/1.4 lens since the F mount flange is not large enough to permit the larger aperture.

Small aperture, manual mode, handheld, no filters.

2006 with a D70s

(Download)

2016 with a D810

(Download)

The “D” designation on a Nikkor lens refers to the ‘new’ electronics that communicates focal distance information to the camera body to relay to a compatible speed light so that the duration of the flash is optimized for the subject. It is more accurate than using the bounce back feature of the speed light. The “D” was added to the maximum aperture line as in f/1.8D. When Nikon removed the aperture ring from their newer lenses and designated them with a “G”, they dropped the “D” in many cases, but it is now understood.

Canon is a much more aggressive marketer than Nikon and will finance the acquisition of equipment by professional photographers. Nikon will not. Consumers see pros using Canon and buy Canon, so I can’t fault the strategy. They also brilliantly painted their long lenses white to make them visible to the masses. BUT I’m a Nikon shooter since my F-301 and now on my fifth Nikon DSLR body. My D810 will meter lenses made in the 1980s (for example Nikkor 300mm f/4.5 AIs) and no Canon can do that. Ever.

I’m not sure what you’re talking about, but after many years of using UV/protection filters (only B+W or Heliopan) on my pro quality Nikon and Olympus lenses, I realized that I was putting yet another piece of glass on the lens and one that was not optimized for maximum IQ. I bought my first SLR in 1976 and my first DSLR in 2000 and have had many mishaps but never damaged the front element of any lens. So now I shoot naked and raw. (Not me, the camera!) I still use a protection filter but only when I’m in blowing sand or misty waterfalls. PS- film was sensitive to UV; digital sensors not really.

No problem. I have Arca-Swiss clamps on my Manfrotto ball heads. Much more solid than Manfrotto clamps and easier to use.

Why does everyone thing that FX is an “upgrade” from DX. Consider getting a D500 which is a pro quality DX body and don’t fret your lenses. The D500 is a much better camera than a D750.

This is a physical/optical “problem”
Since the human eye is most sensitive to green, there are twice as many green sensors. There are fewer blue sensors and even fewer reds. When photographing a red subject, the red sensors will have to do the heavy lifting with very little help from the green and blue sensors. It confuses the camera. Detecting little green or blue in the photograph, the camera’s meter will think the scene is darker than it really is and adjust accordingly. That’s how you end up with blown-out reds.

One simple technique is to intentionally underexpose the image. Shoot in aperture priority mode so you get the DOF that you want and reduce the exposure time. For example, if your camera wants to shoot at 1/125, adjust it to 1/250. You can then correct the underexposured parts of the image using your post-processing software.

If you want some “proof” that red is the most difficult colour to render, just remember that the lights in a darkroom were red because the images being developed were very insensitive to red.