Nikon D300S--front of camera. The Nikon D300S is a solidly built 12.3 MP CMOS DSLR that exhibits solid performance. It's not revolutionary, but is definitely a step up the ladder, compared to the original D300. Photo courtesy Nikon.

I’ve been very happy with my Nikon D300. I’m certainly glad I didn’t wait for the next iteration to come out because I’ve made good use of this camera on two continents. Three, if you count Brooklyn, NY (we like to think of ourselves as more than simply a borough of New York City). Anyway, I approached a review of the next-gen D300, the D300S, with some degree of trepidation. I’m obviously not going to hate the camera, unless they somehow managed to mess up a good thing. And if I love it, then I have to consider buying it to replace a body that still has that fresh camera smell, and for which I paid good money (is money ever bad?).

Before continuing, I should note that you’ve no doubt read my friend and colleague’s report on the D300-Peter Burian was quite thorough. (If you haven’t, check it out here.) But this is where I give you my take on the camera, and go into specific differences between new and old.

One thing I noticed is that the manual for the D300 is actually 18 pages longer than that for the new D300S. As a D300 owner, I gloated. Then I also noted that the D300S Quick Guide has nearly twice as many pages-now I’m starting to feel cheated. What could explain these odd discrepancies? Well, I wasn’t about to dig through each booklet page by page, so let’s just see what pops up as we continue to explore, compare and contrast.

The Cover Story

For starters, you get the same durable magnesium-alloy shell as the D300 with what Nikon calls “advanced dust and moisture countermeasures” (sounds like they have a team of miniaturized Navy SEALs guarding this machine-the elements don’t dare mess with this baby).

Now, if you look at the shutter release mode dial on the top panel, left side (it’s the lower dial activated via a release button), you’ll notice that Live View is no longer there. It’s been replaced by a Quiet shutter mode. So if you don’t want to wake the baby, this may be the route to take. I’m not sure how effective it will be with flighty animals since I’m sure you just stepped on a twig-crack! Bye, bye, birdie (sounds like a great name for a Broadway show). And it slows the camera down.

But if you’re in the spy biz, it should prove helpful; just make sure to turn off the AF light so you won’t give yourself away. (I don’t think the camera is that noisy, but, frankly, there are times when you do want to be as unobtrusive as possible.)

Nikon D300S-back of camera. You'll notice the dedicated Live View button to the right of the large LCD. Above that, centered in the multi-selector control dial, is the Movie button. Photo courtesy Nikon

Okay, so what happened to Live View? It now has a dedicated function button to the right of the LCD monitor on the back. Does Live View work better than it did on the D300 as a result of this change? It’s still a clumsy affair. As soon as you try to focus, the monitor blacks out and you’re forced to look through the optical finder, then back again; which is why I haven’t been convinced to abandon the trusty optical viewfinder-at least on this camera. And as part of Live View, you get a Virtual Horizon indicator. I prefer working with the viewfinder grid display (optionally activated via the main menu) and visible when using the optical finder.

And of course we have HD movies with the aid of Live View. Press the button in the center of the multi-selector (cursor wheel) on the back to start recording. You’ll be shooting in AVI format with Motion JPEG compression. Keep Live View running too long though, and you build up heat and noise until the camera shuts down automatically. Is that any way to shoot a movie? Could you see Alfred Hitchcock using this camera to shoot Rear Window? I don’t think so.





That’s all I’m going to say on the subject, since, as you know, not a big fan of movie shooting with still cameras. Still, it does beat having to schlep around a separate camera just to shoot movies. Just be sure to use a turbo-boosted, high-capacity memory card when shooting HD.

Oh, almost forgot. The media door. They took away the latch and made it slide out to open. I liked the latch, but I do forget it’s there when I’ve been away from my D300 for too long. This modified entry, on the D300S, should meet with greater acceptance.

But there’s something beyond the door that is truly startling. Do you dare to open it? (I’m still in the Halloween spirit). We hear a creaking sound, shrilly screams, deep laughter; the door opens to reveal”¦

On the Inside

Not one but two memory card slots, ladies and gentlemen. You can now load up a CF card as before, but you can add an SD card so that they operate in tandem. One card is designated as “primary” while the “secondary” card can collect the overflow, back up the primary, or store JPEGs while the main card stores RAW (NEF) files. I can’t tell you how many times I could have used a second card in my D300. This feature alone makes it very tempting to upgrade.

Nikon D300S-card slots. To my way of thinking, the most outstanding new feature on the D300S is the dual-slotted memory card compartment. It now holds both CF and SD, which can work in tandem. Photo courtesy Nikon.

Seriously, there have been numerous photo shoots where I’ve had to stop at the most inopportune times to load a new card. What’s more, SD cards are more widely supported in laptops and other devices where you might want to transfer files to, so having this option means you don’t have to carry around a card reader when using these devices. And the nice thing about SD cards is that they can be easily write-protected (ever accidentally put a CF card back in the camera or lose track of which CF cards were already used?).

The D300S inherits the D300 Nikon’s digital windshield wiper-er, I mean, Dynamic Integrated Dust Reduction System.

In describing this feature, Nikon, on their website, went from this description under the D300: “Self-cleaning ultrasonic sensor unit minimizes degradation of image quality due to dust particles,” to this for the D300S, making it appear that we also have a squad of miniaturized Army Rangers coming to our rescue: “Ultrasonic process combats the accumulation of dust in front of the image sensor, safeguarding image quality,” the operative words here being “combat” and “safeguarding.”





But not to make light of it, it does work, and you can activate it manually, or let it activate automatically. Plus there’s the option of manual cleaning. (However, I strongly caution against manual cleaning. Despite everything you’ve read, these days there should be no need to manually clean a sensor, unless it’s a medium format digital back, or if you’ve carelessly exposed the camera’s sensor to wayward particles, or changed lenses under adverse conditions, or left it open too long.

The last time I attempted to physically clean the sensor, on an entirely different camera system I should add, it proved a bigger headache than it was worth, involving more swabs in number and variety than I care to recount.)





I am disappointed that Nikon didn’t upgrade the CMOS sensor. It seems that Nikon is stuck in a time warp-or sensor warp-governed by that 12+ MP range (excluding their use of the 24.5 MP chip in their D3X-a Sony chip, by the way). I was really hoping that Nikon would come through with something of its own at a midway resolution-say 16 MP. I could easily go for that.

As before, you get a shutter that has been tested to beyond 150,000 cycles-not quite what the top-of-the-line DSLRs can deliver, but certainly respectable, especially in this price range.

The D300S does, however, have a souped-up drive. This model can now record up to 7 fps (in contrast to a maximum of 6 fps on the D300)-and, as expected, at full resolution. It’s not much, I know, but every little bit helps. Of course, if you opted for focus-priority, that will slow things down.

Spider in web. I met and photographed this spider's cousin in Cologne, Germany. But there I used an off-camera Nikon SB-900 flash with my D300. Here I used the D300S with the built-in flash, after removing the lens shade to prevent vignetting. Copyright ©2009 Jack Neubart. All rights reserved.

My D300S Experience

I took the D300S out trick-or-treating on Halloween. Okay, I didn’t dress it up as Ashton Kutcher (because I didn’t think of it at the time), but it did venture out with me on a rainy Halloween in New York City. I’ve learned to avoid the parade itself if I’m going to get any in-your-face close encounters with ghosties, goblins and ghoulies. I instead headed to where the parade was supposed to terminate. Except that when I got into Manhattan, it was raining-and continued to rain for two hours. When the rain finally stopped, I emerged onto the street.

Of course, I hadn’t counted on trees dripping water down on me. I’ve gotten cameras wet before, with no ill effect, but one does try to limit the exposure to the elements. And even though the camera was weatherproofed to some degree, the 18-200mm VR II lens I was using was not protected in this manner. So, better safe than sorry.

Halloween, Greenwich Village, NYC 2009. For the vast majority of these shots, I set the camera to Manual mode, with the shutter speed at 1/30 and aperture at around f/5.6, plus a Nikon SB-900 mounted in the camera hot shoe under TTL control. The diffusion dome was attached to the flash, with the head positioned at an upward angle for, what I felt, is a better light throw. Copyright ©2009 Jack Neubart. All rights reserved.

Well, I finally made it to the main thoroughfare in Greenwich Village, the hub of post-parade activity, with throngs of vampires, werewolves and whatnot. Of course, you do miss some of the more extraordinary costumes at this point, but it beats having to get there hours early to secure a good vantage point for the parade.

Mated to the D300S was one of my trusty Nikon SB-900 flashes. The SB-900, while pricey, is by far the best shoe-mount flash on the planet, and out of the box, the best accessorized, with filters and a diffusion dome. I use this diffusion dome constantly, and did here. I angle the head upwards, but still at an angle, so that I feather the light (you can’t bounce it off the ether on an open street)-it’s not quite as harsh this way (when used close to the subject) and the flash covers a broader area.











When using the SB-900, I mostly shot with the camera in Manual mode, while the flash output remained under TTL control (and often do the same with the camera’s built-in flash). I found that 1/30 second at f/5.6 (or thereabouts) worked nicely to also encompass some of the ambient light, and with reasonable reach.

Although I did experiment with different settings and different shooting modes. For the most part, I find that with any flash, Manual mode works most consistently while eliminating many variables. Ordinarily, when shooting by available light, I opt for Nikon’s Matrix metering. I found this multi-pattern metering approach works quite reliably, although I still have to exercise some discretion to ensure good exposures (metering systems can’t be expected to take all variables into account-at least until someone finds some way to plug them into our visual cortex).

Photographing people constantly in motion at fairly close range proved a challenge on the street. Nikon employs a very capable AF system, with a vast array numbering as many as 51 AF points or down to a very finite single point AF. In combination, you can select single-shot or continuous AF. You also have the option of 9 and 21 points.

If you want the camera to continuously track a subject that is moving unpredictably, then pick 51 AF points with 3D tracking and continuous AF. (Continuous AF should be used when you or the subject is in constant motion, or when such activity is anticipated.) Admittedly, the choices can be a big mind-boggling. If you’re new to the camera, start with the most basic: auto area AF, which gives you the widest latitude.

The manual points out that, in this AF mode, if a type G or D lens is used, the camera can distinguish human subjects from the background. Alas and alack, mateys, we be photographing ghoulies and other beasties that go bump in the night, so I c’not be sure the AF system be designed for this experience.












Of course, when push comes to shove, the 18-200 VR II lens I was using did give me the option to manually override AF at any time. That’s one of the especially nice things about Nikon lenses.

Anyway, the problem, as I see it, is that in situations like this, where there are throngs of people, not individual subjects that the AF sensor can easily latch onto, it becomes tough for the camera to identify the subject of the picture. And when there are constant surprises at every turn and with every step you take, the onus is more on you than the camera to identify what you want to focus on and capture.











But I managed quite well while avoiding dripping leaves and zombies foaming at the mouth. Of course, one could very reasonably blame some wayward Halloween gremlins for any failed pictures this night (“Halloween XXIX: Gremlins, Me, and My Camera”-soon to be a major motion picture playing in a theater near you). But I’m pretty confident that I exorcised all the demons, leaving me to enjoy my Halloween booty (and don’t forget to watch “The Exorcist Redux”-make up your own tag line for this one).

And a noisy crowd is the perfect segue to discussing digital noise. Noise is certainly well-controlled at low ISO levels, but becomes noticeable at ISO 800, though not to a disturbing level. Color noise gets loud at ISO 1600 and shrieks at 3200, although not as bad as on some other cameras. However, invoke High ISO NR and the noise reduction algorithms will go a long way toward alleviating the problem without resorting to software plug-ins. I didn’t detect any deleterious effects on operating speed with in-camera NR invoked, although I’m sure it does eat into the memory buffer.

Soccer. With light levels low, I had to set ISO to 3200 so that I could use action-stopping shutter speeds. Shutter speeds went from 1/800 to 1/500, and finally down to 1/160, where you'll observe some motion blur. Continuous AF was employed. The point is, the camera managed to capture all this action without flinching-and it's not especially designed for this purpose. The 18-200 VR II lens did an awesome job as well. Copyright ©2009 Jack Neubart. All rights reserved.

All in all, an enjoyable experience that has taught me I need to delve deeper into my own D300 and rediscover features I may have overlooked. In fact, I went back in and changed some of the settings on my camera. And my recommendation to you is to exploit the D300S to the fullest. It’s a very capable camera when put in capable hands.

*Note: Nikon 18-200 VR II lens used throughout.

Verdict: Buy it, if you’re looking for a solid performer in a system DSLR at a reasonable price. Buy it if you constantly find yourself wishing you had another card in the camera.

Don’t buy it simply for the movie feature (I couldn’t justify buying any DSLR for this reason alone).

But if you already own a D300, buy the D300S if you need a second body-otherwise, skip it because you’re not really getting that much of a performance or feature boost to make it worth the upgrade. You’d probably do better investing in a D700, if you have the lenses to support it.

For more information: Nikon USA
Tech specs: Nikon USA
For prices and user reviews: Amazon (Nikon D300S); B&H (Nikon D300S; about $1,700 US)
For another great review: see Zoltan Arva-Toth’s take on the Nikon D300S over at Photography Blog

Nikon’s most affordable enthusiast-level DSLR-the 12.3 megapixel D5000-is positioned between the D3000 and the D90 and offers the best of both worlds. The D5000 is as easy to use as the entry-level camera and provides even more Scene modes but it employs powerful technology and advanced features developed for the larger prosumer-grade model.That includes D-Movie mode in Live View, although the LCD screen is slightly smaller and provides lower resolution when compared to the D90.

Although it's priced just above the entry-level category, the D5000 is a very fast, versatile camera with high-end technology and a wealth of features for both DSLR novices and for experienced photographers. (ISO 400; Tracking AF, Continuous Drive) ©2009 Peter K. Burian

The D5000 (B&H D5000; Amazon Nikon D5000 12.3 MP DX Digital SLR Camera with 2.7-inch Vari-angle LCD (Body Only)) is almost as fast too, but it’s missing a few high-end options (like depth of field preview). On the other hand, the D5000 benefits from some new amenities: the variable-angle LCD screen, a continuous AF option in Live View, a quiet shooting mode, plus upgrades. These include a more effective sensor cleaner with Air Flow, a full five levels in Active D-Lighting and some new retouch items in Playback mode for image modification.

Do note, however, that the D5000 (like the D40/D60/D3000) is not equipped with the built-in focus motor. While this newer camera does accept conventional AF lenses, autofocus is available only with the Silent Wave/AF-S series with their own very fast ultrasonic motors. (The D5000, like the D90, can also be used with manual focus Nikkor lenses but without any light metering.) Nikon has been expanding the AF-S line for great versatility; focal lengths are now available from 10mm to super-telephoto.

Although the D5000 is compatible with all Nikon AF mount lenses, autofocus is available only with lenses that are equipped with a built-in focus motor. Nikon's AF-S/Silent Wave series provides remarkably fast, reliable autofocus. (AF-S 70-200mm f/2.8 lens) ©2009 Peter K. Burian

Design and Features

Larger than entry-level cameras, this DLSR feels solid thanks to a metal and plastic inner frame and a tough outer shell. The handgrip should fit all but very large hands. Nikon has provided the essential analog controls including a mode selector dial, a four-way controller and several buttons. Press the [i] button and a control panel of 13 items appears. You can then quickly make desired settings without hunting for the desired function. The D5000 employs D90-style menus plus D3000-style screens with two data displays: Classic, and the more intuitive Graphic interface.

The D3000 offers two data display options, the familiar Classic and the new Graphic interface with indications as to the effect provided by various apertures and shutter speeds. In either display option, the Control Panel allows for making settings in the most frequently-used functions.

This camera employs the superb 12.3 megapixel CMOS sensor, Multi-CAM1000 AF system with 3D Tracking Focus, and very fast EXPEED processor. The latter allows for shooting numerous JPEGs in a burst at 4 frames per second, with fast data recording. The D5000 also benefits from Nikon’s Scene Recognition feature that combines data from the Matrix metering and AF systems for optimal exposures, white balance and autofocus performance. Active D-Lighting is also available and it’s very versatile. Designed to improve contrast and shadow detail, this function can be set to auto for a modest increase in dynamic range or to higher and lower levels, as desired.

Nikon's Active D-Lighting is very effective in high contrast illumination, since it employs advanced algorithms to modify both highlight and shadow brightness. Auto, plus five user-selectable levels are available. There's a D-Lighting retouching option in Playback mode too; it's also convenient but not quite as effective as in capture mode. (Active D-Lighting at medium level; ISO 200) ©2009 Peter K. Burian

Intended to appeal to a wide range of DSLR buyers from beginner to experienced, the D5000 provides 19 automatic scene modes but also six picture styles (for producing entirely different effects), many overrides and menu items. Some items are complicated but the functions in the Quick Control panel are straightforward; some users will rarely need to access the full menu.

When used in Program mode without overrides-or with the fully automatic Scene modes-the D5000 usually produced very pleasing pics, with or without flash. In spite of the apparent simplicity however, this DSLR is loaded with advanced features and technology, making it suitable for serious photography as well. (P mode; ISO 200; flash) ©2009 Peter K. Burian

Nikon’s Retouch feature (in Playback mode) provides many tools for modifying photos such as an automatic “fix” feature, filter simulations, red-eye removal and D-Lighting for more shadow detail. Some brand new Retouch options are also available: Soft Filter Effect, Color Outline (for a monochrome pencil sketch effect) and Perspective Control. The latter allows the user to minimize the linear distortion that was caused by tilting the camera upward to take a photo of a tall building. It’s not simple to use but after some experimentation, the results can be highly acceptable.

The D5000 provides numerous Retouch options for modifying images in Playback mode. Not all are appropriate for every type of photo, so use only those that will make a technically or aesthetically better image. ©2009 Peter K. Burian

Evaluation: Except for the lack of depth of field preview, the D5000 should satisfy serious photographers with to its great versatility. This camera is great for all types of picture-taking including sports thanks to the very effective scene recognition and 3D tracking focus features. But its many automatic options make it just as attractive to first-time DSLR buyers. Both types should try the in-camera retouching options. Some are very useful for fixing technical problems while others provide really cool creative effects without a computer.

Live View and D-Movie

Press the [LV] button and the D5000 provides a real-time preview of the scene on the LCD screen. Autofocus is available in Live View, employing contrast-detection technology. Because the reflex mirror is locked into the up position, there’s no preview blackout during autofocus operation. On the other hand, this type of autofocus is slow compared to the phase-detection AF available when the optical viewfinder is used.





In Live View, the D5000 takes about two seconds to find focus, and longer in dark locations. The user can move the focusing point anywhere in the frame or select Face Detection AF; the latter optimizes focus and exposure for people in the scene. Continuous autofocus is also available in Live View; it’s fast enough for tracking a person walking toward the camera. When shooting action subjects, however, switch to using the viewfinder in order to get conventional AF with its much faster tracking focus feature.

As with most other brands of DSLRs, contrast-detection AF is not nearly as fast as phase-detection AF. Still, it's fine when there's no need to rush with composition and focusing while using Live View. (ISO 200) ©2009 Peter K. Burian

The 2.7-inch monitor is hinged at the bottom so it can be pulled out and tilted or rotated. While it’s not quite as versatile as a fully articulated screen, the mechanism does allow for convenient viewing of the display when the camera is held at ground level or above the heads of a crowd, for example. The display is clear and crisp. A larger, ultra-high resolution LCD would have been better but would have made the D5000 larger/more expensive.

To activate the D-Movie mode, press the [OK] button while in Live View. You can now shoot true 16:9 format High Def 720p (720×1280 pixel) video clips at 24 fps for five minutes, with mono sound. Operation in D-Movie mode is automatic but you can pre-set picture controls (styles), white balance and exposure compensation. The camera then sets the aperture, shutter speed and ISO. Do note, however, that you have some control over the f/stop when shooting videos. Set a wide aperture from f/1.4 to f/8 before entering Live View and the camera will use that aperture in D-Movie mode. (However, the D5000 will not honour smaller apertures that were preset.)

Autofocus is not available while shooting a video so be sure to focus before recording. While shooting a clip, only manual focus can be used and that’s not very convenient when the camera is held away from your body. Movies are saved in the familiar AVI (Motion JPEG) format, compatible with many affordable software programs: Windows Media Player, QuickTime, VirtualDub, i-Movie and others. You can also play back a clip on the camera’s LCD monitor or connect the D5000 to an HD TV (with an optional HDMI cable) to show off your clear, crisp, colourful movies.

Evaluation: Live View works well but contrast-detection autofocus is slow, so this feature is best for landscapes, portraits and nature photos. The D-Movie mode is particularly suitable for events where manual focus adjustment is not often necessary. Video quality was much better than expected, as long as I did not pan too quickly. The audio was acceptable, particularly when a person was close to the camera and there was little background noise. A versatile camcorder (with an external stereo mic) is preferable, but D-Movie mode is a great addition to a still camera with the more typical photographic capabilities.

Speed and Quality

In conventional operation (with the optical viewfinder) the D5000 was fast in all aspects. Autofocus was quick and I could fire a very long series of JPEGs 4 fps; the camera was usually ready to take some more shots. In action photography with an AF-S telephoto lens, tracking focus with Dynamic AF Area (using 11 focus-detection points) worked well with fast moving competitors. During a go-kart race, roughly 70% of my shots were sharply focused. The 3D Color Matrix II metering system often produced pleasing exposures; in harsh lighting, a -0.3 EV exposure compensation setting-plus the auto level for Active D-Lighting-produced the best highlight and shadow detail.

You can find DSLRs in the same price category with more megapixels, but the D5000's CMOS sensor employs larger pixels and a highly effective EXPEED processor. Even after cropping, I was able to make 13x19" prints from this ISO 400 photo that most viewers rated as "absolutely perfect". ©2009 Peter K. Burian

In the standard picture style, my photos were slightly soft, so I often set a +1 level for sharpening. Colors were quite bold. For an even more vibrant effect, I switched to Vivid mode; the other picture styles were more suitable for specific subject types such as portraits. The camera’s automatic chromatic aberration correction provided fine quality even with affordable lenses, although ED zooms-like the AF-S 70-300mm ED-IF VR (from B&H; from Amazon Nikon 70-300mm f/4.5-5.6G ED IF AF-S VR Zoom Nikkor Lens for Nikon Digital SLR Cameras) model-produced even better results. My JPEGs made at ISO 100 to 400 are silky smooth and very clean; after a bit of sharpening, they made beautiful 13×19-inch inkjet prints. Much larger outputs would look great but I don’t own a wide-format printer.

Digital noise is remarkably well controlled making the D5000 one of the best in its price range at high ISO levels. My best ISO 800 shots-especially from RAW captures-produced very nice 12×18-inch glossies. Avoid underexposure and even ISO 1600 will provide beautiful 8×10-inch prints while ISO 3200 will be fine for decent 5×7″ outputs.

While the D5000 provides the best image quality at lower sensitivities, ISO 800 can produce excellent quality. Avoid underexposure and excessive sharpening; use the default level for noise reduction or shoot with RAW capture and set the optimal NR level later, in the RAW converter program. ©2009 Peter K. Burian

The Bottom Line

As easy to use as any entry-level DSLR in auto modes, the D5000 provides greater speed, reliability and versatility plus advanced amenities. In spite of the relatively affordable price, this Nikon model employs the latest technology and its tilt/swivel LCD monitor is a definite bonus. While it may be tempting to consider a DSLR with even higher resolution, this 12.3 MP Nikon employs larger pixels for excellent dynamic range and clean images at high ISO.

While reviewing my hundreds of images, and while making many prints for this review, I was again impressed with the gorgeous results. The D5000 really is a multi-talented camera, perfect for all types of photography. (ISO 400; AF-S 70-200mm f/2.8 ED lens; f/13: +1/3 EV; Active D-lighting). ©2009 Peter K. Burian

If you’re an experienced photographer who does not need a variable-angle LCD, you may prefer the D90 (from B&H; from Amazon Nikon D90 12.3MP Digital SLR Camera (Body Only)) especially if you already own some AF lenses. Available for about $100 more than the D5000, that camera is equipped with a fixed ultra-high resolution 3″ screen, larger viewfinder, more analog controls and a 4.5 fps burst mode. On the other hand, the D5000 is just about the perfect DSLR for families that include both snap shooters and at least one serious photo enthusiast.

In the past, the 10.2 megapixel D80 (from Amazon Nikon D80 10.2MP Digital SLR Camera (Body only)) was Nikon’s best-selling DSLR but the D5000 should be even more successful.

This more affordable 12.3 MP camera has even broader appeal because of its entirely new features, superb performance, variable-angle LCD, movie mode and great versatility. Overall this is a very fine camera that offers maximum value. It’s up against some still competition, but in my estimation the D5000 is the most desirable current DSLR in the sub-$700 category.

For another great review: See Photography Blog’s Nikon D5000 Review or the NikonLinks Nikon D5000 resource page.
For the full list of features and specifications: Visit Nikon D5000
For product reviews and current prices: Check out B&H Photo Nikon D5000; Amazon Nikon D5000 12.3 MP DX Digital SLR Camera with 2.7-inch Vari-angle LCD (Body Only))

Nikon’s D40 and D40x were very popular entry-level DSLRs but the replacement model is even more desirable. While it’s also very budget-friendly, the equally small D3000 offers some valuable benefits in spite of the pleasantly low price (about $600 with 18-55mm VR lens.) The primary improvements include a more effective AF system with 11 points plus 3D tracking focus, a larger 3-inch (7.62cm) LCD screen, a faster 3fps continuous framing rate and far more image retouching options in playback mode. The D3000 is also equipped with a new automatic sensor cleaner, employs a more powerful battery and provides even more convenient operation.

Nikon did not install their live view or D-Movie mode technology into the D3000, but in other aspects, this is a really versatile 10.2 megapixel camera. The D3000 provides plenty of automatic options, all the essential overrides and some great extras. It’s also very intuitive in operation, providing a helpful graphic interface (in additional to the “classic” interface) as well as Easy and Advanced Operation options. More experienced photographers can simply use the D3000 like any other DSLR, with the mode selector dial, the few buttons and the sub-menu of frequently used features.

Nikon's most affordable current DSLR--the D3000--offers great ease of use in many aspects but it's also a fast, very effective camera with many of the features that photo enthusiasts want. This camera would be a fine choice for families, and for shooters ranging from novice to experienced. (Tracking Autofocus; Continuous Drive mode.) © 2009 Peter K. Burian

Operation and Features

This camera is quite compact but provides an oversized LCD screen, an adequately large grip to fit most hands and large, well-marked controls. It’s light in weight but feels solid. Since live view is not available, the optical viewfinder must be used for composing photos. This viewfinder is adequately large and provides 95 percent coverage of the scene, at 0.80x magnification. Anyone who wears eyeglasses should be able to see the entire screen without difficulty.

The D3000 offers two screen options, Classic and Graphic. If you use the guide menu, the camera can be set for Easy Operation for snap shooting or to Advanced Operation if you plan to use the Aperture or Shutter Priority mode; in the latter, the screens provide guidance on how to achieve the desired effect.

Set the mode selector dial to [GUIDE], press the [Menu] button, select Shoot and then select Easy mode. The camera then provides useful information in large text making it easy to achieve a desired effect with various types of subjects. Select the Advanced mode and the camera provides tips on the right settings to soften backgrounds and freeze motion. For more conventional operation, press the [i] button twice to access a single Quick Settings screen that provides access to the 12 most-frequently used functions. This is quick method of camera control will become second nature after a couple of days. The full menu provides additional features; be sure to find the full menu and not merely the few items available in the Easy menu.

The D3000 employs scene recognition technology that combines data from the Matrix metering and AF systems for superior exposures, white balance and autofocus performance. (P mode; ISO 400; Vivid Style; AF-S 70-300mm ED lens.) © 2009 Peter K. Burian

Like the D40, D40x and D60, the D3000 is not equipped with a focus drive motor. Hence, this camera can autofocus only with lenses which include the necessary motor (the AF-S series, the older AF-I lenses, and some suitably-equipped aftermarket brand zooms). The wide-area (11-point) autofocus system is very versatile and even includes a 3D Tracking AF mode; that enables the camera to aggressively track the motion of an action subject. For the best success ratio in sports photography, it’s worth using a lens with an ultrasonic AF motor, such as the Nikon AF-S series with Silent Wave AF technology.

While this can be a simple camera, Nikon has provided advanced amenities too, including Active D-Lighting. When turned on, this feature is useful in harsh, high-contrast lighting since it provides images with slightly more shadow detail. Six picture control items are available in the recording menu-such as Standard, Portrait and Vibrant-and each provides an entirely different “look” to the images. Scrolling to the right from any of those items allows for modifying aspects such as sharpness, contrast and colour rendition to achieve exactly the desired effect.

The many picture control style options make it easy and quick to achieve the desired effect. For travel photography, I often used the Vivid style for rich colors and very snappy contrast. Each style mode sets a different level of contrast, colour rendition and sharpness, but each of those parameters can also be modified as desired. (ISO 400; Vivid mode; 70-300mm ED VR lens.) © 2009 Peter K. Burian

Nikon has also provided an unusually large number of items for image modification in playback mode. While viewing an image, pressing the [OK] button activates a screen with numerous options that can be applied to photos on the memory card. While reviewing JPEGs in playback mode, you can apply in-camera retouching as required to solve a specific problem or create a special effect. Most of the “post processing” options are quite intuitive. The most useful include quick retouch (for improving several aspects automatically), D-lighting (with several intensity levels) for greater shadow/highlight detail, red-eye reduction and colour balance adjustment.

You can find many in-camera retouching functions in playback mode, including some that correct technical aspects and others that provide special effects. The differences may not be obvious in the small reproduction below, but they certainly are in the full size JPEGs. © 2009 Peter K. Burian

Evaluation: Because the D3000 is an entry-level DSLR, it does not include as many capabilities as the D5000 ($850 with 18-55mm VR lens). Still, it is equipped with the most important features including the essential overrides that photo enthusiasts expect. As well, no other camera in its price class offers as many retouching options in playback mode for optimizing JPEGs. Creative shooters can achieve many special effects without the need to spend time at a computer. For example, it’s worth trying the Stop Motion option. This function is great for creating AVI format “movies” from a long series of JPEGs. While it’s necessary to review the instructions, this feature is fully automatic and works very well.

Speed and Image Quality

This digital SLR starts up in a half second and responds almost instantly to a touch of the shutter release button; that makes it easy to capture just the right instant in candid picture-taking. The D3000 can fire dozens of large/fine JPEGs- or six RAW captures-at 3 shots per second when using a fast SDHC card, with a rating of Class 6 or Class 10 or 133x. It does take a few seconds to record an entire series of images but it’s very quick to begin displaying the photos on the LCD screen. Autofocus with an AF-S lens is very fast too. When I used the 70-300mm ED zoom during a bicycle race, the AF system had no difficulty in tracking the motion of the competitors.

The combination of a very effective 3D Tracking Focus system, fast autofocus with AF-S lenses plus the 3 frame per second drive mode make the D3000 a fine choice for amateur sports photography. (Sports mode; ISO 400; JPEG capture; AF-S 70-300mm ED lens at 300mm.) © 2009 Peter K. Burian

For preliminary testing, I used the default settings: standard picture style, auto WB and no exposure compensation or Active D-Lighting. The resulting JPEGs were somewhat soft but the colours were quite punchy. For a better effect, I simply set in-camera sharpening to +1. Contrast seemed very high on sunny days so the brightest highlight areas were too light to retain texture. In such conditions, better results were possible with a -1 setting for contrast, -0.3 exposure compensation, plus Active D-Lighting to minimize the loss of shadow detail.

At its default setting for sharpness, the D3000 produces slightly soft images. It's easy to boost this aspect with image-editing software in a computer, or by setting the in-camera sharpness level to +1. That's the ideal setting because higher levels tend to produce artificial-looking effects in my estimation. (JPEG; ISO 400; Smart Sharpen applied in Photoshop.) © 2009 Peter K. Burian

Evaluation: For an entry-level model, the D3000 is surprisingly fast and useful for sports photography. As with any DSLR, the inexpensive kit lens is fine but better lenses do provide greater edge-to-edge sharpness. Image quality was excellent at ISO 100 or 200: very clean, smooth, with high resolution of fine detail in 12×18″ prints. By ISO 400 some coloured speckles or graininess was visible; unless the JPEGs were underexposed, that was not a problem in 10×16″ prints.

The D3000 produced gorgeous images at low ISO levels, great for making large prints. This aspect, plus the camera's speed and versatility, make it suitable for DSLR buyers who demand maximum value for the money. (ISO 200; 70-300mm ED VR lens; f/8.) © 2009 Peter K. Burian

Photos taken at ISO 800 outdoors-for action stopping shutter speeds-look fine; they’re suitable for nice letter size prints. Switching to ISO 1600 while shooting in a church during a friend’s wedding produced a more grainy effect; as well, some fine details seem smudged. Even so, the bride and groom were happy with the 5×7″ prints.

While the D3000 provides the best image quality at lower sensitivities, ISO 1600 can be useful in low light photography when fast shutter speeds are required. For the "cleanest" images (with the least digital noise) avoid underexposure. © 2009 Peter K. Burian

The Bottom Line

During extensive action, travel and wedding photography, the D3000 proved to be very responsive in most situations. For an affordable DSLR, it was surprisingly fast and reliable. In terms of image quality, it was competitive with more expensive 10 megapixel models. My daughters also tried this camera in Easy mode. Although they missed live view, they appreciated the point-and-shoot guides and help screens. Most of their photos-made without any overrides-look great.

Aside from the omission of live view, and the need for some overrides in harsh lighting, the Nikon D3000 is a perfect choice in the entry-level category. This easy-to-use camera-with the 18-55mm zoom, with a VR stabilizer-would be fine for anyone upgrading from a digicam. In my estimation, it would also satisfy the family’s more experienced shooter, especially with a second lens. There’s no depth of field preview control, but otherwise, the available modes, overrides and extra functions provide adequate versatility.

During this wedding, the pro shooters were using a D300 or D700 and their photos are excellent. But I was also able to get photos of high quality with the D3000 in RAW capture mode and using an accessory flash unit. Later, I used the Nikon View NX software (included) to tweak the photos and convert them to TIFF before making very nice letter size prints. (ISO 400) © 2009 Peter K. Burian

Nikon has a well-earned reputation as a manufacturer of high performance equipment in the pro and semi-pro categories. That cachet extends to their more affordable DSLRs too; in fact, Nikon has sold over a million of the D40/D40x models. The D3000 deserves to be even more popular because of its greater speed, more effective autofocus system and the extra features mentioned earlier. Unless you definitely want live view, movie mode and the extras available with the more expensive D5000, this smaller/lighter camera would be an ideal choice.


For technical specifications: Visit Nikon
For prices and user reviews visit: Amazon (Nikon D3000 10MP Digital SLR Camera with 18-55mm f/3.5-5.6G AF-S DX VR Nikkor Zoom Lens) (about $560)   and B&H Photo (about $600)

Combining the best features and technology of the D3, the Nikon D700 is far more compact/affordable and 9.6 ounces lighter. This new professional model shares the fast EXPEED processor and full-frame 12.1 megapixel CMOS chip and it’s nearly a rugged as the D3 thanks to a weather-resistant magnesium alloy body. The primary differences are a slower (but still fast 5fps ) continuous drive speed, reduced viewfinder coverage (95% vs. 100%) and only a single CompactFlash card slot. But the D700 gains a built-in flash (great for wireless remote flash control) and an automatic sensor cleaner. Add the optional MB-D10 battery grip and it can fire long bursts at a blazing 8fps.

Because of its full frame (24x36mm) sensor the D700 should appeal to serious photographers and pros who often shoot wide angle images and want to use a multi-format (AF or manual focus) Nikon lens. While very short focal length lenses are available in DX format for the small sensor DSLRs, it's great to be able to use existing lenses from a 35mm film camera system. (ISO 200; f/7.1; AF-S 24-120mm VR lens; Hoya Pro 1 D circular polarizer) (c) 2008 Peter K. Burian

Other valuable features include Live View, ISO levels to 25,600, a 51-point AF system, Nikon’s remarkably effective 3D Tracking Focus and a gorgeous 3″ LCD with 920,000 dots. Resembling the D300 but slightly larger and heavier (by 4.3 oz.) the D700 is a bit more versatile. More importantly, its larger 24x36mm sensor allows any lens to provide the field of view we expected in film photography. This is a definite benefit in wide angle image-making for those who own multi-platform lenses. While the D700 also accepts the smaller DX-series lenses (with field of view cropping), resolution decreases to 5MP as it does with the D3.

Note: Nikon’s third full-frame camera, the 24.5 megapixel D3x, is far more expensive than these two cameras so I won’t discuss that model in this Review.

Features and Technology

This pro-caliber DSLR is built like a tank and it features a full set of analog controls and an absolutely vast range of items in the multi-page menu. No other camera in its league provides more user-selectable options. Basic functions are convenient to access using the buttons or the Quick Settings (info) screen and the menu is quite intuitive. Even so, this is not a camera for DSLR novices as confirmed by the 444 page owner’s manual.

Important features worth noting include the automatic Active D-Lighting option for slightly greater shadow detail most anytime. In very high contrast lighting, the Normal or High level is more useful although the effect is still not dramatic. The D700 does not include a video mode or an in-camera (sensor shift) image stabilizer available in some DSLRs. Even today, not many serious photographers want to shoot movies and an increasing number of Nikon lenses include a remarkably effective Vibration Reduction stabilizer.

Combine Exposure Compensation and the optimal level of Active D-Lighting and it's possible to achieve just about any effect in-camera. For this image, I used -2/3 EV compensation to prevent overexposure of highlight areas as well as Active D-Lighting at High Level to maintain shadow detail. (ISO 800) (c) 2009 Peter K. Burian

Like the D3 and D300, the newer camera can provide a real-time preview of the scene with two distinct autofocus modes. The “Handheld” Live View mode employs phase-detection AF system, with all 51 points, for quick focus. Granted, there’s a lot of clicking and interruption of the display; that’s typical because the reflex mirror must be lowered for focus acquisition. Switch to “Tripod” mode and autofocus – using contrast-detection technology with a single AF point — allows for focusing without lowering the reflex mirror. Hence, full-time Live View is maintained but Autofocus is very slow in this mode.

Particularly with manual focusing, Live View works well, and the ultra-high resolution LCD screen -- with a very wide viewing angle -- provides a very smooth, crisp display. Live View can be useful when the camera is tethered to a computer or in outdoor photography when holding the D700 at a moderately high or low angle. (This image was made at ISO 1600, with the camera held above the heads of others in the audience.) (c) 2009 Peter K. Burian

Evaluation: Live View is not as simple and quick or as convenient as it is with a compact digicam, but works quite well particularly with manual focus. The new Virtual Horizon Indicator (also available in the viewfinder when Live View is not active) is certainly useful. This amenity makes it easy to keep the camera level to minimize the risk of distorted lines. Faster autofocus, a live exposure histogram and an articulating screen (for low or high level shooting) would have made Live View even more practical.

The D700 also employs Scene Recognition that combines data from the Matrix metering and AF systems for optimal exposures, White Balance and tracking focus. Surprisingly though, the test sample overexposed mid-tones slightly, clipping highlights; that was easily prevented with -0.3 or -0.7 compensation setting. But the AF system was virtually foolproof even in action photography. For the highest success ratio with the erratic motion of soccer players, I used the 11-point AF option and the AF-S 70-200mm f/2.8 zoom with ultrasonic Silent Wave AF motor. For larger subjects approaching the camera at high speed, I recommend using only the central AF point for maximum reliability.

While shooting hundreds of photos of FMX bike stunts and go kart race competitors, I found the autofocus system to be incredibly effective with the 11 point Dynamic 3D AF Tracking mode and the ultrasonic AF-S 70-200mm f/2.8 lens. The combination provided an 80% success rate of sharply focused images, in spite of the fast/erratic motion of my subjects. (Vivid mode and high in-camera sharpening; -2/3 compensation; ISO 400; Hoya Pro 1 D circular polarizer) (c) 2009 Peter K. Burian

Except in Live View, the D700 was lightning fast: in startup, instant response to a touch of the shutter button and in processing. Even after a long burst, the camera was usually ready to take some more shots. While the full frame sensor is ideal for wide angle photography, sports or wildlife enthusiasts may prefer the D300, also a fast 12 MP camera. Because the smaller (DX format) sensor produces a 1.5x field of view crop, a distant subject will be larger for a more dramatic image. And as a bonus, the D300 maintains full resolution when the smaller DX-series lenses are used.

Image Quality

At any ISO level up to 800, the D700 produces gorgeous JPEGs without any over-processed look. They’re remarkably clean, free of artifacts and silky smooth, with high definition of intricate detail. Chromatic Aberration Correction is applied automatically (except in RAW capture) to minimize “purple fringing” caused by some lenses, providing optimal image quality. The default level for in-camera sharpening and saturation are a tad low in Standard picture style; some JPEG shooters will want to bump up both aspects by one notch.

The Picture Style options make it easy and quick to select Standard, Neutral, Vivid or Monochrome -- applying overrides for several parameters within each mode if desired -- for the effect that's most appropriate for any type of subject. While this was a RAW capture that I modified using Capture NX2 software, exactly the same effects can be achieved in JPEG capture using the in-camera features. (ISO 400; AF-S 70-200mm f.2.8 VR zoom.) (c) 2009 Peter K. Burian

It’s also worth experimenting with the Vivid style (great for landscapes and travel subjects) and the Neutral style (preferable for portraits.) The Monochrome option is also useful, providing several options — including Filter Effects and Toning — to modify the look of a black and white photo. The D700 produces contrasty images at the default level especially in Vivid mode. For the best results, it’s important to avoid loss of detail in highlight areas; sometimes that requires minus exposure compensation. I also recommend leaving the automatic D-Lighting feature on at all times for slightly greater shadow detail.

My favorite photo from the long-term D700 test, this ISO 400 shot looks absolutely perfect as a 13x19" print hanging on the wall of my office. Although I cropped roughly 25% of the image area for creative reasons, even a much larger print would be impressive, but would require a wide format printer. (70-200mm f/2.8 zoom at f/6.3) (c) 2009 Peter K. Burian

The quality in RAW captures is even better, making this option ideal for prints larger than Super B (13×19-inch) size. Every aspect of an image can be adjusted in a computer, making in-camera settings less important. A 14-bit RAW option is also available at the full 5fps framing rate; these images exhibit more detail in the various tones and a smoother gradation. The D700 kit includes a basic RAW converter program, View NX, but the optional Capture NX2 ($150) is much faster and more versatile.

Nikon did not cram the 24x36mm sensor with 20+ million pixels; hence, each photosite is unusually large. This aspect, plus optimal noise reduction processing, combine to provide class-leading performance at high ISO levels. My ISO 1600 images made for very good 11×15″ prints. Even ISO 3200 was fine for sharp, richly detailed 8×10″ glossies so I did not hesitate to use this level when necessary for fast shutter speeds. The ISO levels above 6400 definitely produce more grainy JPEG’s. Serious photographers will want to use RAW capture and then set exactly the right Noise Reduction level in software while examining an image at high magnification on a large computer monitor.

While the D700 definitely provides the best image quality at lower sensitivities, even photos made at ISO 25,600 are acceptable for some purposes. This image was made at the Standard Noise Reduction level and exhibits some banding and an obvious noise pattern. Better results are possible by shooting RAW captures and applying a higher level of NR in the RAW converter software. (AF-S 70-200mm f/2.8 ED VR zoom; f/2.8 at 1/125 sec.; -2/3 EV compensation to prevent overexposure.) (c) 2009 Peter K. Burian

Evaluation: Because ISO 100 to 400 images are so extremely clean, they stand up particularly well to “resing up”: increasing size with interpolation in software. That allows for making unusually large prints. But it’s in high ISO performance where the D700 really shines. At the standard Noise Reduction level at ISO 6400+, images are not smudged by aggressive processing so resolution is not seriously degraded; the photos remain quite sharp and finely detailed. Frankly, the D700 is the best DSLR that I have tested to date in terms of quality at ISO 1600 and above.

Particularly at ISO 100 to 400, the D700 produces absolutely gorgeous images suitable for making oversized prints. This is aspect -- plus high speed, remarkable ruggedness, great reliability, numerous advanced capabilities and many pro-oriented accessories -- make the camera ideal for professionals and the most serious photo enthusiasts. (ISO 200; Wireless off-camera flash; AF-S 70-200mm f/2.8 lens at f/14) (c) 2009 Peter K. Burian

The Bottom Line

During long-term testing, the Nikon D700 exceeded my expectations in responsiveness and versatility as well. The full-frame sensor was ideal for wide angle photography even with the AF-S 24-120mm VR zoom (with image stabilizer.) While some similarly-priced full-frame DSLRs do provide higher resolution, 12.1 million pixels — with much larger “photosites” for exceptional quality even at high ISO — will meet many needs. Even the most versatile photographer should be satisfied with this camera, particularly with the optional battery grip and some accessories.

As these photos — very small crops from full sized images — indicate, ISO 3200 and 6400 provide surprisingly decent quality. While the images are “grainy” the digital noise pattern is barely visible in most night shots except in oversized prints. (Large/Fine JPEG captures) (c) 2009 Peter K. Burian

Although Nikon is still expanding its line of multi-platform (FX) lenses, the system already offers a very wide range of accessories. The most significant include devices for Wi-Fi, GPS, HDMI output to an HDTV monitor, PC remote control software and multiple Speedlights for wireless TTL flash photography. Many of the add-ons target the working pro, but this camera has much wider appeal. It’s a fine choice for any serious photographer who appreciates the full-frame sensor for wide angle photography and for exceptional quality particularly at high ISO.

In spite of comparisons with the more pricey D3 ($4350), the D700′s primary competitor remains the D300 discussed in my NIKON D300 Review-Field Test Report . That’s also a very fast, rugged model ($1800). It’s nearly as versatile, accepts just as many accessories and it’s “focal length conversion factor” (field of view crop) can be useful for frame-filling photos of distant subjects. If you’re in the market for a Nikon DSLR, the decision should not be difficult to make. Consider your budget, the lenses you already own, the specifications of each model and your photographic pretences; then simply select the camera that will best satisfy your own specific needs.

Specifications – Nikon D700

Sensor: 23.9x36mm CMOS 12.1 megapixel (4,256×2382) effective; 3:2 aspect ratio
Processor: EXPEED with 14-bit A/D conversion; Lateral Chromatic Aberration Correction and Active D-Lighting; Scene Recognition System
Lenses: Multi-platform AF lenses, manual focus with limitations; also DX lenses but at 5.1 MP resolution
Shutter: Electronic; speeds from 30 sec. to 1/8000 sec. selectable; also, Bulb
Viewfinder: Glass pentaprism with 95% field of view; 0.72x magnification; 18mm eye point; BrightView Clear Matte IV Screen; on-demand grid lines and Virtual Horizon; diopter correction dial and eyepiece cap
Capture Formats: JPEG, TIFF, RAW (12-bit or 14-bit), full or compressed RAW, RAW + JPEG
White Balance: Auto and 7 presets, each with fine tuning, Custom, color temperature (Kelvin), WB Bracketing
Focusing: Manual and TTL phase detection AF; 51 point AF sensor with 15 cross-type points and 1, 9, 21 and 51 point options, Single Shot, Dynamic and 3-D AF tracking; automatic or manual point selection; EV -1 to +19 detection range; focus-assist lamp; also, contrast-detect (single AF point) AF available in Live View “Tripod” mode
ISO equivalent: 100 to 25,600
Exposure Control: Adjustable Center Weighted, 1005 pixel 3D Colour Matrix II and (2%) Spot metering; 0 to 20 EV range; many exposure overrides; Active D-Lighting; histogram and highlight detail warning in Playback
Operating Modes: Aperture and Shutter Priority AE, metered Manual, shiftable Program Image Adjustments: Standard, Neutral, Vivid and Monochrome picture styles each with parameter adjustment options (filter/toning options in Monochrome); user selectable NR for long exposure and high ISO; AdobeRGB and sRGB color space
Post-processing Options: D-Lighting, Red-Eye Correction, Trimming, Monochrome effects, Filter Effects, Color Balance adjustment and Image Overlay
Drive Modes: Single shot, Continuous framing to 5fps (8fps with accessory), self-timer and Mirror Up mode
Flash: Built-in i-TTL flash; several flash metering and mode options; flash exposure compensation and lock; flash sync to 1/250sec. or faster with certain Speedlights; supports Wireless TTL Flash Color Information Communication, modeling flash
Other: Moisture-resistant, magnesium alloy body; fixed 3″ wide-view LCD monitor (920,000 points); Live View with MF or two types of AF and Virtual Horizon; depth of field preview; automatic sensor dust removal system; histogram plus highlight warning available; orientation sensor; Intervalometer; 51 custom functions; AF fine-tuning for specific lenses
Storage: CompactFlash; UDMA card compliant
Connectivity: Compatible with USB 2.0 Hi-Speed, video and HDMI (HDTV) output, PC cord, remote control and GPS and Wi-Fi accessory
Power: Rechargeable Lithium-Ion EN-EL3e Li-Ion battery; optional AC adapter and Multi-Power Battery Pack (grip) MB-D10
Dimensions/Weight: 5.8 x 4.8 x 3 inches; 33.6 oz.
Average Street Price: $2700 at the time this Review was completed

Get information, reviews and up-to-date prices on new and refurbished D700 bodies from Amazon: Nikon D700 12.1MP Digital SLR Camera (Body Only)

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Similar in many respects to the 10.2 megapixel D80, the Nikon D90 is even more desirable since it benefits from technology developed for the semi-professional DSLRs. The primary improvements include a 12.3 megapixel CMOS (not CCD) sensor and upgraded processor, larger 3-inch LCD with ultra-high 920,000 point resolution and Live View with three distinct autofocus modes. Other benefits include faster 4.5fps continuous drive speed (vs. 3fps) an automatic sensor cleaner, plus some valuable new features in capture mode and in Playback mode (for image retouching.)

While the D90 targets photo enthusiasts, it's adequately fast and versatile to be a fine backup to a professional photographer's Nikon D300 or D700. During extensive testing in a wide range of circumstances, this DSLR proved to be remarkably effective in virtually all aspects and allowed me to make technically excellent images that should satisfy the most critical viewer. (ISO 200; fill flash with an SB-900 Speedlight) (c) 2009 Peter K. Burian

This prosumer-level camera is also unique in one aspect. The first SLR in the world to boast video capture ability when it was announced, it’s still one of the few affordable models with a function of this type. Nikon’s D-Movie mode allows for shooting High Definition movie clips with sound and provides HDMI output (with an optional cable) to wide screen HD television monitors. While D-Movie mode is certainly a “cool” amenity, the D90 proved to be an incredibly competent performer as a “stills” camera with its more conventional features.

Features and Technology

This solidly built DLSR bears a strong resemblance to the best-selling D80, with its full range of analog controls — including a mode selector dial with a full 11 options — for quick access to frequently-used features. The electronic menu lists a multitude of items; not all are intuitive but the Owner’s Manual provides a lot of useful guidance. Note too that this more versatile camera is actually more convenient to operate, thanks to the very user-friendly interface developed for the D60. It’s unusually fast as well, able to fire numerous JPEGs in a single burst when using a fast SDHC card.

The camera's automatic Chromatic Aberration and Vignetting Correction processing helps to optimize the optical performance of any lens. (f/8) (c) 2009 Peter K. Burian

Like the Nikon pro models, the D90 benefits from new high-tech functions including automatic chromatic aberration correction (to improve lens performance) and vignetting control (to lighten any dark corners). Continuous autofocus now employs 3D Focus Tracking for great reliability with action subjects. The camera also benefits from Scene Recognition that combines data from the Matrix metering and AF systems for optimal exposures, White Balance and tracking focus. Active D-Lighting is also available in JPEG capture. Designed to provide greater shadow detail, this function can be set to Auto for a modest increase in dynamic range or to higher levels for a more obvious effect.

The D90 employs new Scene Recognition technology that combines data from the Matrix metering and AF systems for superior exposures, White Balance and effective tracking focus. While the camera sometimes produced images with excessively bright highlights, that was easy to prevent with in-camera overrides. (JPEG capture at ISO 1600 with -1 exposure compensation) (c) 2009 Peter K. Burian

Press the new LV button and the D90 provides a real-time preview of the scene. Autofocus will now switch to using contrast-detection technology. (With other Nikon DSLRs’ Live View modes, phase-detection AF is also available.) A full-time, continuous live preview is provided, without interruption of the display (by the reflex mirror) during auto focusing. Note that AF is slower in Live View, as with most DSLRs when using contrast-detection AF. Focusing can take up to two seconds. The user can move the focusing point anywhere in the frame or select Face Detection AF; the latter optimizes both focus and exposure for faces and can track the subjects if they move.

Live View works well with Face Detect AF when instantaneous autofocus is not necessary, and the ultra-high resolution LCD screen provides a very smooth, crisp and finely detailed preview display. While this is a "nicety" and not an essential amenity, most D90 owners will occasionally appreciate the ability to compose a photo using the large monitor instead of the optical viewfinder. (ISO 400; flash; +1 for sharpness and +2/3 exposure compensation.) ( c ) 2009 Peter K. Burian

While reviewing JPEGs in Playback mode, you can apply in-camera retouching as required to solve a specific problem or create a special effect. The most useful “fix” functions are for correcting red eye, linear distortion, a dark image or poor colour balance. You can even combine two JPEGs into a single image or convert a RAW photo to JPEG. Most of the “post processing” options are quite intuitive. While some are gimmicky, others can be very useful for correcting specific technical problems.

The many Picture Control options make it easy and quick to achieve the desired effect that's most suitable for any subject type. For wedding photography, I often used the Portrait style but also Monochrome to satisfy the couple's request for black & white glossies. Other types of subjects would benefit from one of the other options. Each sets a different level of contrast, colour rendition and sharpness, although every one of those parameters can also be modified as desired. (JPEG; ISO 400; flash; +1 exposure compensation) (c) 2009 Peter K. Burian

Evaluation: Because contrast-detection AF is relatively slow, Live View is primarily intended for landscapes, portraits, most travel and nature photos, etc. To activate the very fast phase-detection AF system, simply switch to using the large/bright) optical viewfinder instead. Particularly with one of the AF-S lenses (with Silent Wave ultrasonic motor), autofocus will aggressively track high speed action subjects. The 3D Matrix meter often produces pleasing exposures but highlights may be too bright under harsh lighting. In such conditions, better results are possible; try setting -0.3 EV exposure compensation but also activate D-Lighting at a high level to prevent loss of shadow detail.

High Def Movie Mode

Most digital cameras with a built-in lens provide a Motion JPEG mode but only at low resolution. By contrast, the D90 can shoot true 720p HD video in Live View — using a much larger sensor with huge pixels — at up to 720×1280 pixel resolution. Operation in D-Movie mode is fully automatic. The camera sets the aperture, shutter speed and ISO. Exposure changes whenever scene brightness changes even slightly; that can be annoying. It’s preferable to disable that feature by metering in advance and using the AE Lock button. Auto White Balance is not available; a desired WB option must be set in advance.

A 720×1280 video clip can be as long as 5 minutes; longer clips (up to 20 minutes) are possible at lower resolution. Sound (if desired) is captured by a built-in mono mic. Depth of field (the range of acceptable sharpness) is always very shallow in D-Movie mode; pre-focus carefully on the primary subject. While shooting a video, only manual focus can be and that’s not very convenient in Live View, when the camera is held away from your body. The clip is saved in the familiar AVI format, compatible with Windows Media Player, Quicktime and many other computer programs. Or simply connect the D90 to an HD TV with an optional HDMI cable to display your movie to friends or family.

Evaluation: The D-Movie mode is fun and I found it useful for shooting clips during family events using a VR lens (with image stabilizer) to correct for camera shake. As long as I did not pan too quickly, video quality was very good; the sound was acceptable particularly when a person was close to the camera. Frankly, the D90 was not intended to compete with a true HD camcorder with full-time autofocus, an articulating LCD monitor, a great deal of user control, and compatibility with an external stereo mic. But it’s a great addition to a still camera that’s packed with the more familiar photographic capabilities.

Image Quality Assessment
As usual, I started testing at the default settings: Standard picture style, Auto WB and no exposure compensation or Active D-Lighting. The resulting JPEGs were somewhat soft; colours were quite punchy; contrast seemed very high on sunny days. For a better effect, I simply set in-camera Sharpening to +1, reduced contrast in harsh lighting by -1 and activated D-Lighting as required. For a flattering effect when shooting a wedding, or for more vibrant travel photos, I simply switched to a more appropriate picture style mode. Because the camera was able to optimize lens performance, even affordable zooms produced surprisingly high image quality.

At its default settings in Standard picture style, the D90 produces slightly soft images, moderately high colour saturation and high contrast, but Nikon provides all of the overrides necessary to achieve any other effect. While some photographers prefer to make all modifications in Photoshop -- or RAW converter software -- others will take advantage of in-camera features such as Active D-Lighting and control of Sharpness, Saturation and Contrast. (+1 level for Sharpness.) (c) 2009 Peter K. Burian

My JPEGs made at ISO 100 and 400 are silky smooth and very clean; after a bit of sharpening, they made beautiful 13×19-inch inkjet prints. Digital noise is well controlled; ISO 800 produces images that are suitable for excellent letter-size prints. Even at ISO 1600, the default level for NR works well, providing adequate noise reduction without an excessive smearing of fine detail. As with other cameras, very high ISO levels are strictly for problem-solving in dark locations. Noise Reduction can be set to higher levels for smoother images but the blurring effect also produces an obvious loss of definition. I recommend sticking with the default setting for NR.

At low ISO levels, the D90 produced gorgeous images suitable for making 13x19-inch prints. This is aspect -- plus high speed, great reliability, numerous advanced capabilities and many accessories -- make the camera ideal for the most serious photo enthusiast. (ISO 200.) ( c ) 2009 Peter K. Burian

While the D90 provides the best image quality at lower sensitivities, ISO 1600 can be useful in low light photography when fast shutter speeds are required. For the best results, avoid underexposure, use the camera's default level for Noise Reduction and optimize the images for printing. Your technically best ISO 1600 photos should make for good letter size prints. ( c ) 2009 Peter K. Burian

For those who prefer to make corrections with imaging software, the RAW capture mode is ideal. A NEF format photo can be extensively modified (including Noise Reduction) while maintaining optical quality; it can also retain more highlight/shadow detail. Even the newest version of the Nikon View software is not very versatile so I strongly recommend the optional Nikon Capture NX 2 (approximately $150) or an Adobe program for RAW photo enhancement and conversion. Capture NX 2 is the best bet in terms of versatility and this program provides a bonus: the level of Active D-Lighting can be modified so it’s just right for any specific image.

The latest version of the basic RAW converter program Nikon ViewNX provides the essential features but it's still of greatest interest to those who do not often shoot in RAW capture mode. However, the optional Capture NX2 program (shown here) is remarkably versatile, providing a wealth of pro calibre functions, including D-Lighting options not available with other brands of software. ( c ) 2009 Peter K. BurianNote: Recently, Nikon upgraded the View NX software, providing additional tools for modification of RAW image files, prior to conversion.

Note: Recently, Nikon upgraded the View NX software, providing additional tools for modification of RAW image files, prior to conversion. See Nikon ViewNX 1.3.0 for Mac or Nikon ViewNX 1.3.0 for Windows. The new v.1.3 is preferable to the original program, although the optional Capture NX 2 is still preferable in terms of speed and versatility.

The Bottom Line

While it's not the cheapest 12 megapixel DSLRs by any means, the Nikon D90 offers excellent value because of its speed, remarkable versatility and superb image quality. (ISO 200; 100mm focal length; Dynamic/Tracking AF; Vivid mode; Active D-Lighting; 1/500 sec.)

During extensive nature, action, travel and portrait photography, the D90 proved to be unusually fast, reliable and versatile. In terms of image quality, it was competitive with more expensive cameras. Aside from its numerous capabilities, this 12.3 megapixel model is also compatible with a vast range of accessories: most of the same types of optional extras available for professional cameras. All of that combines to make this a “best value” DSLR in my book. While HD video capture will not be of interest to everyone, the Nikon D90 is a very desirable camera in more conventional aspects, making it a perfect choice for photography enthusiasts.

Get information and user reviews for this camera from Amazon: Nikon D90 12.3MP Digital SLR Camera (Body Only)

Specifications – Nikon D90

Sensor: 23.6 x 15.8mm CMOS 12.3 megapixel (4,288 x 2,848)
Processor: EXPEED with 12-bit A/D conversion; Chromatic Aberration and Vignetting Correction, Active D-Lighting and Bracketing, Scene Recognition System
Lens Mount: F-mount for all AF lenses and with limitations, manual focus AI-P lenses; 1.5x focal length magnification factor
Shutter: Electronic; speeds from 30 sec. to 1/4000 sec. selectable; also, Bulb
Viewfinder: Pentaprism with 96% field of view; 0.94x magnification; 19.5mm eye point; diopter correction dial and eyepiece cap
Capture Formats: Numerous JPEG options, Compressed RAW, RAW, RAW + JPEG
Movie Mode: AVI Motion JPEG, with mono sound, 640×424 to 128×0720 pixels, 24fps; AE Lock available
White Balance: Auto and 12 manual modes with fine-tuning; colour temperature (Kelvin), Custom, color temperature (Kelvin), WB Bracketing
Focusing: Manual focus and TTL phase-detection AF; contrast-detection in Live View, with Face Detection option; 11 point AF sensor, 1 cross-type; Single Shot, Continuous with 3D Focus Tracking; dynamic area AF, automatic or manual point selection; EV -1 to +19 detection range; focus-assist lamp
Sensitivity: ISO 100 to ISO 6400
Exposure Control: Adjustable Center Weighted, 420-pixel 3D Colour Matrix II and Spot metering; 0 to 20 EV range; many exposure overrides; histogram and highlight detail warning in Playback
Operating Modes: AUTO, six Scene modes plus P (shiftable program), A, S and M
Image Adjustments: Standard, Neutral, Vivid, Landscape, Portrait and Monochrome picture styles each with parameter adjustment options (filter effects in Monochrome); user selectable high ISO NR levels; Adobe RGB or sRGB color space
Retouching Functions: D-Lighting, Red-Eye Correction, Trimming, Monochrome effects, Color Balance, Small Picture, Quick Retouch, Filter Effects, Straighten, Distortion Control, Fisheye Effect, Image Overlay, RAW conversion to JPEG
Drive Modes: Single shot, Continuous framing to 4.5 fps, self-timer
Flash: Built-in i-TTL flash; several flash metering and mode options; flash exposure compensation; flash sync to 1/200 sec.; supports Speedlights’ high-tech functions
Other: Automatic sensor dust removal system; fixed 3″ wide-view LCD monitor (920,000 points); numerous Custom settings; depth of field preview; histogram, highlight warning, auto rotation and Slide Show option in Playback; DPOF compliant
Storage: SD or SDHC card
Connectivity: USB 2.0 Hi-Speed, video and HDMI (HDTV) output; terminals for remote control and GPS accessories
Power: Rechargeable Lithium-Ion EN-EL3e Li-Ion battery; optional AC adapter and Multi-Power Battery Pack (grip) MB-D80
Dimensions/Weight: 5.2×4.1×3 inches; 22 oz.
Average Street Price: $899.

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When it was first announced, the Nikon D300 received a lot of media attention because it appeared to be similar to the more expensive, professional D3. And it’s true that these 12 megapixel cameras share some technology and features but the D3 uses a much larger full-frame sensor. There are other differences too, so it makes more sense to compare the D300 to its predecessor, the highly-rated 10 megapixel D200. Aside from higher resolution, the primary benefits of the more recent model include a CMOS (not CCD sensor) that can provide Live View, a larger viewfinder and LCD screen, a more sophisticated Autofocus system, greater speed plus extra options for image capture and quality.

While the D300 is adequately fast, versatile and rugged for many professional applications, it's also an ideal camera for hobbyists who enjoy sports, travel, landscape and nature photography. During extensive testing in a wide range of circumstances, this DSLR proved to be remarkably effective in virtually all aspects and provided beautiful images that should satisfy the most serious photo enthusiast. (ISO 400; f/5.6; +1 Sharpness; circular polarizer) (c) 2009 Peter K. Burian

Note: Recently, Nikon upgraded the View NX software, providing additional tools for modification of RAW image files, prior to conversion. See Nikon View NX 1.3.0 for Mac or Nikon ViewNX 1.3.0 for Windows. The new v.1.3 is preferable to the original program, although the optional Capture NX 2 is still preferable in terms of speed and versatility.

Design and Technology

A hefty body with a magnesium alloy chassis, moisture-resistant controls and a rugged shutter mechanism, this semi-professional camera feels great in the hands and immediately inspires user confidence. Turn it on and check out the bright viewfinder and the 3″ LCD monitor with 922,000 dots for a crisp, smooth image display and menu data in a large font. A full set of analog controls is available; they’ll be familiar to anyone upgrading from another advanced Nikon DSLR. The electronic menu lists a multitude of items; not all are intuitive but the 400 page Owner’s Manual provides a lot of useful guidance.

Although the D300 employs the smaller DX sensor, it shares a great deal of technology with the full-frame D3

The Nikon D300 is a technological marvel, with a new CMOS sensor with integrated A/D converter and an EXPEED processor that can generate RAW, JPEG or TIFF photos quickly. Thanks to a larger buffer (temporary data storage bank) the camera can shoot numerous photos at 6 frames per second. (Use a 266x or faster CompacFlash for the greatest burst depth.) Add the optional MB-D10 Battery Grip with eight AA batteries and the top framing rate increases to a blazing 8fps, competitive with some professional cameras.

Although some competing DSLRs are equipped with an in-camera stabilizer, Nikon has continued to rely on the Vibration Reduction system available in an increasing number of their lenses. This feature is valuable for making sharper images and also for creative effects at long shutter speeds as in this example. (AF-S 70-300mm G ED VR zoom at 170 mm; ISO 400; 1/8 sec. shutter speed) (c) 2009 Peter K. Burian

The EXPEED processor can provide Active D-Lighting during capture for greater shadow detail without creating excessively bright highlights; select any of three levels for the effect that you prefer. Chromatic Aberration Correction is applied automatically (except in RAW capture) to minimize “purple fringing” caused by some lenses for optimal image quality. The D300 also employs Scene Recognition technology that combines data from the Matrix metering and AF systems for superior exposures, White Balance and tracking focus.

Active D-Lighting is available in JPEG and TIFF capture mode and can be set to a Low, Normal or High level. I found the Normal option (used here) to be useful in harsh, very contrasty lighting since the additional processing provided images with improved shadow detail without making highlight areas excessively bright. The High level provides a more obvious effect but that can appear somewhat artificial, making Normal the best choice. (JPEG capture; ISO 400; Hoya Pro 1 D circular polarizer) (c) 2009 Peter K. Burian

Note: Recently, Nikon upgraded the View NX software, providing additional tools for modification of RAW image files, prior to conversion. See Nikon View NX 1.3.0 for Mac or Nikon ViewNX 1.3.0 for Windows. The new v.1.3 is preferable to the original program, although the optional Capture NX 2 is still preferable in terms of speed and versatility.

The AF system is impressive in general with its new 51 focus detection points, including 15 that are cross-hatched for reliability with any type of pattern. The user can select one, 9, 21 or 51 point mode. Particularly with AF-S lenses and 51-point Dynamic 3D tracking mode, continuous AF is very swift and accurate, with a high success ratio in action photography. The D300 even includes autofocus tracking by color to maintain focus on a subject of a certain colour such as a red car during a race. Combined with the fast framing rate, this makes the D300 useful an ideal choice for sports or wildlife photographers.

While making dozens of images of this small aircraft at various distances from the camera, I found the autofocus system to be incredibly effective. The 51-point Dynamic 3D tracking mode -- and an AF-S Nikkor lens with Silent Wave motor -- guaranteed that every shot was sharply focused regardless of the motion of the subject or its position within the frame. (AF-S 70-300mm G ED VR zoom; ISO 200; Hoya Pro 1 D circular polarizer) (c) 2009 Peter K. Burian

Very convenient to use, the new Standard, Neutral, Vivid and Monochrome Picture Control style options produce entirely different effects. Each mode also offers a full range of overrides for modifying parameters such as brightness, sharpness and contrast. Digital noise is well controlled but the camera allows for setting a higher or lower NR level at ISO 800 and above. Other new features worth noting include a moderately successful self-cleaning sensor for dust reduction, extra features in the Retouch menu in Playback mode plus a utility that allows for fine-tuning AF for more accurate focusing with older AF lenses. A 14-bit RAW option is now available. While this slows the framing rate to 2.5 fps, the images exhibit more detail in the various tones.

The Picture Control (or style) options make it easy and quick to select the Standard, Neutral, Vivid or Monochrome option for the effect that's most appropriate for any type of subject. In travel photography, Vivid mode works well for very vibrant colors and hues although the same effect can be achieved later, in imaging software. (1/60 sec. at f/9; Hoya Pro 1 D circular polarizer) (c) 2009 Peter K. Burian

Live View Technology

An increasing number of DSLR’s provide a real-time preview of the scene but the D300 is one of the few with two distinct autofocus modes. The “Handheld” Live View mode employs the conventional phase-detection AF system, with all 51 points, for quick focus. Granted, there’s a lot of clicking and interruption of the display; that’s typical because the reflex mirror must be lowered for focus acquisition. Switch to “Tripod” mode and autofocus – using contrast-detection technology with a single AF point — can operate without the need to lower the reflex mirror. Hence, full-time Live View is maintained. Autofocus is unusually slow in this mode, so it’s most practical in landscape or architectural photography when using a tripod.

Particularly with manual focusing, Live View works well, and the ultra-high resolution LCD screen provides a very smooth, crisp and finely detailed preview display. While this is a "nicety" and not an essential amenity, most D300 owners will occasionally appreciate the ability to compose a photo using the large monitor instead of the optical viewfinder. (ISO 400; f/8; circular polarizer) (c) 2009 Peter K. Burian

I preferred to use manual focus, with preview magnification for confirming precise focus; that was ideal for “macro” photography, for example. A live histogram (for scientific exposure evaluation) and an articulating screen (for low of high level shooting) would have made Live View even more useful in outdoor photography. Studio photographers should definitely try Live View when operating a remote D300 from a computer, for a real-time preview on a much larger computer monitor, using the optional Camera Control Pro 2 software. Overall, Live View is not as simple, quick or convenient as it is with a compact digicam, but works quite well particularly with manual focus.

Image Quality Evaluation

For initial testing, I used the D300 at default settings: Standard picture style, Auto WB and no exposure compensation. The resulting JPEGs were somewhat soft; for a punchier effect, I simply boosted the in-camera Sharpness and Contrast levels. (Images made in RAW capture are sharper and that aspect can also be adjusted as desired in the converter software.) Because the camera was able to optimize lens performance, the consumer-grade Nikkor 18-70mm and 70-300mm ED zooms produced surprisingly high image quality even at wide apertures.

At its default setting for Sharpness (shown as level 5), the D300 produces slightly soft images but Nikon provides a wide range of user-selectable options for modifying this aspect. A sharpening level of zero may be ideal for Photoshop experts who plan to extensively manipulate their images, but others will probably prefer the results provided by level 6 or level 7 for in-camera sharpening. (JPEG capture at ISO 400, with sharpness at level 7; Hoya Pro 1 D circular polarizer) (c) 2009 Peter K. Burian

Thanks to the incredibly sophisticated Matrix metering system, exposures were often excellent, even with light-toned subjects. With AWB, the overall tone was not always ideal, but that was very easy to solve with a quick WB override. Colors were remarkably accurate, clean and pleasing. For richer, more vibrant photos of colorful artifacts and buildings in the Caribbean, I simply boosted the Saturation level or switched to the Vivid Picture Style. On the other hand, for portraits, the Neutral Picture Style proved to be more appropriate for a flattering effect. While I did not often in black & white mode, the D300 certainly provided a wide range of features for achieving any desired effect.

While TIFF capture mode provides the ultimate in image quality, it does slow the camera's processing speed. Consequently, RAW or JPG capture is usually preferable. This JPEG is one from a series of 10 and all exhibit excellent image quality, suitable for making beautiful 13x19 or larger prints. (ISO 200; f/7.1; Dynamic 51-point AF; Hoya Pro 1 D circular polarizer.) ( c ) 2009 Peter K. Burian

My JPEGs, made at ISO 100 and 200, are silky smooth and very clean; they’re close to perfect with a bit of extra sharpening, in-camera or in post-processing. The quality in RAW captures is even better, making this option ideal for those who plan to make prints larger than 13×19-inches. Digital noise is well controlled making ISO 400 a fine choice for all-purpose use; ISO 800 produces images that are suitable for excellent letter-size prints. Even at ISO 1600, the default level for NR works well, providing adequate noise reduction without an excessive smearing of fine detail. As with other cameras, higher ISO levels are primarily intended for problem-solving in dark locations. The highest NR level does provide smooth images but the blurring effect produces an obvious loss of definition.

While the D300 provides the best image quality at lower sensitivities, ISO 3200 was often useful in low light photography when fast shutter speeds were required. After some judicious application of Noise Reduction in the RAW converter software, the images made for good 8x10 inch prints. (AF-S 70-300mm G ED VR zoom; image converted to TIFF with Adobe Camera Raw software.) ( c ) 2009 Peter K. Burian

In harsh, very contrasty illumination, the camera occasionally overexposed the brightest areas of a scene. Setting a -0.3 compensation level protected highlight detail while Active D-Lighting produced brighter mid-tones and shadows in my JPEGs. Like any feature of this type, D-Lighting made digital noise slightly more visible but saved a lot of time in post-processing in Photoshop or with the less sophisticated D-lighting function in Playback mode. For those who prefer to make corrections with imaging software, the 14-bit RAW option is an even better bet for more highlight/shadow detail. Processing RAW files with the optional Nikon Capture NX software provides a bonus: the level of Active D-Lighting can be modified so it’s just right for any specific image.

Active D-lighting in capture mode must be set in advance so it affects all subsequent images, but the D-light feature in Playback mode allows for greater selectivity. The additional processing can be applied only to specific images that require some modification, at just the right level: Low, Normal, or High that I used for this intentionally underexposed JPEG. ( c ) 2009 Peter K. Burian

The Bottom Line
During extensive stock photography in the Caribbean and during events such as a North American Aboriginal PowWow, I found that the D300 exceeded my expectations. This camera could do everything I could possibly expect and it was unusually fast and reliable with exceptional performance. Although more expensive than average for its category, the 12 megapixel D300 is packed with valuable features and comes closest to meeting professional standards.

The D300 employs Scene Recognition technology that combines data from the Matrix metering and AF systems for superior exposures, White Balance and tracking focus. While the camera occasionally overexposed certain types of scenes, it was unusually reliable in all other aspects. (JPEG capture at ISO 400 with a -2/3 compensation setting; Hoya Pro 1 D circular polarizer) (c) 2009 Peter K. Burian

Image quality is certainly competitive in all respects. The unusually versatile AF system is virtually infallible with AF-S lenses. The 8fps continuous drive mode (with the optional MB-D10) should be fast enough for just about any purpose. Aside from numerous primary features, this Nikon model is also compatible with many accessories: a Wireless Transmitter, a GPS unit for recording photo locations, an HDMI cable for image output to an HDTV monitor, Camera Control Pro software for remote control from a Mac or PC, manual focus lenses (with some limitations) and multiple Speedlights for wireless TTL flash photography.

Some of those extra options will most likely appeal to professionals. If you’re a photo enthusiast, you’ll probably want to upgrade for the other benefits. While an oversized CMOS sensor may be even more appealing, the 12 MP full-frame D700 sells for about $1600 more than the D300. Admittedly, its larger pixels definitely provide image quality benefits at higher ISO especially, but there’s no compelling need for a 35mm size sensor if you own an ultra-wide angle zoom lens. Overall, the D300 is the most desirable Nikon camera — with DX size sensor — that I have ever tested. This model would be a fine choice for any photographer who will take advantage of the 12MP resolution, exceptional performance, great versatility and its rugged, weather resistant body.

Get more information and user reviews for this camera from Amazon: Nikon D300 DX 12.3MP Digital SLR Camera (Body Only)

Specifications – Nikon D300

Sensor: 23.6 x 15.8mm CMOS 12.3 megapixel (4,288 x 2,848) effective; 3:2 aspect ratio
Processor: EXPEED with 14-bit A/D conversion; Lateral Chromatic Aberration Correction and Active D-Lighting; Scene Recognition System
Lens Mount: F-mount for all AF lenses and with limitations, manual focus AI or AI-P lenses; 1.5x focal length magnification factor
Shutter: Electronic; speeds from 30 sec. to 1/8000 sec. selectable; also, Bulb
Viewfinder: Glass pentaprism with nearly 100% field of view; 0.94x magnification; 19.5mm eye point; BrightView Clear Matte Screen II; on-demand grid lines; diopter correction dial and eyepiece cap
Capture Formats: Numerous JPEG options, TIFF, RAW (12-bit or 14-bit), RAW + JPEG
White Balance: Auto and 7 presets, each with fine tuning, Custom, color temperature (Kelvin), WB Bracketing
Focusing: Manual and TTL phase detection AF; 51 point AF sensor with 15 cross-type points and 1, 9, 21 and 51 point options, Single Shot, Dynamic and 3-D AF tracking; automatic or manual point selection; EV -1 to +19 detection range; focus-assist lamp; also, contrast-detect (single AF point) AF available in Live View “Tripod” mode
ISO equivalent: ISO 100 to ISO 6400
Exposure Control: Adjustable Center Weighted, 1005 pixel 3D Colour Matrix II and (2%) Spot metering; 0 to 20 EV range; many exposure overrides; histogram and highlight detail warning in Playback
Operating Modes: Aperture and Shutter Priority AE, metered Manual, shiftable Program Image Adjustments: Standard, Neutral, Vivid and Monochrome picture styles each with parameter adjustment options (filter effects in Monochrome); user selectable NR for long exposure and high ISO; AdobeRGB or sRGB color space selectable
Post-processing Options: D-Lighting, Red-Eye Correction, Trimming, Monochrome effects, Filter Effects, Color Balance adjustment, Image Overlay, Side-by-Side comparison
Drive Modes: Single shot, Continuous framing to 6 fps (8fps with accessory), self-timer
Flash: Built-in i-TTL flash; several flash metering and mode options; flash exposure compensation; flash sync to 1/320 sec.; certain Speedlights support High Speed, Wireless TTL Flash Color Information Communication, modeling flash and flash exposure value lock
Other: Moisture-resistant body; magnesium alloy frame; fixed 3″ wide-view LCD monitor (920,000 points); Live View with MF or two types of AF; depth of field preview; reflex mirror pre-lock; automatic sensor dust removal system; histogram plus highlight warning available; orientation sensor; 48 Custom settings; DPOF compliant
Storage: CompactFlash or Microdrive; UDMA card compliant
Connectivity: Compatible with USB 2.0 Hi-Speed, video and HDMI (HDTV) output, PC cord, remote control and GPS and Wi-Fi accessory
Power: Rechargeable Lithium-Ion EN-EL3e Li-Ion battery; optional AC adapter and Multi-Power Battery Pack (grip) MB-D10
Dimensions/Weight: 5.8×4.5×2.9 inches; 1.82 lbs.
Average Street Price: $1700

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