Nikon D750

35mm AF digital SLR camera

Specification

Production details:
Announced:September 2014
System: Nikon F (1959)
Format:
Maximum format:35mm full frame
Imaging sensor:35.9 × 24mm CMOS sensor
Resolution:6016 × 4016 - 24 MP
Sensor-shift image stabilization:-
Mount and Flange focal distance:Nikon F [46.5mm]
Shutter:
Type:Focal-plane
Model:Electronically controlled
Speeds:30 - 1/4000 + B
Exposure:
Exposure metering:Through-the-lens (TTL), open-aperture
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics:
Weight:830g
Dimensions:140.5x113x78mm

Manufacturer description

TOKYO - Nikon Corporation is pleased to announce the release of the D750 Nikon FX-format digital SLR camera.

The D750 is the first in a new line of the compact, lightweight and slim Nikon FX-format bodies offering the superior agility as well as full-scale specifications needed for high-quality imaging and pursuing those of professional models.

The D750 offers superior image quality with an effective pixel count of 24.3-million pixels, a new Nikon FX-format CMOS sensor, and the EXPEED 4 image-processing engine. Adoption of a monocoque structure utilizing a carbon fiber composite material (new material*), magnesium alloy and a completely new layout for the internal structure have achieved a smaller, lighter, and slimmer camera that still offers a firm and steady grip.

In addition, the D750 offers superior high-sensitivity performance and AF that supports shooting in low-light conditions, enabling hand-held shooting of even scenes offering little in the way of lighting. It is equipped with advanced functions nearly equal to those of professional models, and is the first FX-format model to be equipped with a tilting LCD monitor and built-in Wi-Fi® function that add to user convenience.

The D750, which combines superior agility with excellent added value in a compact, slim and lightweight body, eliminates various limitations users face with shooting, enabling greater freedom of expression, and the ability to express their intent, with their photographic imaging. Forming a new line of Nikon FX-format models, the D750 responds to the desire of active photo hobbyists to be ever more creative and feeds their great desire to prove themselves.

D750 Primary Features

1. The fusion of outstanding agility and an effective pixel count of 24.3-million pixels with the excellent image quality of the FX format

In addition to being the compact, lightweight and slim camera in the history of the Nikon FX format, the D750 offers a level of agility never before seen with a deep grip that enables a firm and steady hold that was achieved by making the camera significantly slimmer. The fusion of this agility, an effective pixel count of 24.3-million pixels, and the excellent image quality of the FX format enables greater freedom of expression and the ability to better express intent with photographic imaging, and also opens the door to new shooting possibilities.

2. Clear, high-sensitivity performance that exceeds that of high-end models made possible by a new Nikon FX-format CMOS sensor and the EXPEED 4 image-processing engine

The combination of an effective pixel count of 24.3-million pixels, the new Nikon FX-format CMOS sensor, and the EXPEED 4 image-processing engine achieves both excellent sharpness and superior image quality. By making the pitch of each individual pixel on the new image sensor larger, a broad dynamic range is preserved, and superior high-sensitivity performance that enables rich and smooth expression of tones with very little noise has been achieved. In addition, adoption of new algorithms with EXPEED 4 achieves faithful color reproduction and minimizes noise at high sensitivities. Specifically, the D750 even surpasses the D810 in image quality at high sensitivities, and the large pixel pitch delivers advantages in definition, depth, tonal gradation and clear color. As a result, finely balanced image quality is delivered. This superior high-sensitivity performance is also demonstrated with movie recording.

3. Full-scale specifications that pursue those of professional models

Because the D750 responds to the desire of active photo hobbyists to be ever more creative, it has been equipped with functions and performance nearly equal to those available with high-end models for professional and advanced amateur photographers.

Advanced Scene Recognition System

Detailed analysis of the shooting scene using scene information calculated by the 91K-pixel (approximately 91,000 pixels) RGB sensor and the image sensor increases the accuracy of automatically controlled systems such as AF, AE, i-TTL flash control, and AWB. Faces are also detected when images are framed using the optical viewfinder.

Highlight-weighted metering

Exposure is controlled with automatic detection of the brightest portion of the frame. This controls loss of detail in highlights (blown highlights), even when the primary subject is lit by a spotlight on a stage.

Highly dense 51-point autofocus system

Adoption of a new AF sensor module, and 51 focus points covering a broad range of the frame, enables certain acquisition of the intended subject. This makes for smooth autofocusing, even in low-light conditions of -3 EV(ISO 100, 20°C).

High-speed continuous shooting

The D750 is capable of capturing up to 100 shots*1 in a single burst of continuous shooting at 6.5 fps*2 in both FX format and DX format.

An optical viewfinder with approximately 100% frame coverage

The viewfinder built into the D750 offers better light transmissivity and colors, makes it easier to achieve optimal focus when fast lenses are used, and is brighter. An OLED has been adopted for the viewfinder display, making it clear and easy to read.

A variety of movie-recording functions

A sequencing mechanism for which the same four-motor system used by the D810 has been adopted enables "power aperture" with movie recording. The D750 also responds to the needs of professional filmmakers with the ability to output uncompressed movies to external HDMI recorders while simultaneously storing them on a memory card inserted in the camera. It also offers advanced functions, such as Wind Noise Reduction and Frequency Response settings, that ensure movie recording with high-quality sound.

The same high level of dust and water resistance as the D810

4. A compact, lightweight, slim, and very strong monocoque body that expands shooting possibilities with superior agility

The D750 is the first Nikon FX-format camera for which a monocoque structure, which serves as the exterior frame that protects the internal structure with great strength, has been adopted. A carbon fiber composite material (new material), has been adopted for the front body, where important mechanisms such as the imaging unit are incorporated, and the front cover, and a magnesium alloy has been adopted for the rear and top covers.

Use of these materials not only helps to make the camera lighter, but also ensure superior strength and rigidity. In addition, positioning of the integrated circuit board and imaging unit in nearly the same place and optimization of drive mechanism positioning have helped to make the camera significantly slimmer. This, in turn, has enabled a deeper grip for a more firm and steady hold. The great maneuverability afforded by a size suited to a variety of shooting conditions greatly expands shooting possibilities for users.

5. The first Nikon FX-format camera to be equipped with a tilting LCD monitor that supports shooting from any angle

The D750 is the first Nikon FX-format camera for which a tilting LCD monitor has been adopted. The monitor can be tilted up as much as approximately 90° and down to approximately 75° for flexible adjustment over a broad range. As the LCD monitor does not extend away from the camera to a great extent, the compact size and great maneuverability of the D750 is maintained, even with more intuitive shooting from a variety of angles. Adoption of Nikon's original 3-axis hinge structure and a design that gradually pushes the monitor away from the camera when it is opened to face upwards prevent obstruction of the monitor by the camera's eyepiece, even when it is opened the full 90°. In addition, when tilted downward by 75°, the monitor swings back so that the monitor won't touch the tripod base. You can comfortably tilt the monitor even when the camera is on the tripod. The superior operation of this tilting monitor makes live view photography and movie recording fun and easy by allowing users to change the angle of the camera with regard to the scene or subject for great freedom in choosing composition.

6. The first Nikon FX-format camera to be equipped with a built-in Wi-Fi® function for collaboration with smart devices that enables image transfer and remote shooting

The D750 is the first Nikon FX-format camera to offer a built-in Wi-Fi® function that enables wireless communication in both directions with smart devices such as smartphones and tablets. Still images exhibiting the superior quality possible only with a digital SLR can be uploaded to a smart device via the Internet that allows users to share their images with many people using social networking services and the like. In addition, the live view screen can be displayed on a smart device, enabling use of the smart device to capture not only self portraits and group photos, but also shooting suited to a variety of applications, including remote photography when the camera is mounted on a tripod.

Additional Features

  • The latest Picture Control system, which enables flexibility in every aspect of image adjustment
  • A TFT LCD monitor for which an RGBW array has been adopted for a bright and clear display, and with which monitor color balance can be adjusted
  • The first FX-format model to be equipped with seven special effects modes that allow users to easily enjoy expressing themselves with effects possible only with digital imaging
  • Three image area options for still images that allow for adjustment of the angle of view of the lens using the camera
  • Multi-area Mode Full HD D-movie with two image area options
  • A time-lapse photography function that allows for simple, in-camera creation of time-lapse movies
  • Dual SD memory card slots that enable more efficient handling of data
  • Built-in flash capable of controlling multiple flash units with wireless multiple flash-unit photography

Similar cameras (2)

35mm full frame • Auto focus • Digital • Singe-lens reflex • Nikon F mount

Model Shutter Metering Modes Year
Kodak DCS Pro 14n E, 1/4000 TTL • OA PASM 2002
Kodak DCS Pro SLR/n E, 1/4000 TTL • OA PASM 2004
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Chromatic aberration

There are two kinds of chromatic aberration: longitudinal and lateral. Longitudinal chromatic aberration is a variation in location of the image plane with changes in wave lengths. It produces the image point surrounded by different colors which result in a blurred image in black-and-white pictures. Lateral chromatic aberration is a variation in image size or magnification with wave length. This aberration does not appear at axial image points but toward the surrounding area, proportional to the distance from the center of the image field. Stopping down the lens has only a limited effect on these aberrations.

Spherical aberration

Spherical aberration is caused because the lens is round and the film or image sensor is flat. Light entering the edge of the lens is more severely refracted than light entering the center of the lens. This results in a blurred image, and also causes flare (non-image forming internal reflections). Stopping down the lens minimizes spherical aberration and flare, but introduces diffraction.

Astigmatism

Astigmatism in a lens causes a point in the subject to be reproduced as a line in the image. The effect becomes worse towards the corner of the image. Stopping down the lens has very little effect.

Coma

Coma in a lens causes a circular shape in the subject to be reproduced as an oval shape in the image. Stopping down the lens has almost no effect.

Curvature of field

Curvature of field is the inability of a lens to produce a flat image of a flat subject. The image is formed instead on a curved surface. If the center of the image is in focus, the edges are out of focus and vice versa. Stopping down the lens has a limited effect.

Distortion

Distortion is the inability of a lens to capture lines as straight across the entire image area. Barrel distortion causes straight lines at the edges of the frame to bow toward the center of the image, producing a barrel shape. Pincushion distortion causes straight lines at the edges of the frame to curve in toward the lens axis. Distortion, whether barrel or pincushion type, is caused by differences in magnification; stopping down the lens has no effect at all.

The term "distortion" is also sometimes used instead of the term "aberration". In this case, other types of optical aberrations may also be meant, not necessarily geometric distortion.

Diffraction

Classically, light is thought of as always traveling in straight lines, but in reality, light waves tend to bend around nearby barriers, spreading out in the process. This phenomenon is known as diffraction and occurs when a light wave passes by a corner or through an opening. Diffraction plays a paramount role in limiting the resolving power of any lens.

Doublet

Doublet is a lens design comprised of two elements grouped together. Sometimes the two elements are cemented together, and other times they are separated by an air gap. Examples of this type of lens include achromatic close-up lenses.

Dynamic range

Dynamic range is the maximum range of tones, from darkest shadows to brightest highlights, that can be produced by a device or perceived in an image. Also called tonal range.

Resolving power

Resolving power is the ability of a lens, photographic emulsion or imaging sensor to distinguish fine detail. Resolving power is expressed in terms of lines per millimeter that are distinctly recorded in the final image.

Vignetting

Vignetting is the darkening of the corners of an image relative to the center of the image. There are three types of vignetting: optical, mechanical, and natural vignetting.

Optical vignetting is caused by the physical dimensions of a multi-element lens. Rear elements are shaded by elements in front of them, which reduces the effective lens opening for off-axis incident light. The result is a gradual decrease of the light intensity towards the image periphery. Optical vignetting is sensitive to the aperture and can be completely cured by stopping down the lens. Two or three stops are usually sufficient.

Mechanical vignetting occurs when light beams are partially blocked by external objects such as thick or stacked filters, secondary lenses, and improper lens hoods.

Natural vignetting (also known as natural illumination falloff) is not due to the blocking of light rays. The falloff is approximated by the "cosine fourth" law of illumination falloff. Wide-angle rangefinder designs are particularly prone to natural vignetting. Stopping down the lens cannot cure it.

Flare

Bright shapes or lack of contrast caused when light is scattered by the surface of the lens or reflected off the interior surfaces of the lens barrel. This is most often seen when the lens is pointed toward the sun or another bright light source. Flare can be minimized by using anti-reflection coatings, light baffles, or a lens hood.

Ghosting

Glowing patches of light that appear in a photograph due to lens flare.

Retrofocus design

Design with negative lens group(s) positioned in front of the diaphragm and positive lens group(s) positioned at the rear of the diaphragm. This provides a short focal length with a long back focus or lens-to-film distance, allowing for movement of the reflex mirror in SLR cameras. Sometimes called an inverted telephoto lens.

Anastigmat

A photographic lens completely corrected for the three main optical aberrations: spherical aberration, coma, and astigmatism.

By the mid-20th century, the vast majority of lenses were close to being anastigmatic, so most manufacturers stopped including this characteristic in lens names and/or descriptions and focused on advertising other features (anti-reflection coating, for example).

Rectilinear design

Design that does not introduce significant distortion, especially ultra-wide angle lenses that preserve straight lines and do not curve them (unlike a fisheye lens, for instance).

Focus shift

A change in the position of the plane of optimal focus, generally due to a change in focal length when using a zoom lens, and in some lenses, with a change in aperture.

Transmittance

The amount of light that passes through a lens without being either absorbed by the glass or being reflected by glass/air surfaces.

Modulation Transfer Function (MTF)

When optical designers attempt to compare the performance of optical systems, a commonly used measure is the modulation transfer function (MTF).

The components of MTF are:

The MTF of a lens is a measurement of its ability to transfer contrast at a particular resolution from the object to the image. In other words, MTF is a way to incorporate resolution and contrast into a single specification.

Knowing the MTF curves of each photographic lens and camera sensor within a system allows a designer to make the appropriate selection when optimizing for a particular resolution.

Veiling glare

Lens flare that causes loss of contrast over part or all of the image.

Anti-reflection coating

When light enters or exits an uncoated lens approximately 5% of the light is reflected back at each lens-air boundary due to the difference in refractive index. This reflected light causes flare and ghosting, which results in deterioration of image quality. To counter this, a vapor-deposited coating that reduces light reflection is applied to the lens surface. Early coatings consisted of a single thin film with the correct refractive index differences to cancel out reflections. Multi-layer coatings, introduced in the early 1970s, are made up of several such films.

Benefits of anti-reflection coating:

Circular fisheye

Produces a 180° angle of view in all directions (horizontal, vertical and diagonal).

The image circle of the lens is inscribed in the image frame.

Diagonal (full-frame) fisheye

Covers the entire image frame. For this reason diagonal fisheye lenses are often called full-frame fisheyes.

Extension ring

Extension rings can be used singly or in combination to vary the reproduction ratio of lenses. They are mounted between the camera body and the lens. As a rule, the effect becomes stronger the shorter the focal length of the lens in use, and the longer the focal length of the extension ring.

View camera

A large-format camera with a ground-glass viewfinder at the image plane for viewing and focusing. The photographer must stick his head under a cloth hood in order to see the image projected on the ground glass. Because of their 4x5-inch (or larger) negatives, these cameras can produce extremely high-quality results. View cameras also usually support movements.

135 cartridge-loaded film

43.27 24 36
  • Introduced: 1934
  • Frame size: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2
  • Double perforated
  • 8 perforations per frame

120 roll film

71.22 44 56
  • Introduced: 1901
  • Frame size: 56 × 44mm
  • Aspect ratio: 11:14
  • Diagonal: 71.22mm
  • Area: 2464mm2
  • Unperforated

120 roll film

79.2 56 56
  • Introduced: 1901
  • Frame size: 56 × 56mm
  • Aspect ratio: 1:1
  • Diagonal: 79.2mm
  • Area: 3136mm2
  • Unperforated

120 roll film

89.64 56 70
  • Introduced: 1901
  • Frame size: 70 × 56mm
  • Aspect ratio: 5:4
  • Diagonal: 89.64mm
  • Area: 3920mm2
  • Unperforated

220 roll film

71.22 44 56
  • Introduced: 1965
  • Frame size: 56 × 44mm
  • Aspect ratio: 11:14
  • Diagonal: 71.22mm
  • Area: 2464mm2
  • Unperforated
  • Double the length of 120 roll film

220 roll film

79.2 56 56
  • Introduced: 1965
  • Frame size: 56 × 56mm
  • Aspect ratio: 1:1
  • Diagonal: 79.2mm
  • Area: 3136mm2
  • Unperforated
  • Double the length of 120 roll film

220 roll film

89.64 56 70
  • Introduced: 1965
  • Frame size: 70 × 56mm
  • Aspect ratio: 5:4
  • Diagonal: 89.64mm
  • Area: 3920mm2
  • Unperforated
  • Double the length of 120 roll film

Shutter speed ring with "F" setting

The "F" setting disengages the leaf shutter and is set when using only the focal plane shutter in the camera body.

Catch for disengaging cross-coupling

The shutter and diaphragm settings are cross-coupled so that the diaphragm opens to a corresponding degree when faster shutter speeds are selected. The cross-coupling can be disengaged at the press of a catch.

Cross-coupling button

With the cross-coupling button depressed speed/aperture combinations can be altered without changing the Exposure Value setting.

M & X sync

The shutter is fully synchronized for M- and X-settings so that you can work with flash at all shutter speeds.

In M-sync, the shutter closes the flash-firing circuit slightly before it is fully open to catch the flash at maximum intensity. The M-setting is used for Class M flash bulbs.

In X-sync, the flash takes place when the shutter is fully opened. The X-setting is used for electronic flash.

X sync

The shutter is fully synchronized for X-setting so that you can work with flash at all shutter speeds.

In X-sync, the flash takes place when the shutter is fully opened. The X-setting is used for electronic flash.

Unable to follow the link

You are already on the page dedicated to this lens.

Cannot perform comparison

Cannot compare the lens to itself.

Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. Magnification is expressed as a ratio. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/ on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.