Product Reviews

The D300 is the successor to D200 and features a new low-noise, 12.3-megapixel resolution Cmos sensor, with sensitivity up to an incredible ISO6400 and a bigger 3in VGA resolution colour monitor. Other tempting features include a 6fps high-speed continuous shooting option, or up to an astonishing 8fps with the optional MD-B10 grip, live view and, for the first time on a Nikon, automated sensor cleaning.

The D300's file size matches the current flagship pro-grade D2Xs and easily interpolates to the 50MB minimum required by many picture libraries. As well as a 14-bit A/D conversion option to the usual 12-bit capture, the maker has added a new lossless compressed Raw file feature to the previously handy lossey compressed Raw choice. Selecting 14-bit Raw drops the continuous shooting rate down to 2.5fps regardless of compression, but at least it's a handy option for use in the studio, where improvements in colour rendition are most likely to be noticed.

Then there's build. Made of heavy-duty magnesium alloy, it easily feels as rugged as the earlier D200 and shares many of the design cues from that and the forthcoming 35mm format full-frame D3. Compared with the Sony Alpha 700, the D300 seems the more heavily metalled and it feels significantly heavier in the hand. Held up to the eye, the image is big and bright, and it's difficult to appreciate the 100% coverage, a feature usually only found on pro-grade cameras. But, there's absolutely no cropping, allowing precise framing right up to the edge of the focusing screen.

Nikon's excellent 11-point AF system has gone. In its place is a new 51-point array, boasting 15 ultra-sensitive cross-points and, at this level, makes

ADVERTISEMENT

rival systems pale by comparison. Adopted by the forthcoming sports-orientated D3 flagship, it resembles arch-rival Canon's system found on the pro-level Eos 1D Mk III, but it covers a larger area and it's customisable for the different subjects. It's mainly action and sports orientated, but if it works well at the side of a track, it will work with less demanding subjects. And it does. It's not infallible, but it's a huge improvement over earlier offerings and, with an AF-S lens, has the slight edge on the Canon system.

When using the huge 3in VGA resolution screen in live view mode, the D300 uses standard phase detection auto-focus, but a useful tripod mode adopts the main image sensor and employs a contrast-detect autofocus system. Although slower than the mechanical phase-detect, it allows the D300 to focus without interrupting the live view. A handy zoom option also permits super-accurate focusing control at any point on the screen, either using AF or manual focusing.

In use, the D300 handles similarly to the earlier D200, starting swiftly and feeling very responsive overall. Sensor cleaning works in the background and can be engaged at start-up, power down or both. We doubt if it's perfect, but we didn't notice any of the distracting particles during our test. In the labs, the resolving power of the sensor is demonstrably higher but it's barely noticeable in real life. Compared with the Alpha 700, noise levels are lower at higher ISOs - quite an achievement considering the similarities in the image sensor.

There's almost a complete lack of the distracting colour noise at ISO3200, and it's still low at ISO6400 where the image shows fine monochromatic grain with still reasonable colour rendition, though there is the inevitable loss of fine detail from smearing. This aside it's a great achievement and puts Nikon ahead of the game.

The only downside is the lack of image stabilisation in the standard kit, though the D300 can be bought with the superb 18-200mm VR for about £1750 (£1490 ex VAT). Although pricier than the Eos 40D and the Alpha 700, the D300 is as close as anyone has ever come to providing a pro-spec APS-C camera in a reasonably lightweight and compact form. It's a seriously great camera and we can easily recommend it.