tomstainer's Full Review: Nikon D300 Digital Camera with 18-200mm lens
First off, this isn't going to be an overly technical review designed to excite gearheads - you'll find that sort of thing on more dedicated camera review sites.
This is a review written after using the D300 for several months now, having been a long-term Nikon D70 user. Hopefully I'll be able to give you a feel for what you'll be getting if you upgrade to the D300 from another Nikon, what to expect if you've not used a Nikon before and how it performs its job.
A quick guide to DSLRs
We'll start with some obvious basics, those who know cameras can skip down a few paragraphs to the next section.
Digital Single Lens Reflex (DSLR) differ from digital "compacts" in that you compose the scene by looking through a viewfinder (not by viewing on the LCD on the back*) and have an interchangeable lens system.
*the D300 however is one of a new generation of DSLRs to feature "live view" which means in some circumstances you CAN frame and take the picture by using the LCD on the back...hooray!
Both DSLRs and compact digitals have their advantages and disadvantages and you'll want to have a think about what matches your budget and photographic needs before taking the plunge.
DSLR plus points: most agree they will give you better picture quality (once you master the more complex controls); give you better flexibility through more accessible "manual" modes; give you better control with many adjustments accessible via dedicated hard buttons and switches rather than buried in menus; give you the possibility to add additional lenses and accessories to match your developing photo hobby and style; are more robust (generally); are quicker in response times and have next to no "shutter lag" (the slight delay between pressing the shutter button and the picture actually being taken)
DSLR cons: price (tend to be the most expensive models); weight and bulk - don't tuck into pockets easily; while lenses are on the whole better quality, it may seem expensive to replicate the lens offerings of compact cameras with their 20x lenses and "digital zoom" features; accessory "lust" - once you have a DSLR you find it difficult to resist buying more lenses and accessories!
Lenses: you're not just buying a camera, you're buying a camera body which works with a line-up of lenses produced by the same company. It's always worth researching the types and costs of lenses available, both as part of the first "kit" you'll buy and what you might be interested in purchasing in future. Often DSLRs are packaged with cheap kit lenses which you'll want to quickly replace as your skill grows, so don't get lumbered with a lemon of a lens and shop around for the best kit on offer.
A quick guide to the Nikon line up
The D300 is almost at the top of the Nikon DSLR model range. It's considered by many to be the best performing of the so-called "prosumer" DSLRs - those cameras which share many of the features of the Nikon professional models, but at a price which keen consumers can afford.
Above the D300 you'd have to spend thousands and thousands of pounds or dollars on a D3 - the flagship of the Nikon DSLR line, or the new D700. Both the D3 and the D700 are what is described as "full frame" digital cameras - the sensor inside is more or less the same size as old 35mm film. In all models below these cameras the Nikon DSLRs have what is called an APS sized sensor, smaller than 35mm. Why is this important? For many it isn't. Supporters of full frame argue that increased sensor size gives better quality pictures and allows photographers to use their lenses as intended.(for a long and boring explanation of this, see bottom!) Below the D300 is the model it replaced, the D200 (becoming harder to get hold of brand new) and the venerable D100 (even harder to acquire, except second hand).
Below the D100/200/300 model band falls the consumer DSLRs - the D40/D60 and soon to be replaced D80.
So which to model to go for? Again, it depends on your needs and budget. The DSLRs at the lower end of the range: the D40 or D60 have fewer features and relatively cheap polycarbonate construction (although Nikon's famous build quality still means they feel robust). Cameras at this level come in at a few hundred dollars and are designed to appeal to the photographer who wants to be able to set it to automatic and "point-and-shoot" most of the time, but perhaps start to learn a bit more about photography when they have the time.
At the D80 (soon to be replaced by the D90) level, you'll find slightly more advanced features, probably a slightly more robust build quality and a few more of the "pro" features. At up to a thousand dollars, these cameras are for those photographers who have progressed beyond the entry level and perhaps feel limited by the reduced features in cheaper cameras - although they still have those days when they just want to set it on "auto" and fire away.
At the D100/200/300 level, the camera bodies are forged from magnesium alloy, have less of the consumer gimmicks (such as endless auto "scene modes", face recognition etc) and controls and performance a professional photographer has need of. These will set you back a couple of thousand dollars and require you to scale a pretty steep learning curve to get good photos out the camera - there are few "auto" modes to fall back on. The new D700 is essentially identical to the D300, except it has a full frame sensor inside. If you care enough about full frame to pay the additional thousand dollars/pounds, you'll probably understand the importance of full-frame, but for many users, it's not an issue. Finally, the D3 level of camera will set you back best part of ten thousand dollars (especially if you buy professional level lenses) - like the D300/700 level, this is a professional tool for a professional who knows how to get the best out if it.
Finally...the D300!
Picking up the D300 and you immediately will notice a few things. The first is its heft. It is a heavy camera and not small or compact. Think about carrying it for long periods or holding it up to your face for many photos - for example at a wedding or sporting event. Even strung round your neck it can become tiring, so this isn't a "convenient" camera - but an excellent photographic tool for those who really care about their pictures, to the extent they're prepared to put up with some hardship!
Personally, I find the D300 an ideal size and weight as it matches my size and weight: big! At 6'4" my hands fit the grip perfectly and its weight gives a nice balance and helps me steady the camera more than a much smaller DSLR or compact. However, on smaller frames the camera's size and weight might not be so advantageous.
I've also found many of my camera bags, bought to ship my aging D70 around in, are much more snug when the D300 gets stuffed in - and in some cases I've had to replace camera bags with larger options to cope.
Part of the reason for the heft is the rugged construction. The body shell is made from magnesium alloy, meaning it's extremely strong and durable and feels like you could hammer nails home with it. Horrifyingly, I've also managed to drop it twice as well - from a height of about three foot, onto concrete. Other than an almost imperceptible scuff on a corner and a slightly cracked lens cap, the body shrugged off this abuse.
Fixtures and fittings on the camera reflect the solidity of the body. Buttons and switches are high quality, stiff and positive - giving you confidence they're not going to wear out through use. The D300 also has a weather sealed body, meaning it is much more rain and dust proof than models below it in the range. This is important for serious photographers who don't want to be nannying their cameras in exciting weather conditions and missing photo opportunities.
A recent walking holiday in Wales proved the effectiveness of the weather sealing, with my D300 standing up to several long days in persistent drizzle, or afternoons on sandy beaches with wind blown grit, without suffering any ill-effects.
The control layout is also good - Nikon's reputation for ergonomics is well deserved. Buttons fall logically under fingers and most important "on the fly" controls can be changed without taking the camera away from your eye. Slight criticism would be for the exposure lock and autofocus-on buttons, designed to be activated with a thumb while you grip the camera - but in some circumstances difficult to use. For those who prefer to use their left eye for the viewfinder, you might also discover your nose pressing (and moving) the control pad next to the LCD screen, which can annoyingly shift focus points around. Both left and right eye users will also probably find their noses leaving greasy smears on the LCD - but with such a huge screen dominating the back of the camera, this isn't surprising.
The screen itself is a revelation. This is Nikon's new 3" high definition screen, which leaving all the technical mumbo-jumbo about pixels and pixel location aside, means one thing for photographers: clear and sharp previews of your photos which you can actually use to check focus.
As well as providing a preview of pictures, the screen is used to display the clear and easily navigable D300 menu system. Users of previous Nikon DSLRs will be pleased to see familiar signposting, levelling off the learning curve for those upgrading. If you've never used a Nikon camera before, the ease at which you can pick up the menu system will be surprising.
What marks out the D300 from the models lower in the range is the sheer level of customisation available through the menu system. For those who just want to get on with taking pics, you can just ignore - but for those who like to tweak and optimise their equipment, this is heaven.
With "banks" of customisable settings, it's possible to quickly flick the camera between say, settings optimised for sport shooting, and those optimised for portrait sessions - without having to spend hours individually altering different menu items.
Like any complex system, you need to have a bit of knowledge to get the most out of the customisable aspect of the D300 and many beginners might feel overwhelmed by the scale of options - or end up producing worse pictures because they adjust too many settings at the same time, without realising the effect they will have. It took several weeks of changing just one or two settings and analysing photos to judge the effects before I felt I'd tamed the camera.
Also available through the menu system is another feature unique to the high end models - autofocus fine tune. This system, with a memory for 20 different lenses, allows you to tell the camera to make tiny adjustments to focussing for each of your lenses, to account for each lenses individual characteristics.
Don't expect miracles though, while the fine-tune system can polish the performance of good lenses and bring cheaper lenses into slightly more acceptable focus, it isn't going to help with really cheap glass which is consistently producing soft pictures.
The final major use of that lovely screen is for the live-view (LV) feature. While previously DSLRs only allowed the photographer to view what he was taking a photo of through the viewfinder, the current generation of DSLRs from all manufacturers has brought in increasingly useful live-view modes.
This aren't intended to replace the viewfinder and certainly the D300's LV is not good enough to compose and shoot every shot by holding the camera at arms length and peering at the LCD (even if you had the strength!). Instead the LV is designed for specialist use, such as when you're using a tripod, taking close up macro photography, or perhaps just trying a low or high angle which makes it difficult to get your eye to the camera.
LV has two modes, one for hand held photography and one for tripod use - both are a little clunky and bizarrely, it may seem, not as good as the live view you experience on even the cheapish point-and-shoots. This is due to the differing design and operation between DSLRs and compact point-and-shoot. If you're interested, look it up on Google - but otherwise take my word for it that the mechanism which gives DSLRs all their advantages over point-and-shoots tends to get in the way a little for LV. Undoubtedly in future the designers will iron this out - but with many DSLR users feeling LV is a bit of an unnecessary gimmick anyway, I don't believe it is a deal breaker.
Performance wise, the D300 is mind blowing, especially if you're upgrading from an older camera further down the model line-up. For me, putting down my D70 and picking up the D300 was incredible.
The viewfinder and LCD alone are worth the upgrade cost. Gnarly old film users will gripe about digital viewfinders and fondly remember the days of the classic Nikon F4s, with their huge, bright viewfinders. We're not quite there yet, even with the D300, but it's got to be one of the best, if not the best, in terms of brightness and field of view in its class. And this all helps you take better pictures as you can compose and check focus much more easily when you can see the scene properly.
Speed wise, the camera is blistering. Any DSLR is going to have response times which are hardly worth recording and if you're used to the slight lag that many point-and-shoots suffer, you'll love the fact that the instant you press the shutter button, it takes the picture. Power up again is almost instantaneous, or feels as much. Flick the on switch (and even with the built in "dust off" feature activated) the camera will be ready to use before you can get it to your eye. With little battery drain when the camera isn't in use, it's not even worth switching it off most of the time (unless you know it's going to sit unused for a long period).
Battery life is a slight disappointment - but not a surprise with that huge screen. Nikon fans with experience of the D40/50/70/80 models will be used to the feeling that the camera actually runs on air, rather than a battery - so infrequently do they need recharging. The D300 is power hungry though and you'll need to make sure your supplied charger is handy, rather than tucked on top of a cupboard, especially if you're a keen snapper, have been squeezing off lots of six frame a second bursts or using live view a lot.
Speaking of frame rate, again this marks a step up for anyone upgrading from the lower camera models. It's only when you squeeze of six frames a second that you realise how fast it is (and how quickly it east through your memory card!). With the optional (and extra cost) battery grip, this increases to eight frames a second. In use, this has already proved invaluable to me when shooting action, or birds in flight, to make sure I catch the vital frame. Granted, it still requires the photographer to spot the few vital seconds to machine gun the scene, but it makes the job easier!
A very speedy autofocus system also helps catch those moments of action. The D300 boast 51 focus points, although these do tend to be cluster in the centre of the frame, leaving some empty zones left, right, top and bottom that will require the user to "focus and recompose".
The focus mode can be customised in so many ways, that for the beginner it might overwhelm them - and again, it's sometimes difficult to work out if you've made things better or worse with an adjustment, without a lot of testing.
Users can chose - using a switch near the lens mount on the front of the camera - between single point focus (the camera focuses on one selected point in the frame, the user moving the point around the 51 different locations with the rear control pad); or continuous focus (the camera initially focuses on the area selected, but will move the focus point if the subject moves); or manual focus (the user focuses using their own eye and the focus ring on the lens).
The user can also choose - using the focus selector on the rear of the camera - between a completely auto mode (the camera chooses what it thinks should be in focus from the 51-points); a dynamic area mode (the camera focuses on the initial point chosen by the user, then tracks movement of the subject using a surrounding group of 9, 21 or 51 focus points as selected in the menu); or single point, where the focus point does not change, unless the user changes it.
If it sounds complicated, it is! But with the complex system comes a flexibility and performance which will suit the most advanced photographer down to someone who is just learning how to use the camera. It's also a system which provides modes ideal for those taking high speed sport photos, to those capturing still life or architecture.
In practice, it is worth reading up and practicing with the various different focus modes, so in the heat of the moment, you know what to do.
Lenses also make a difference, with "fast" glass responding as fast as the autofocus system does - and cheaper glass hampering it. That said, the D300 paired with a very cheap Sigma zoom lens managed to get very acceptable shots from the recent British grand Prix - the focus system keeping up with some of the fastest cars on the planet.
Metering and exposure modes are also flexible - and changeable by "hard" buttons which fall under the user's thumb and fingers, rather than having to delve into menu options. First thing someone upgrading from a DSLR lower in the range, or a non-DSLR will probably notice is the lack of "scene modes" - you know, the "sports", "nighttime", "snow", "birthday" type setting which seem to abound in their hundreds on "point and shoot" cameras.
Instead, with the D300 you get four modes. Shutter priority, where the user sets the shutter speed with one of the thumb wheels (it is customisable which one, front or back) and the camera then automatically calculates the aperture setting based on the light levels. Aperture priority, where again a thumb wheel sets how wide or narrow an aperture you desire and the camera calculates the shutter speed to match the light levels. Program is the closest to "auto" you will get, where the camera handles both aperture and shutter, but the photog can still adjust using the thumb wheel to choose differing combinations of the two. Finally, manual lets the user control both shutter and aperture themselves - complete control!
The exposure mode is set by holding down a button on the top left of the camera and turning the thumb wheel to select between the four. It's a rare example of Nikon offering a slightly less than intuitive system - but thankfully for a selector you're unlikely to need to change quickly on the fly.
Selecting metering is far easier - essential as it is something you might want to change shot-to-shot. This is done by simply rotating a switch nicely placed to activate with your thumb, even with the camera to your face and your finger on the shutter button.
Metering comes in three flavours. Matrix, where the camera uses its sizable processing power to analyse the entire scene and decide the best exposure - it is rarely fooled, even by unusual situations.
However, if lighting is particularly extreme, or you have a particular artistic need, you can select either centre weighted - where the camera meters from a single point, but adjusts slightly to try and compensate for parts of the scene which fall into a certain centre area; or single point, where the camera meters purely from the section of the scene the focus point falls onto.
Combined, the exposure and metering modes add up to yet another incredibly flexible and customisable system on the D300 - but again, it takes practice and experience to get the best out of the camera. Initial photos may appear disappointing, especially if coming from a camera, which does "more" for you in terms of automatic modes. However, once you start to get to grips with the tool, you'll realise just how advantageous it is to have more control over your photos and it's only through understanding what the camera is actually doing for each shot, that you can improve your photography, realise what works and what doesn't - rather than trying to second guess the mysteries of a shooting "mode".
The important thing with any camera is not the knobs and buttons, or the modes, or the build, but the quality of images it takes. The Nikon D300 delivers here too. Pixel-peepers can argue for weeks about image quality of Canon's verus Nikons - but it's angels on the head of pins stuff - most people don't care, or can't spot the minuet differences.
At this level of camera you'd expect high quality images and there is little to criticise here. The dynamic range is very good...it's unscientific, but while on my D70 the little "highlights blown" flashes were commonplace, on the D300 they are rarely seen.
Colour rendition is good, with the usual Nikon slight twitch with some shades of red (but again, unless you look for it, you're unlikely to spot it and you're certainly not going to be taking the camera back to the store because of it). The D300 has two modes, 12-bit and 14-bit, with the user able to decide which they use. The difference is the sheer amount of info the camera gathers and it's claimed 14-bit photos will have more range in terms of tonality, colour rendition and dynamic range. I can't see a difference in the image, but I can see a difference in the huge chunk of extra memory the 14-bit files take up and the effect it has on the performance of the camera (frame rate, shot-to-shot etc). For all but the most exacting landscape photographer I'd suggest most will be happy with the 12-bit option (although thanks to that great customisable bank system, you can always set up a "landscape" custom profile which uses 14-bit, while all your other profiles stick to 12-bit!).
Detail is awesome, which you'd expect considering the 12.3 megapixel sensor. However, with extra MP comes some drawbacks. A camera capable of resolving that much detail is going to expose more flaws in your technique and your cheap lenses - so bear it in mind when you first start using the camera and accept that if you're disappointed in the first few weeks, it's probably you, rather than the equipment!
Which sums up the D300 really. It is a photographers' camera. It's a camera for those with a real passion for photography and those prepared to make sacrifices both financially, in terms of time spent learning and in terms of aching shoulders spent carrying.
It's an expensive camera, it's a complex camera, it's a big camera, it's an unforgiving camera. For some, that exactly what they don't want or need in a camera. For others it's exactly what they're looking for.
*Sensor size and crop factor
Most Nikon DSLRs have a sensor with an area size smaller than that of traditional 35mm film. Only cameras described as "full frame" have a sensor around the same size as 35mm film.
In most digital cameras the difference in size between 35mm film size and sensor size is usually described as "crop factor".
The crop factor means that lenses used on these cameras actually perform slightly differently to how they are described on the lenses itself. For example, at the wide end of a zoom lens range, a smaller sensor will actually mean the lens is less wide than claimed. The crop factor is expressed as a figure by which you can multiply the focal length of the lens. For most Nikon's the crop factor is around 1.5 or 1.6.
For example if the lens is 16mm at the widest setting, it might actually only give you a field of view the same as a 24mm lens on a full frame or traditional film camera. Equally, at the long end of the zoom, the crop factor also applies. If you have a 200mm lens setting, multiplying it by a 1.6 crop factor means you actually have the same reach as a 320mm lens on a traditional film, or full frame camera.
Recommended:
Yes
Amount Paid (US$): 1,750 This Camera is a Good Choice if You Want Something... Solid Enough for a Professional
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