Nikon D300 Review

The Nikon D200 was a fantastic camera that provided professional performance at an affordable price for enthusiasts. Even now, its 10-megapixel CCD sensor can easily hold its own compared to rivals that are priced similarly, and the sturdy build quality was – and still is – out of this world. Moreover, the camera’s overall performance was phenomenal.

However, Nikon believed they could do much better. And the outcome of its thinking is the brand-new D300, which is a camera that looks superficially like the D200 but has several highly significant technological advancements and substantial benefits when it comes to the processing of images.

The new 12.3-megapixel CMOS sensor is the most noticeable of these improvements. It resembles the Exmor type utilized in the new Sony Alpha A700. Even while adding two million more pixels probably won’t make much of a difference in image quality, this new sensor is not simply an updated version of the one that was previously used.

Nikon has moved away from CCD technology and toward CMOS technology, introducing a new, cutting-edge sensor architecture that provides more than just a few additional pixels. To begin, there is a more comprehensive ISO range available to choose from. This range goes from ISO 200 to 3200, and it also has ‘extended’ settings that go up to ISO 100 and ISO 6400 for use in highly dim or bright environments.

The maximum frame rate has increased from 5 fps to 6 fps, and the D300 can maintain this for around 100 JPEGs or 20 RAW files during continuous shooting. Additionally new is the 51-point autofocus mechanism and the magnificent 3-inch LCD with 920,000 dots, the same as the display in the Alpha 700.

Live View

And then there’s the Live View mode (two modes, in fact), which was formerly considered impossible with a digital SLR but is now becoming more widespread. It debuted on cameras in the Olympus E-series, then made its way to Canon SLRs, and finally made its way to this camera. However, this is not the same as using a handheld camera. Because of the constant shunting of mirrors and flapping of shutters that occurs with the D300, it is easy to become confused as to whether the camera has actually taken a picture or is just concentrating.

Live View modes also bring up the issue of dust, which has always been an issue with digital SLR cameras. Dust spots, however, are far more likely to appear when the mirror is up and the shutter is open for lengthy periods as you compose the photo on the LCD. The Nikon D300 is equipped with a brand-new dust-removal system that, similar to other cameras, employs vibrations to shake the low-pass filter in front of the sensor.

The development that has led to these advancements has not been trivial. However, in several critically significant respects, the D300 represents a genuine improvement over its predecessor, the D200.

Certain aspects have remained the same, most notably the control arrangement and the device’s build quality. Although the launch price of £1,300 may seem quite costly when contrasted to what the previous D200 was selling for (far under £900 by the end of its life), the D300 has always felt like a heck of a lot of cameras for the money, and so does the D300.

That’s a bonus of five hundred pounds! It is a large, weighty camera with a substantial feel. The dials, knobs, and buttons also feel sturdy and robust. The only thing that might be considered a drawback is the Navidad, which has an overly imprecise feel and a slick texture that makes it too easy for your thumb to slide off.

Within one’s grasp

If you have never used a camera like this one, there is a great deal going on and quite a lot to understand because the top and rear of the camera each have almost two dozen controls. In this regard, the design of the D300 stands in stark contrast to Canon’s EOS family of single-lens reflex cameras, which appear to be much less complicated yet capable of performing the same functions as the D300.

However, Nikon devotees will like the D300 because everything is situated where they anticipate finding it. However, novices may discover the interface to be a little bit confusing. However, this is unquestionably one of those situations in which one’s preferences will play a significant role in the decision-making process.

Another essential detail to mention is that the camera in question is professional. It may not be as large as a Canon 1Ds or a Nikon D2x, but it is a significant upgrade compared to an “amateur” single-lens reflex camera, both in size and weight. It’s not as delightful to carry about all day as an Olympus E-410 or a Nikon D40x, for example, but it still gets the job done.

The choice of lens is another important consideration. Optics for a camera of this caliber need to be of the highest possible quality within your financial means. Our test device was equipped with a Nikon 17-55mm f/2.8, a DX lens that truly shines when used with a high-quality camera.

But this lens costs nine hundred pounds! So what are some of the other options? Perhaps a Nikon 18-70mm or 18-135mm? There is a possibility that any of these so-called “amateur” lenses might be suitable for a D40x or a D80, but they scarcely appear to be a good fit for a D300. (The Nikon 18-200mm VR lens is another option worth considering.)

The cost of this camera will go up, and it will get much heavier if you get a lens that’s even halfway decent to go with it. The combo that we tried will cost you more than two thousand dollars.

The image quality of the D300 is, to put it bluntly, phenomenal. The exceptional sharpness may be attributable, at least in part, to the Nikon 17-55mm f/2.8 lens, but the clarity of the color rendering is unquestionably the result of the sensor alone.

This is supported by the fact that we had similar observations to make regarding the Sony Alpha 700, which we evaluated not too long ago. In addition to having a natural appearance and appearing to be saturated, the colors also give off the impression of having added clarity and purity.

Comparing the A700 with the D300 side-by-side on the same topic was fascinating during an extended ISO test. The photographs taken with the Nikon D300 were marginally sharper than those taken with the Sony, and there was no discernible chromatic aberration in any of them; however, we could probably attribute this to the lens that we were using (the 16-80mm Zeiss lens that we used for our review of the Sony isn’t quite as good).

However, while working at high ISOs, each camera had unique noise-reduction properties. For example, Sony demonstrated noticeably more significant luminance noise levels in addition to some loss of resolution. Even at the highest ISOs, the Nikon could keep noise suppression considerably more effective than the Sony and keep its images’ details clear. However, the overall saturation and part of the textural texture both decreased at the same time.

When viewed in a vacuum, the D300’s high-ISO performance is astonishing. But, of course, people may find the grainier, more textured, and more exciting photos produced by the A700 more appealing. Still, I think most people would agree that these two cameras are now a clear step ahead of the rest of the enthusiast D-SLR pack.

Active processing

A unique Active D-Lighting option, which compliments Nikon’s already established D-Lighting technology, is included in the D300. This D-Lighting method could previously only be applied to photographs after they had already been taken, but that is about to change. D-Lighting is a technique that brightens an image’s shadow region without affecting the image’s mid-tones or highlights.

The Active version adjusts the exposure while the photo is being taken to record the maximum amount of highlight detail. After this, the D-Lighting algorithm is applied to the image while it is processed.

The results are frequently understated, but the approach does preserve some highlight and shadow information that may have been lost if the subject had been photographed in a “straight” orientation. Although, however, it does not have as much expanded dynamic range as, for example, the Fuji S5 Pro; it is nevertheless an intriguing weapon for photographers to have in their arsenal when dealing with challenging lighting settings.

The Nikon D300 is a fantastic camera, but it has a few issues, none related to how it was designed. Instead, the problems are more closely associated with the market that it is currently operating in. If Nikon were to stop making cameras that used other formats, the D300 would be an essential purchase—incredible video and still image quality, solid construction, and every function you might want.

The full-frame D3, which can be purchased for around £3,000, has eliminated the D300 as a viable option. Compared to Nikon’s FX sensor format, the DX sensor format on digital single-lens reflex cameras (DSLRs) and lenses is now considered an option for a lower division. So how can one justify investing thousands of dollars in such equipment?

And for those who don’t have to deal with this type of problem and want to invest in a high-quality APS-C digital single-lens reflex camera, the Sony Alpha 700 almost precisely matches the specifications of the Nikon D300, but it’s a lot more affordable. The Olympus E-3 is another competitor vying for the attention of the enthusiast. Because of these two problems, we cannot endorse the Nikon D300 without any reservations, even though the product.

Nikon D300 Specifications

Body material	Magnesium alloy
Sensor *	• 23.6 x 15.8 mm CMOS sensor • DX format • RGB Color Filter Array • Built-in fixed low-pass filter (with the self-cleaning unit) • 13.1 million total pixels • 12.3 million effective pixels • 3:2 aspect ratio
Image processor *	Nikon EXPEED
A/D conversion *	14 bit
Image sizes *	• 4288 x 2848 [L; 12.2 MP] • 3216 x 2136 [M; 6.9 MP] • 2144 x 1424 [S; 3.1 MP]
File formats	• NEF (12-bit or 14-bit *, compressed or lossless compressed RAW) • NEF + JPEG • TIFF * • JPEG (EXIF 2.21)
NEF compression	• Compressed 12/14-bit NEF (RAW, Lossless compressed): approx. 60-80% * • Compressed 12/14-bit NEF (RAW, Compressed): approx. 45-60%
Lens mount	• Nikon F mount with AF coupling and AF contacts • 1.5x field of view crop
Usable lenses	• DX AF NIKKOR: All functions possible • D-/G-type AF NIKKOR (excluding IX NIKKOR lenses): All functions possible (excluding PC Micro- NIKKOR) • AF NIKKOR other than D-/G-type (excluding lenses for F3AF): All functions except 3D-Color Matrix Metering II possible • AI-P NIKKOR: All functions except Autofocus, 3D-Color Matrix Metering II possible • Non-CPU AI NIKKOR: Can be used in exposure modes A and M; electronic range finder can be used if maximum aperture is f/5.6 or faster; Color Matrix Metering and aperture value display supported if the user provides lens data
Dust reduction *	• Self-cleaning sensor unit (‘Clean image sensor’) * • Image dust-off data acquisition (Capture NX required)
Auto Focus	• 51 focus points (15 cross-type sensors) * • Multi-CAM 3500DX * • AF working range: -1 to +19 EV (ISO 100, normal temperature) • Contrast Detect in Live View (Tripod) mode
Lens Servo	• Single Servo AF [S] • Continuous Servo AF [C] • Manual focus [M] • Focus Tracking is automatically activated by the subject’s status in [S] or [C] AF
Focus Point *	• Single point from 51 or 11 focus points • Liveview (Tripod mode): Contrast AF on a desired point anywhere within the frame
AF Area Mode *	• Single-point AF • Dynamic Area AF [9 points, 21 points, 51 points, 51 points (3D-tracking)] • Automatic-area AF
Focus Lock	Focus can be locked by pressing the shutter-release button halfway (single-servo AF) or by pressing the AE-L/AF-L button
AF assist	Yes, lamp
Exposure modes	• Program Auto [P] with flexible program • Shutter-Priority Auto [S] • Aperture-Priority Auto [A] • Manual [M]
Metering	TTL full-aperture exposure metering using a 1005-pixel RGB sensor • 3D Color Matrix Metering II (type G and D lenses); color matrix metering II (other CPU lenses); color matrix metering (non-CPU lenses if the user provides lens data; metering performed) • Center-weighted: Weight of 75% given to 6, 8, 10, or 13 mm dia. circle in the center of frame or weighting based on the average of the entire structure (8 mm circle when the non-CPU lens is used) • Spot: Meters approx. 3 mm dia. circle (about 2.0% of frame) centered on selected focus point (on center focus point when the non-CPU lens is used)
Metering range	• 3D Color Matrix Metering: 0 to 20 EV • Center-Weighted Metering: 0 to 20 EV • Spot Metering: 2 to 20 EV • At normal temperature (20°C/68°F), ISO 100 equivalent, f/1.4 lens
Meter coupling	CPU and AI
Exposure lock	Locked using the AE-L/AF-L button
Exposure bracketing	• 2 to 9 frames • 1/3, 1/2, 2/3 or 1 EV steps *
Exposure compen.	• +/-5.0 EV • 1/3, 1/2, or 1 EV step
Sensitivity *	• Default: ISO 200 – 3200 in 1/3, 1/2 or 1.0 EV steps • Boost: 100 – 6400 in 1/3, 1/2 or 1.0 EV steps
Shutter	• Electronically-controlled vertical-travel focal plane shutter • 30 to 1/8000 sec (1/3, 1/2 or 1.0 EV steps) • Flash X-Sync: 1/250 sec (up to 1/320 sec with reduced GN *) • Bulb
DOF Preview	• Stop-down lens aperture by pressing the button • Activates modeling flash
White balance	• Auto (1005-pixel CCD, image sensor) • Presets (seven) with fine tuning * • Manual presets (four) • Color temperature in Kelvin (2500 – 10000 K, 31 steps) • White balance bracketing (2 to 9 frames, 10,20,30 MIRED steps)
Picture Control *	• Standard • Neutral • Vivid • Monochrome
Image parameters *	• Sharpening: Auto, seven levels • Contrast: Auto, five levels, Custom tone curve • Brightness: 3 levels • Saturation: Auto, five levels • Hue: 5 levels
Color space	• sRGB (Standard and Vivid modes) • Adobe RGB (Neutral mode)
Viewfinder	• Optical-type fixed eye-level pentaprism • Built-in diopter adjustment (-2 to +1m-1) • Eyepoint: 19.5 mm (at -1.0m-1) • Frame coverage 100% * • Viewfinder magnification approx 0.94x with 50 mm f/1.4 lens
Focusing screen	• B-type BrightView Clear Matte Screen II • Superimposed focus brackets • On-demand grid lines
LCD monitor *	• 3.0 ” TFT LCD • 922,000 pixels (VGA; 640 x 480 x 3 colors) • 170° viewing angle • Brightness adjustment
LCD Liveview *	• Handheld mode: TLL phase-difference AF with 51 focus areas (15 cross-type sensors) • Tripod mode: focal-plane contrast AF on a desired point within a specific area
Shooting modes	• Single frame • Continuous Low [CL] • Continuous High [CH] • Liveview [LV] • Self-Timer (programmable) • Mirror-up mode
Continuous shooting *	• With built-in battery: up to 6 fps • With AC adapter or MB-D10 pack and batteries other than EN-EL3e: up to 8 fps • 12-bit RAW at full speed, 14-bit RAW at only 2.5 fps
Continuous buffer	• JPEG Large/Normal: 100 shots (at six fps) • RAW: no data yet
Self-timer	• 2 to 20-sec custom
Flash control	• TTL: TTL flash control by 1,005-pixel RGB sensor. • Built-in Speedlight, SB-800, SB-600 or SB-400: i-TTL balanced fill-flash and standard i-TTL flash • AA (Auto Aperture-type) flash: Available with SB-800 used with CPU lens • Non-TTL Auto: Available with Speedlights such as SB-800, 28, 27, and 22S • Range-priority manual flash; available with SB-800
Flash Sync Mode	• Front-curtain Sync (normal) • Red-Eye Reduction • Red-Eye Reduction with Slow Sync • Slow Sync • Rear-curtain Sync
Built-in Speedlight	• Manual pop-up with button release • Guide number (ISO 200, m) approx 17 (manual 18) • Guide number (ISO 100, m) approx 12 (manual 13)
Flash Accessory Shoe	ISO 518 standard-type hot shoe contact; Safety lock mechanism provided
Flash Sync Terminal	ISO 519 standard terminal, lock screw provided
Flash compensation	• -3 to +1 EV • 1/3, 1/2 or 1 EV steps *
Creative Lighting System	Speedlights such as SB-800, SB-600, SB-400, and SB-R200 support Advanced Wireless Lighting, Auto FP High-Speed Sync, Flash Color Information Communication, modeling flash, and FV lock
Orientation sensor	Tags images with camera orientation
Playback mode	• Full frame • Thumbnail (4 or 9 images) • One-touch zoom • Slideshow • RGB histogram • Shooting data • Highlight point • Auto image rotation
Languages *	• Chinese (Simplified and Traditional) • Dutch • English • Finnish • French • German • Italian • Japanese • Korean • Polish • Portuguese • Russian • Spanish • Swedish
Custom functions	48 custom functions
Connectivity	• USB 2.0 (Hi-Speed) Mini-B connector • HDMI video out (version 1.3a, Type A connector) * • Remote control 10-pin terminal • PC Sync flash terminal
10-pin terminal	• GPS: NMEA 0183 (Ver. 2.01 and 3.01) interface standard supported with 9-pin D-sub cable and GPS Cable MC-35 (optional) • Remote control: via 10-pin terminal
Communications	FTP and PTP/IP file transfer with optional Wireless Transmitter WT-3 (IEEE 802.11 b/g)
Storage	• Compact Flash Type I or II • UDMA *, Microdrive and FAT32 supported • 36 characters of text can be input and stored in the EXIF header
Power	• Lithium-Ion EN-EL3e (7.4 V, 1500 mAh) • Included battery charger MH-18a • Optional AC adapter EH-5a • Optional MB-D10 battery pack / vertical grip *
Vertical grip *	• Optional MB-D10 battery pack / vertical grip • One Rechargeable Li-ion Battery EN-EL4a, EN-EL4 or EN-EL3e or eight R6/AA-size alkaline (LR6), Ni-MH (HR6), lithium (FR6) batteries, or nickel-manganese ZR6 batteries
Battery monitoring	The LCD monitor on the camera back displays the following information about the EN-EL3e battery: • Remaining charge (%) • No. Of shots taken since the last charge • Battery life (5 stages)
Dimensions	147 x 114 x 74 mm (5.8 x 4.5 x 2.9 in)
Weight (no batt)	825 g (1.8 lb)
Weight (with batt)	903 g (2.0 lb)
Box contents	Rechargeable Li-ion Battery EN-EL3e, Quick Charger MH-18a, USB Cable UC-E4, Video Cable EG-D100, Strap AN-D300, LCD monitor cover BM-8, Body cap, Eyepiece Cap DK-5, Rubber Eyecup DK-23, Software Suite CD-ROM
Optional accessories	Multi-Power Battery Pack MB-D10, Wireless Transmitter WT-4, Magnifying Eyepiece DK-21M, AC Adapter EH-5a, Capture NX Software, Camera Control Pro 2

Conclusion

The D200, which Nikon called the “baby D2X,” was a significant advance for the company and undoubtedly gave its rivals something to consider. The fact that Canon was still a generation ahead of it in the noise stakes was a significant challenge. Nevertheless, canon could offer clean photos despite increases in megapixel count dependably.

However, with the release of the D300, Nikon has definitively eliminated this difference and has, if anything, pushed ahead of Canon in the race (mostly thanks to its chroma-based noise reduction delivering more film-like grain rather than color blotches).

However, this is only one facet of the D300 narrative; virtually every other feature of this camera has also seen significant advancements.

Perhaps the best implementation of Live View is with contrast detection (like a compact camera, although not particularly fast) and passive auto-focus options. There is HDMI output, a boon to study o photographers who can now provide high-resolution live production. Finally, starting on the outside, there is that stunning, high-resolution three-inch LCD monitor, the usefulness of which shouldn’t be underestimated (you’ll find you get enough detail without magnifying as far as).

When discussing the Nikon D300, it would be remiss of us not to credit Nikon for the exceptional build quality and solid “go anywhere” feel that the body possesses.

Inside the camera, Nikon has made significant improvements to both the image quality and the performance. These improvements include the ability to capture usable images up to an ISO of 3200, improved dynamic range, extended image parameter control, automatic CA removal (which improves the performance of all of your lenses), six frames per second continuous shooting (eight frames per second with the grip and battery combo), a new autofocus sensor, AF tracking by color, and scene recognition.

There is also an almost infinite number of customizable options available. These options cover everything from the number of AF areas utilized to the size of the center-weighted metering circle and even the camera’s behavior when the FUNC button is held down and the command dial is turned.

Finding the D300’s shortcomings to highlight in my conclusion has been the most challenging part for me to do. Auto white balance performs poorly in artificial light (although this is not exclusive to the D300), and there is still no true mirror lock-up feature. In addition, the usefulness of Live View would undoubtedly be improved with an articulating LCD monitor (although I’m sure Nikon would argue that this could compromise the body’s integrity). However, these minor quibbles are the only things we could find fault with in the overall presentation.

Nikon D300 Price

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