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Nikon D300s DSLR: Highly recommended by dpreview.com
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Nikon D300s Highlights
| 12.3-megapixel DX-format CMOS Image Sensor Delivers stunning high resolution, low-noise images with striking detail and tonal gradation. Continuous Shooting up to 7 fps High speed shooting and fast response is essential to versatile performance in a wide variety of shooting disciplines. Nikon EXPEED Image Processing Drives breathtakingly rich image fidelity, low noise and fast image processing. D-Movie HD Video Capture cinematic 24 fps, 720p HD movie clips, enhanced by Nikkor interchangeable lens quality and versatility—featuring stereo Mic input and AF |  |
 | 3-inch Super-density 920,000-dot VGA LCD Monitor Every monitor is factory-calibrated to assure accurate color for critical still image review and Live View or D-Movie shooting. One-button Live View Handheld and Tripod Live View modes, activated with one button, for challenging studio and remote shooting conditions. Low Noise ISO Sensitivity from 200 to 3200 Additional expanded ISO settings of Lo-1 (ISO 100 equivalent) and Hi-1 (ISO 6400 equivalent) extend versatility to match shooting requirements. Fast, Accurate 51-point Autofocus Features 4 Dynamic AF modes including 3D Focus Tracking for precise autofocus and razor sharp images. |
| Dual memory card slots (CF and SD) Assign card functions from a variety of storage options, optimizing available memory and file handling. 1,005-Pixel 3D Color Matrix Metering II Nikon's unique RGB metering is the only sensor that also evaluates color information when determining exposures with remarkable accuracy. Scene Recognition System |  |
 | Nikon's Active D-Lighting Optimizes shadow and highlight detail in real time--selectable values and 5-frame ADL bracketing offer complete control. Picture Control Select from 4 preset image capture preferences (Standard, Neutral, Vivid and Monochrome, plus 9 user-customizable settings) controlling Sharpening, Contrast, Brightness, Saturation and Hue. In-Camera Image Editing Exclusive in-camera image editing, featuring Edit move, D-Lighting, Image Overlay, Monochrome, NEF (RAW) processing and more. |
| Rugged and Durable The strength and precision of magnesium-alloy construction with advanced dust and moisture countermeasures is teamed with a shutter mechanism test to beyond 150,000 cycles for real-world reliability. 100% Viewfinder Accuracy Virtual Horizon Graphic Level Indicator Up to 950 shots per EN-EL3e battery charge Shoot as many 2,950 shots with the body's EN-EL3e battery installed and the optional MB-D10 Multi-Power Battery Pack with an EN-EL4a Rechargeable Li-ion Battery. *Based on CIPA standards/guidelines |  |
Product Description
Nikon D300S 12.3MP DX-Format CMOS Digital SLR Camera with 3.0-Inch LCD (Body Only) - 25464
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Customer Reviews
Most Helpful Customer Reviews
527 of 540 people found the following review helpful
By Daniel Neve
Style Name:Body Only
Hello everybody, My name is Daniel and I am about as serious as you can be and still be considered "amateur". I have been taking photos on SLR's since I was 10 years old on an old film Minolta and I bought my first DSLR (a Nikon D50) and since then I have owned everything from a base line Canon XSi all the way up to the the best camera I have ever handled... the D300s. I have operated the D3, D3s, D3x and the top of the line professional $10k Canons, and this is still my favorite ALL AROUND camera. So here is the break down to why I love this camera and I will give you a list of pros and cons. I love this camera for many reasons... [...]... not many people can justify spending another $4,000 (2-3 times the money) when they are looking to spend around $1,500- $2,000 for a good DSLR. So here is the benefits that I see to D300s over the other great Nikon models.
1. if you are into sports the D300s has a higher continuous frame rate than other models including the ever so popular full frame D700. With it's DX sensor it has a crop factor of 1.5 which means more bang for you buck when using a telephoto zoom lens. If you purchase the MB-D10 battery pack it will shoot at even higher speeds of 8fps when using continuous shooting and also allows for up to nearly 5,000 pictures to be taken on one charge (when upgraded battery is purchased). With 51 auto-focus and 3-D tracking you are almost guaranteed to have your subject in focus every time you take a picture. The D300s also features Active D Lighting which makes to so your pictures end up properly exposed so you don't end up with areas of under and over exposure which tend to be common in sports and in shadowy landscape photography
2. Freedom: although all Nikon DSLR's allow you to manually adjust your settings they are difficult to change until you get to the semi-pro D300 model. If you understand f-stops, DOF, aperture, shutter speed, ISO, focus points, light metering and other technical jargon and really want to experiment with all of these then a D300s is the camera for you. with shooting modes including: single, cont. low speed, high speed, timer, quiet, and mirror up mode this camera gives you all the freedom you could ever ask for.
3. Learning: this camera will make you learn the true in's and out's of photography. With the very accurate light meter it's not very hard to get the exposure right. No matter what your ISO and f stop is at.
4. User interface. With the dedicated live view and info button new to the D300s over the original D300 it cuts menu times down significantly however it no longer has the memory card hatch release switch. The D300s includes great features such as custom menus, easy to understand menus with the classic (?) button which will explain every camera function in easy to understand terms. On the fly changes include ISO, WB, Quality, shooting modes, a user adjusted fn button, AF/AE lock, light metering, and af adjustments. So the only limitations are your imagination. Selecting your focal point is as easy as looking in the viewfinder and pushing the directional button and watching the selector move around until you have exactly the right spot selected. With two selectors (one for shutter speed and one for f stop) it allows you to never have to take your eye out out of the viewfinder.
The bottom line (why you would choose this over any other Nikon DSLR):
why you'd choose this over the D90: 51point AF w/ 3D tracking, more fps, control of image adjustments, not much more money for a lot more freedom and creativity, contrast auto-focusing during movies, ability to utilize dual card slots (CF and SD), 14bit RAW, Active D Lighting.
Over the D700: full 12MP when using DX lenses rather than 5MP, more fps, $600-$1,000 less, movie mode, smaller pixels for more refinement at low ISO, 100% viewfinder coverage
Over the D3 and D3x: A ton of money, shooting speed, optimization of DX and FX lenses and movie mode, and built in flash, 100% viewfinder coverage which allows for better framing.
This is a great camera HOWEVER NOTE THE FOLLOWING!!!!!
The D700, D3,x,s have FX photo sensors which allow for a much bigger and brighter view finder, it also allows for a wider view (no crop factor instead of 1.5x like the DX) which means if you want more area in your pictures for such things as landscapes then the D700 or the D3 lineup maybe a better option because a 50mm lens in a DX camera looks the same as a 75mm lens on an FX camera.
The D700 and D3 lineup (minus the D3x) utilize the large FX sensor and still only have a 12MP capacity which means that the pixels are larger which allows for better depth of color, better definition in shadows, and better high ISO clarity. The D300 can go to extended ISO of 6400 however the image quality is poor at best when the D3 can shoot ISO 6400 all day long and look great. The D700 also does better at high ISOs than the D300 does because it has the same sensor as the D3 however the D3 still does better than the D700 at extreme ISOs. However also consider the fact that the smaller the image sensor the larger the depth of field so the D700 and the D3 are better for macro or portrait photography and the D300 will give you a larger DOF equivalent to about one f-stop.
THIS IS NOT A VIDEO CAMERA video is pretty good and the utilization of lenses is a great feature however if you want good video spend the money on a video camera. Even a Flip HD does better. The camera produces good video but it doesn't do well during panning if you plan on putting the camera on a tripod and filming then by all means its fine and with the option for an external mic to give you stereo sound is nice.
When it comes to portability, price, features, weight, usability, image adjustments ect. I personally believe it doesn't get any better I hope this review helped and I hope you get one too and really enjoy it as much as I have. This camera is the best of all worlds. I say save the money from an FX camera and buy a really nice lens or two or three for that matter. Anyway here is the camera of my dreams and hopefully the camera in your bag shortly I promise you'll love it, I know I do.
UPDATE: For all you HDR photographers look no further than the D300s you can easily create HDR photos by selecting "multiple exposures" and then setting up multi-step exposures for + or - EV per exposure and after the exposures are done voila you have a beautiful HDR photo. Keep in mind however: you will need a cable release (I recommend the MC-36) for the multiple exposures. OR take a few pictures at different exposures and overlay the photos in the in camera retouch menu and there you have it perfect HDR photos every time! Goodbye Photoshop (for HDR anyway)
The D300s and flash compatibility: I have noticed almost no one has talked about the fantastic flash compatibility with the D300s over many cameras. I figured it needed to be covered so here it goes: The D300s is a DREAM to work with when paired with any Nikon Speedlight Dynamic Lighting System. My favorite and most frequently used flash is the SB-600 Speedlight which can be wirelessly operated for NO ADDITIONAL CHARGE with the D300s, you just have to know what settings to change. Unlike the D3 which has to either have a hot shoe flash controller unit or an SB-800 ($900) the D300s can operate a nearly unlimited number of flashes wirelessly without any accessories. So if you are like so many other Nikon users and own an SB-600 just push and hold the "Zoom" and the "-" button at the same time until you get to custom menu and cycle through until you can adjust the squiggly Z shaped line and turn it to on and it defaults to channel 3 then either push and hold the "zoom" and "-" button to get out of the menu or just push the power button. Then go to the "Custom Setting Menu" (the pencil) on your D300s and change "e3" "flash cntrl for built-in flash" to the Commander mode and set to channel 3, and pop up your built in flash and there you go...ABSOLUTELY FREE WIRELESS FLASH with perfect exposure compensation every time using a $250 flash unit. Hope it helps someone I know it helped me so have fun and remember to change it back to TTL flash when you're done.
UPDATE #2: I have had a lot of question on why you would get this over a D300 and here you go the main reasons for buying the D300s over the D300 is the designated info button, and live view button, movie mode, designated okay button instead of one crappy directional selector, quiet mode AND dual memory card slots. It's also 7 months newer so you won't have an out dated camera as soon. It also has slightly different menus and new software for shooting modes including landscape, and portrait modes.
1. if you are into sports the D300s has a higher continuous frame rate than other models including the ever so popular full frame D700. With it's DX sensor it has a crop factor of 1.5 which means more bang for you buck when using a telephoto zoom lens. If you purchase the MB-D10 battery pack it will shoot at even higher speeds of 8fps when using continuous shooting and also allows for up to nearly 5,000 pictures to be taken on one charge (when upgraded battery is purchased). With 51 auto-focus and 3-D tracking you are almost guaranteed to have your subject in focus every time you take a picture. The D300s also features Active D Lighting which makes to so your pictures end up properly exposed so you don't end up with areas of under and over exposure which tend to be common in sports and in shadowy landscape photography
2. Freedom: although all Nikon DSLR's allow you to manually adjust your settings they are difficult to change until you get to the semi-pro D300 model. If you understand f-stops, DOF, aperture, shutter speed, ISO, focus points, light metering and other technical jargon and really want to experiment with all of these then a D300s is the camera for you. with shooting modes including: single, cont. low speed, high speed, timer, quiet, and mirror up mode this camera gives you all the freedom you could ever ask for.
3. Learning: this camera will make you learn the true in's and out's of photography. With the very accurate light meter it's not very hard to get the exposure right. No matter what your ISO and f stop is at.
4. User interface. With the dedicated live view and info button new to the D300s over the original D300 it cuts menu times down significantly however it no longer has the memory card hatch release switch. The D300s includes great features such as custom menus, easy to understand menus with the classic (?) button which will explain every camera function in easy to understand terms. On the fly changes include ISO, WB, Quality, shooting modes, a user adjusted fn button, AF/AE lock, light metering, and af adjustments. So the only limitations are your imagination. Selecting your focal point is as easy as looking in the viewfinder and pushing the directional button and watching the selector move around until you have exactly the right spot selected. With two selectors (one for shutter speed and one for f stop) it allows you to never have to take your eye out out of the viewfinder.
The bottom line (why you would choose this over any other Nikon DSLR):
why you'd choose this over the D90: 51point AF w/ 3D tracking, more fps, control of image adjustments, not much more money for a lot more freedom and creativity, contrast auto-focusing during movies, ability to utilize dual card slots (CF and SD), 14bit RAW, Active D Lighting.
Over the D700: full 12MP when using DX lenses rather than 5MP, more fps, $600-$1,000 less, movie mode, smaller pixels for more refinement at low ISO, 100% viewfinder coverage
Over the D3 and D3x: A ton of money, shooting speed, optimization of DX and FX lenses and movie mode, and built in flash, 100% viewfinder coverage which allows for better framing.
This is a great camera HOWEVER NOTE THE FOLLOWING!!!!!
The D700, D3,x,s have FX photo sensors which allow for a much bigger and brighter view finder, it also allows for a wider view (no crop factor instead of 1.5x like the DX) which means if you want more area in your pictures for such things as landscapes then the D700 or the D3 lineup maybe a better option because a 50mm lens in a DX camera looks the same as a 75mm lens on an FX camera.
The D700 and D3 lineup (minus the D3x) utilize the large FX sensor and still only have a 12MP capacity which means that the pixels are larger which allows for better depth of color, better definition in shadows, and better high ISO clarity. The D300 can go to extended ISO of 6400 however the image quality is poor at best when the D3 can shoot ISO 6400 all day long and look great. The D700 also does better at high ISOs than the D300 does because it has the same sensor as the D3 however the D3 still does better than the D700 at extreme ISOs. However also consider the fact that the smaller the image sensor the larger the depth of field so the D700 and the D3 are better for macro or portrait photography and the D300 will give you a larger DOF equivalent to about one f-stop.
THIS IS NOT A VIDEO CAMERA video is pretty good and the utilization of lenses is a great feature however if you want good video spend the money on a video camera. Even a Flip HD does better. The camera produces good video but it doesn't do well during panning if you plan on putting the camera on a tripod and filming then by all means its fine and with the option for an external mic to give you stereo sound is nice.
When it comes to portability, price, features, weight, usability, image adjustments ect. I personally believe it doesn't get any better I hope this review helped and I hope you get one too and really enjoy it as much as I have. This camera is the best of all worlds. I say save the money from an FX camera and buy a really nice lens or two or three for that matter. Anyway here is the camera of my dreams and hopefully the camera in your bag shortly I promise you'll love it, I know I do.
UPDATE: For all you HDR photographers look no further than the D300s you can easily create HDR photos by selecting "multiple exposures" and then setting up multi-step exposures for + or - EV per exposure and after the exposures are done voila you have a beautiful HDR photo. Keep in mind however: you will need a cable release (I recommend the MC-36) for the multiple exposures. OR take a few pictures at different exposures and overlay the photos in the in camera retouch menu and there you have it perfect HDR photos every time! Goodbye Photoshop (for HDR anyway)
The D300s and flash compatibility: I have noticed almost no one has talked about the fantastic flash compatibility with the D300s over many cameras. I figured it needed to be covered so here it goes: The D300s is a DREAM to work with when paired with any Nikon Speedlight Dynamic Lighting System. My favorite and most frequently used flash is the SB-600 Speedlight which can be wirelessly operated for NO ADDITIONAL CHARGE with the D300s, you just have to know what settings to change. Unlike the D3 which has to either have a hot shoe flash controller unit or an SB-800 ($900) the D300s can operate a nearly unlimited number of flashes wirelessly without any accessories. So if you are like so many other Nikon users and own an SB-600 just push and hold the "Zoom" and the "-" button at the same time until you get to custom menu and cycle through until you can adjust the squiggly Z shaped line and turn it to on and it defaults to channel 3 then either push and hold the "zoom" and "-" button to get out of the menu or just push the power button. Then go to the "Custom Setting Menu" (the pencil) on your D300s and change "e3" "flash cntrl for built-in flash" to the Commander mode and set to channel 3, and pop up your built in flash and there you go...ABSOLUTELY FREE WIRELESS FLASH with perfect exposure compensation every time using a $250 flash unit. Hope it helps someone I know it helped me so have fun and remember to change it back to TTL flash when you're done.
UPDATE #2: I have had a lot of question on why you would get this over a D300 and here you go the main reasons for buying the D300s over the D300 is the designated info button, and live view button, movie mode, designated okay button instead of one crappy directional selector, quiet mode AND dual memory card slots. It's also 7 months newer so you won't have an out dated camera as soon. It also has slightly different menus and new software for shooting modes including landscape, and portrait modes.
588 of 635 people found the following review helpful
3.0 out of 5 stars
A word of warning if you're buying a D300S for its video capabilities
August 31, 2009
Style Name:Body Only|Amazon Verified Purchase
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This is a tough review because this camera is so excellent as a still device and easily earns five stars. However, if you're currently a D300 owner looking to upgrade for this camera's new video capabilities you will be disappointed. The unfortunate 'rolling shutter' problem that plagues the video feature on the D90 exists on the new D300s too.
There's a host of technical reasons for this (the CMOS sensor is to blame) but the bottom line for those looking for a great still and video camera should probably not rely on the D300S to be the 'holy grail' of sub $2000 "prosumer" cameras just yet. There is software out there to correct these issues, but it is a bit disappointing that Nikon didn't address this in firmware. Watch my video to see more.
There's a host of technical reasons for this (the CMOS sensor is to blame) but the bottom line for those looking for a great still and video camera should probably not rely on the D300S to be the 'holy grail' of sub $2000 "prosumer" cameras just yet. There is software out there to correct these issues, but it is a bit disappointing that Nikon didn't address this in firmware. Watch my video to see more.
77 of 80 people found the following review helpful
Style Name:Body Only
There are plenty of very good comprehensive reviews here of the D300S here already, so I'm instead of posting another I'm going to attempt to focus on what I see as some of the pros and cons of the D300S versus other camera bodies in the Nikon line-up. The D300S has essentially identical image quality to the $500 D5000 and the now quite old (in DSLR terms) D300 and D90; and it remains a small-format DX camera while the next step up in price gets you a full-frame D700. Even so, my personal choice for the majority of my photography is a D300S rather than any of those alternatives. I have also owned and shot with every other camera mentioned here: all are excellent and I believe all can be considered good values for the money spent in today's market. Perhaps some readers would find my perspective useful.
As far as I'm concerned, image quality from Nikon DSLRs has really been quite excellent at least since the introduction of the D70. Of course there have been all kinds of incremental improvements since then, but comparing anything since the D70 to the funky highlights produced by the earlier D100, for example, makes it clear that we have long since reached the point of diminishing returns when it comes to real, visible improvements in DSLR image quality. In terms of the finer points it will continue to improve, but whether you buy a D5000, a D300S or a D700, the differences between the images you can make with the camera are going to be tiny compared with the differences in how you can use it - with the exception of the FX-vs-DX field of view, which is very important.
What I think most people will benefit from is carefully assessing the features and physical capabilities of the various bodies, considering the types of photography they like to do, and selecting the best match for their particular needs. Budget, of course, enters the equation: but for many photographers the small, light D5000 would be the best choice regardless of budget, while of course others will absolutely require the pro features of the more expensive bodies.
D300S vs D700; DX vs FX - By far the most fundamental issue in camera body selection:
This is the one real difference between the shooting capabilities of any of the bodies I'm writing about here, and it affects every image you make with the camera once you buy it. I would strongly advise readers NOT to look at format as a camera issue, but to look at it as a lens issue. Of course there are differences between the FX and DX bodies, even those closest in specification, and to some degree it's possible to equalize lens selection: but when you begin to look at the practical realities of lens selection for DX vs FX formats, it is immediately apparent that they operate in completely different worlds. I'm convinced that this should be one's primary consideration when choosing a camera, assuming that your budget allows you a choice between the formats.
The heart of the matter is that it really is much easier to make a great DX lens than it is to make a great FX lens. The basic physics guarantees it. The DX format is 2/3 the linear size of the FX format, meaning that, all else being equal, lenses will have to be 3.4 TIMES BIGGER (1.5^3) in FX format to exactly equal the optics on DX of a DX format lens. Because lens design is a matter of careful compromise between many factors mainly size, price, max aperture, zoom ratio, sharpness, and weight; real-world FX lenses aren't made 3.4 times bigger, heavier and more expensive than DX lenses. They are instead made only considerably bigger, with compromises in other aspects of design - so that they must give up some aspect of performance: zoom ratio, max aperture, optical excellence - to achieve their design objectives.
Because of this, there is really no FX equivalent to the excellent 16-85mm VR DX lens (the 24-120VR is a fairly mediocre lens despite being physically larger). Likewise the 35mm f/1.8 has come out being a slightly better lens than the 50mm f/1.4G despite being smaller and lighter (though slower, unfortunately). Many excellent wide zooms now exist for DX cameras at affordable prices, while the selection of FX wide zooms has one choosing between obscenely heavy and expensive excellent lenses and "normally" priced average lenses. This conundrum spans the entire range of available lenses, and it is likely never to change or to resolve in favor of FX because it is driven by the basic physics of optics and their design and manufacture.
For this reason, DX cameras have tremendous advantages if you want to shoot lenses that are reasonably priced, that give excellent sharpness and overall image quality, that have flexible zoom ranges, and that are light and compact enough to transport and use unobtrusively.
FX, on the other hand, will be marketed as the premier format, and I think we can expect that most of the very best lenses made will continue to be FX lenses. Very fast primes, f/2.8 zooms built to pro specifications, long telephotos and the best macro lenses will all be FX. FX lenses can of course be used on DX cameras, but that realization leads to the other FX advantages. While the DX "crop factor" gives DX bodies a presumed advantage in the telephoto range, it conversely gives FX cameras a sizeable advantage within the "normal" ranges most people do most of their shooting at. A 50mm lens on FX equals a 35mm lens on DX in terms of field of view, but allows for much better control of subject isolation than the DX lens. Likewise, a "fast wide" lens on FX such as the new 24mm f/1.4G becomes a much less exotic creature on DX, and probably rather pointless as a consequence. For portraiture, the selection of lenses for FX is wonderful, if expensive, whereas DX shooters must compromise by using lenses not designed for their native format.
For photographers who shoot mostly in the normal ranges, who want to maximize their control of depth of field (especially towards the wide end), who don't mind paying a premium for the most expensive equipment, and who are willing to put up with the weight and the conspicuousness of shooting with pro-level equipment as well as the compromises inherent in FX lens design, FX will continue to be the only option.
There is one more advantage currently in shooting FX, in that the FX sensors are more light-sensitive than the DX sensors, enabling shooting at tremendous ISOs, well above the DX level. This will probably always remain so: the FX sensor is bigger, and can gather more light. Whether this is important to a particular user really depends on the types of photography they like to do, but it should be appropriately factored into the decision. Likewise FX cameras have larger viewfinders, which will probably never be possible on DX cameras: another luxury of FX shooting that does not directly translate to the images that can be produced.
Personally, having been a film shooter in the past, I find my needs more than satisfied by DX bodies, at least for the time being. A selection of excellent, lightweight lenses suffices for the vast majority of my photography, while I can put up with the compromises inherent in some parts of the range, especially for fast wide shooting. I'd like some fast prime lens options in the range of 16-28mm for DX but I can live with their absence considering the cost, both financial and in terms of lost flexibility, of switching to FX.
D300S vs D300 vs D90
My upgrade path went from the D40 through the D90 and D300 and then to the D300S. I loved every one of those bodies except, notably, the D300, which was in some ways a step backwards in comparison to the D90 and which I was never completely satisfied with. I do currently have a D700 as well.
The D90 is still a great camera, affording the vast majority of capabilities of the D300S, the exceptions being the inherent handling and feature advantages of the pro bodies. The D90 is also much lighter and physically smaller than the pro bodies, making it a very pleasant camera to shoot, and I would still be using mine were it not for just a couple of relatively minor improvements that make the D300S worth the upgrade for me. The pro bodies let you define custom setting banks, so that I can switch between different types of shooting easily. Since I do this daily, this is very important to me. Switching from an indoor, tripod-mounted shooting configuration to an outdoor, hand-held shooting configuration on a D90 takes a lot of button presses and a couple of minutes, and there is always the very likely possibility of forgetting to change one critical parameter and not realizing it until it's too late. No matter how serious a photographer you are, if you shoot mostly in similar conditions all the time, or in constantly changing conditions such that pre-defined shooting banks would be useless, then this feature is probably meaningless to you. It happens to be very useful to me.
Likewise the D300S has a couple of features lacking in the D300 that allow for quick settings changes: several shooting parameters (not enough, though) can be changed quickly right on the rear LCD as on the D40/60/3000/5000 bodies, which I find very useful. Also useful, the D300S' function buttons can be programmed to put you at the top selection of a custom-defined menu. Between these two features I can access and change almost any of the commonly-altered settings on the D300S (or the D90/D700) very quickly, while the D300 had me hunting through the menu system for far too long. This alone is a significant upgrade in camera handling for the D300S compared to the D300, and by itself would merit the upgrade in my case. Read more ›
As far as I'm concerned, image quality from Nikon DSLRs has really been quite excellent at least since the introduction of the D70. Of course there have been all kinds of incremental improvements since then, but comparing anything since the D70 to the funky highlights produced by the earlier D100, for example, makes it clear that we have long since reached the point of diminishing returns when it comes to real, visible improvements in DSLR image quality. In terms of the finer points it will continue to improve, but whether you buy a D5000, a D300S or a D700, the differences between the images you can make with the camera are going to be tiny compared with the differences in how you can use it - with the exception of the FX-vs-DX field of view, which is very important.
What I think most people will benefit from is carefully assessing the features and physical capabilities of the various bodies, considering the types of photography they like to do, and selecting the best match for their particular needs. Budget, of course, enters the equation: but for many photographers the small, light D5000 would be the best choice regardless of budget, while of course others will absolutely require the pro features of the more expensive bodies.
D300S vs D700; DX vs FX - By far the most fundamental issue in camera body selection:
This is the one real difference between the shooting capabilities of any of the bodies I'm writing about here, and it affects every image you make with the camera once you buy it. I would strongly advise readers NOT to look at format as a camera issue, but to look at it as a lens issue. Of course there are differences between the FX and DX bodies, even those closest in specification, and to some degree it's possible to equalize lens selection: but when you begin to look at the practical realities of lens selection for DX vs FX formats, it is immediately apparent that they operate in completely different worlds. I'm convinced that this should be one's primary consideration when choosing a camera, assuming that your budget allows you a choice between the formats.
The heart of the matter is that it really is much easier to make a great DX lens than it is to make a great FX lens. The basic physics guarantees it. The DX format is 2/3 the linear size of the FX format, meaning that, all else being equal, lenses will have to be 3.4 TIMES BIGGER (1.5^3) in FX format to exactly equal the optics on DX of a DX format lens. Because lens design is a matter of careful compromise between many factors mainly size, price, max aperture, zoom ratio, sharpness, and weight; real-world FX lenses aren't made 3.4 times bigger, heavier and more expensive than DX lenses. They are instead made only considerably bigger, with compromises in other aspects of design - so that they must give up some aspect of performance: zoom ratio, max aperture, optical excellence - to achieve their design objectives.
Because of this, there is really no FX equivalent to the excellent 16-85mm VR DX lens (the 24-120VR is a fairly mediocre lens despite being physically larger). Likewise the 35mm f/1.8 has come out being a slightly better lens than the 50mm f/1.4G despite being smaller and lighter (though slower, unfortunately). Many excellent wide zooms now exist for DX cameras at affordable prices, while the selection of FX wide zooms has one choosing between obscenely heavy and expensive excellent lenses and "normally" priced average lenses. This conundrum spans the entire range of available lenses, and it is likely never to change or to resolve in favor of FX because it is driven by the basic physics of optics and their design and manufacture.
For this reason, DX cameras have tremendous advantages if you want to shoot lenses that are reasonably priced, that give excellent sharpness and overall image quality, that have flexible zoom ranges, and that are light and compact enough to transport and use unobtrusively.
FX, on the other hand, will be marketed as the premier format, and I think we can expect that most of the very best lenses made will continue to be FX lenses. Very fast primes, f/2.8 zooms built to pro specifications, long telephotos and the best macro lenses will all be FX. FX lenses can of course be used on DX cameras, but that realization leads to the other FX advantages. While the DX "crop factor" gives DX bodies a presumed advantage in the telephoto range, it conversely gives FX cameras a sizeable advantage within the "normal" ranges most people do most of their shooting at. A 50mm lens on FX equals a 35mm lens on DX in terms of field of view, but allows for much better control of subject isolation than the DX lens. Likewise, a "fast wide" lens on FX such as the new 24mm f/1.4G becomes a much less exotic creature on DX, and probably rather pointless as a consequence. For portraiture, the selection of lenses for FX is wonderful, if expensive, whereas DX shooters must compromise by using lenses not designed for their native format.
For photographers who shoot mostly in the normal ranges, who want to maximize their control of depth of field (especially towards the wide end), who don't mind paying a premium for the most expensive equipment, and who are willing to put up with the weight and the conspicuousness of shooting with pro-level equipment as well as the compromises inherent in FX lens design, FX will continue to be the only option.
There is one more advantage currently in shooting FX, in that the FX sensors are more light-sensitive than the DX sensors, enabling shooting at tremendous ISOs, well above the DX level. This will probably always remain so: the FX sensor is bigger, and can gather more light. Whether this is important to a particular user really depends on the types of photography they like to do, but it should be appropriately factored into the decision. Likewise FX cameras have larger viewfinders, which will probably never be possible on DX cameras: another luxury of FX shooting that does not directly translate to the images that can be produced.
Personally, having been a film shooter in the past, I find my needs more than satisfied by DX bodies, at least for the time being. A selection of excellent, lightweight lenses suffices for the vast majority of my photography, while I can put up with the compromises inherent in some parts of the range, especially for fast wide shooting. I'd like some fast prime lens options in the range of 16-28mm for DX but I can live with their absence considering the cost, both financial and in terms of lost flexibility, of switching to FX.
D300S vs D300 vs D90
My upgrade path went from the D40 through the D90 and D300 and then to the D300S. I loved every one of those bodies except, notably, the D300, which was in some ways a step backwards in comparison to the D90 and which I was never completely satisfied with. I do currently have a D700 as well.
The D90 is still a great camera, affording the vast majority of capabilities of the D300S, the exceptions being the inherent handling and feature advantages of the pro bodies. The D90 is also much lighter and physically smaller than the pro bodies, making it a very pleasant camera to shoot, and I would still be using mine were it not for just a couple of relatively minor improvements that make the D300S worth the upgrade for me. The pro bodies let you define custom setting banks, so that I can switch between different types of shooting easily. Since I do this daily, this is very important to me. Switching from an indoor, tripod-mounted shooting configuration to an outdoor, hand-held shooting configuration on a D90 takes a lot of button presses and a couple of minutes, and there is always the very likely possibility of forgetting to change one critical parameter and not realizing it until it's too late. No matter how serious a photographer you are, if you shoot mostly in similar conditions all the time, or in constantly changing conditions such that pre-defined shooting banks would be useless, then this feature is probably meaningless to you. It happens to be very useful to me.
Likewise the D300S has a couple of features lacking in the D300 that allow for quick settings changes: several shooting parameters (not enough, though) can be changed quickly right on the rear LCD as on the D40/60/3000/5000 bodies, which I find very useful. Also useful, the D300S' function buttons can be programmed to put you at the top selection of a custom-defined menu. Between these two features I can access and change almost any of the commonly-altered settings on the D300S (or the D90/D700) very quickly, while the D300 had me hunting through the menu system for far too long. This alone is a significant upgrade in camera handling for the D300S compared to the D300, and by itself would merit the upgrade in my case. Read more ›
Most Recent Customer Reviews
5.0 out of 5 stars
Completed full circle...
I bought this camera back when it was introduced in 2009. My first dslr was the D90 but it wasn't until this D300s that I was blown away buy the powerful focusing system with its... Read more
Published 23 days ago by KamikazeAce
5.0 out of 5 stars
Love my D300s
Did a lot of reading before purchasing this camera. Had a D70s and wore it out; enjoy sports photography and am really enjoying the 7fps!
Published 1 month ago by Michael McCarthy
5.0 out of 5 stars
Suits my needs better than the D7000.
After reading a lot or reviews and comments about this camera and the D7000 I decided to buy this one and have been very happy with it. Read more
Published 1 month ago by David Raum
5.0 out of 5 stars
Awesome
Have used it to shoot thousands of pictures. If only it was a bit lighter. But I guess it would not be as durable if it was made of light material. Read more
Published 2 months ago by Luvembe Kigada
5.0 out of 5 stars
I really like it
I love it !
I have had Nikons for years and this is the best model I have had. One day I will need to get a flash unit that works with the D300S
I have had Nikons for years and this is the best model I have had. One day I will need to get a flash unit that works with the D300S
Published 3 months ago by Jim Sinclair
5.0 out of 5 stars
An Amazing camera
I was impressed with the overall performance of this camera, although I wouldn't recommend it for the technically challenged. Read more
Published 3 months ago by kellydeanledgerwood
5.0 out of 5 stars
Fantastic product
This is a fantastic camera. I have been a Nikon kid since I was 12 (before the digital era). Crisp, clear photos. It has a quiet mode among many other fantastic options. Read more
Published 4 months ago by KMatherly
5.0 out of 5 stars
A GREAT SEMI-PRO CAMERA IT WILL REALLY HELP YOU GROW
I bought this camera 3 years ago and have absolutly loved it. It is a wonderful camera to bring out the photographer in the user. Read more
Published 4 months ago by GROWNUP LADY
5.0 out of 5 stars
Love this D300S
love this camera...I previously had a D90 and the external methods of changing setting and modes on this camera is great... Read more
Published 5 months ago by damcmp
5.0 out of 5 stars
Nikon D300s My Best camera So far
First let me star my review with a camera that I won for the past 2 Years.
Pros:
Great color balance
Great image quality even I don't use pro 2.8 lens. Read more
Pros:
Great color balance
Great image quality even I don't use pro 2.8 lens. Read more
Published 8 months ago by azinheira
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