DSLR Photos: First pics from the new D300

KEH had a Nikon D300 in EXC condition for $79 and, rather than let my D300S substitute for one in my "Class of 2008 Prosumer Shootout", went ahead and sprang for it. It arrived the other day and I charged the battery, put a card in it, popped the excellent 17-55mm f/2.8G DX zoom lens on it, and took it out for a spin.

The 17-55/2.8 is a monster lens but really delivers great results. The 26-83mm equivalent focal length is good for most around-the-neighborhood shooting situations and the f/2.8 maximum aperture all the way out to the long end means it's a pretty fair short portrait lens in a pinch.

As Zed noted in an online discussion, at the time the D300 was definitely the big dog in this class of cameras, easily outselling its crop-sensor competition from Canon, Pentax, Olympus, and Sony.

For a camera that was released towards the end of 2007, it still holds up quite well. You could still do work with this thing, no problem.

Expert Panel

On my list of features usually found on "pro" cameras, after dual control wheels and dual card slots, I mentioned an LCD readout on the top panel.

This was necessitated on Canon's EOS pro bodies as far back as the film days because almost all the controls were set via buttons and control wheels, and the new EOS lenses themselves had done away with physical aperture rings, so other than turning the camera on and looking into the viewfinder, there was no other way to tell at a glance what mode the camera was set to, or what the current aperture and shutter speed settings were.

This is generally not a feature found on the sort of budget DSLRs bought at big box stores for three interconnected reasons:

• These cameras generally have a mode dial that can be read at a glance.


• Budget cameras are most often used by beginners who will either leave the camera in the most automated setting, or perhaps use one of the preset modes like Sports, Closeup, Landscape, Portrait, or whatever. They are unlikely to fiddle with aperture or shutter speed.


• Therefore, like leaving off that second control dial, omitting the LCD screen makes the camera cheaper. 

Of my "Class of 2008" prosumer cameras, the Canon EOS 40D, Nikon D300, Pentax K20D, and Olympus E-3 all have LCD readouts on the top panel. Only the Sony a700 lacks one.

DSLR Pics: Straight-out-of-camera JPEGs from the Sony a700

The Sony 16-50mm f/2.8 lens is downright petite when compared to the Canon EF-S 17-55mm f/2.8 IS or the Nikon 17-55mm f/2.8 G lenses, but it still gives really excellent results. (It's an inch shorter and nearly a half pound lighter than the monster DX Nikon pro glass.)

The a700's sensor is modern enough that ISOs as high as 800 or 1000 still give pretty acceptable results.

Grip Gripe

If you're gonna build a grip into the body of your DSLR camera, like most every manufacturer does, I feel like it should be deep enough that I can let my arm hang by my side and the camera will dangle with just my fingertips in the grip, even with a fairly small lens on it. (If you've got some monster telephoto hanging off it, any camera will do that.)

With the small lenses that I have for it, the Pentax K20D will not do that. I has a sad.

Dual slot? Maybe not!

The second on my list of "pro features" after dual control wheels was dual card slots, although in the year 2008, that was still generally found only on the top models of most lineups.

The 1D Mark III and 1Ds Mark III each had one Compact Flash and one SD card slot, but the contemporary 5D Mark II only had the CF slot. Similarly, Nikon's pro D3 had a brace of CF slots, but the D700 only had the one.

Stepping down from full frame to crop sensor, the Canon EOS 40D and Nikon D300 only had one CF slot. Likewise, the Pentax K20D, which was the top digital Pentax of the time, had a lone SD card slot for storage.

Only the Sony a700 and Olympus E-3 had a pair of card slots among the cameras in this tier, but that's for a specific reason. See, both Sony and Olympus had their own in-house memory card formats, so their DSLRs had one slot for Compact Flash and one for Sony Memory Stick (on the a700) or xD (on the E-3).

The card slots on an Olympus E-3

Unlike the dual slots on the pro Nikon and Canon cameras, you couldn't record to both of these cards at the same time, it was strictly one or the other.

It wouldn't be until later, in cameras like the Nikon D300S and D7000 that Nikon let dual card slots trickle down, and Canon users had to wait for the 5D Mark III and 7D Mark II.

Dead Format Bonus

Sony discontinued their A-mount DSLRs (all basically evolved Minoltas) back in 2012, and the A-mount pellicle mirror SLT cameras not too many years after, so that leaves the A-mount an essentially dead letter.

Used prices on fairly high-spec glass are dirt cheap. That 16-50mm f/2.8 in the picture? Less than two hundo. I found a Sony DT 16-80mm F3.5-4.5 ZA Carl Zeiss Vario-Sonnar T*, which listed for nearly thousand bucks new, for barely over a Benjamin used.

Of the cameras in its class at the time (Canon EOS 40D, Nikon D300, Pentax K20D, and Olympus E-3), the Sony a700 was the only one without an LCD panel on the top plate. Interestingly, like the Pentax and Nikons, it also has a focus motor in the body, allowing it to use older autofocus lenses.

The 12MP sensor has enough resolution that you can get away with a bit of cropping, too.

MGA snapped with the 16-80mm lens. Cropped somewhat.

Dual Wheels

When Canon did away with aperture rings and shutter speed dials on their EOS film cameras, they replaced them with a pair of control wheels on the camera body. Nikon held on to aperture rings a bit longer, but put dual dials on its F5 and later high end cameras.

This is still a hallmark of enthusiast and pro cameras.

While Nikon and Canon both hoped that the buyer of a Rebel or D40 would get bitten by the photography bug and move up the corporate product ladder, they also knew that a lot of people who grabbed a DSLR kit at a big box retailer did so because they were about to take a honeymoon in Europe or a Caribbean cruise or take the kid on her first trip to Disney World and decided that they needed a Real Grownup Camera™to do so...and very likely that was all it would ever be used for.

One dial was cheaper than two, and if the photographer never left the more automated settings like Auto or Sports or Landscape or whatever, it would only ever get used for menu navigation.

If the budding photographer ventured into Aperture Priority or Shutter Priority modes, one dial would still be adequate. It was only when they decided to try Manual mode that it became a hassle.

As an aside, when I first got back into photography, I lamented the loss of aperture rings and shutter speed dials, but having gotten the hang of dual wheels, I recognize their superior utility in being able to adjust settings without having to pull my eye away from the viewfinder. The only downside is that you can't tell at a glance what the camera's settings are...sorta. But that's for the next post.

What is "Pro"? What isn't?

What is a "pro" camera? The flippant answer would be "any camera that takes pictures which are then sold for money", of course.

As a marketing term, in the DSLR era the "pro" camera body was used to signify the big cameras with tough, weather-sealed bodies, built-in vertical grips and enormous batteries that were marketed to working photojournalists.

At the other end were consumer grade cameras that put more emphasis on affordability and ease of use than ruggedness, a full feature set, and cutting edge specifications.

In between these two...but closer to the former than the latter...are those "prosumer" bodies I was talking about the other day.

What are their defining features? If I had to make a list...

• Dual control wheels, so that in Manual mode you have one for aperture and one for shutter speed.
• Dual card slots (although not always)
• An LCD readout on the top panel (although not always)
• Rugged, usually metal, body
• Weather sealing
• A pentaprism, rather than pentamirror, viewfinder

What they don't have is a built-in grip, and they usually lack the latest and greatest technology that the pro bodies have. Historically they had more cost-conscious crop sensors.

Canon's 7D is practically the type specimen.

DSLR Pics: Cars with the Pentax K20D

So I had the Pentax K20D out for its inaugural outing of car-spotting, even though the DA 16-45mm f/4 lens is a little short for the task, being a rough equivalent of a 24-70mm lens on a full-frame body.

The Samsung-made 14.6 megapixel CMOS sensor gives a little leeway for cropping if necessary, so it wasn't that much of a hindrance. Pentax has an 18-135mm f/3.5-5.6 zoom that was shipped as a kit lens with some of their nicer crop sensor DSLRs and is therefore available for a song on the used market. I might pick one up for comparison purposes.

These were shot in RAW and run through a quick auto JPEG conversion in Photoshop.

Retro Shootout?

Remember how I was talking about the "prosumer" grade crop sensor cameras the other day? In the 2007-2009 period, that would have meant the Nikon D300, the Canon EOS 40D, and the Olympus E-3. It also would have included the Pentax K20D, which had full weather seals and a plastic shell enclosing a rugged metal chassis.

I don't have a D300 anymore, having traded it in on a D300S, which is basically the same thing, but with dual card slots and video, but I do have a 40D and an E-3.

Hey, you know what you can get really cheap on the used market these days?

A Pentax K20D with a 16-45mm f/4 zoom lens

That DA 16-45mm F4 ED AL lens came out in 2003 and was one of Pentax's first digital-specific zoom lenses and, like the camera itself is available for a song because there are newer and cooler alternatives. Altogether the whole setup was a couple hundo at Used Photo Pro.

Getting an old fave some exercise.

One problem with being an inveterate hoarder of old cameras is sometimes they fall out of use for a bit.

Love those Peak Design Slide straps.

Yesterday I realized hadn’t had the D7100 out to play for some time.

I could tell this was so because when I turned it on to check the battery, it was quite low. Swapped it out for a fresh EN-EL15 and, sure enough, the most recent pics on the card were of Halloween decorations in the neighborhood.

I have three cameras that use EN-EL15 batteries (this one, plus the Nikon 1 V1 and the D800) and four batteries, so every now and again a little battery rotation dance happens.

Anyway, I got it charged up and headed out to lunch.

I was glad I brought it!

A 24MP APS-C DSLR still feels pretty modern to me. It's hard to believe these things came out a dozen years ago now.

The Sweet Spot DSLRs...

Back in the 2000s, when full-frame sensors and all the various tech that was packed into full-house pro bodies from Canon and Nikon made them eye-wateringly expensive, both manufacturers produced a line of cameras that used rugged and weather-sealed bodies combined with APS-C crop sensors and a slightly less-than cutting edge feature set.

They wound up getting called "prosumer" bodies, but cameras like the Nikon D200 or the Canon EOS 40D were as often as not used by professional photogs and serious amateurs who did photography as side gig and couldn't justify a $4,000-$5,000 pro body.

A Nikon D200 with battery grip mounted.

As sensor prices dropped and the full-frame craze spread, these cameras kind of lost their niche.

Starting with the EOS 60D, Canon's two-digit crop sensor cameras lost their metal body shells and weather sealing, with the pro-grade crop sensor torch getting passed to the then-new 7D, whose single-digit moniker made no bones about its target market.

Nikon let the D300S linger unchanged for years and actually abandoned the category for a while until the D500 debuted in 2016. 

I really like these on the used market because they're great values and built like tanks.

DSLR Pics: Indiana State Fair with the Nikon D3

These photos are from the 2021 Indiana State Fair Pioneer Village, using a Nikon D3 and the 24-120mm f/4 VR zoom lens, which is an excellent and versatile all-purpose walking-around lens.

Dating from 2007, the D3 is quite long in the tooth, but it was Nikon's top-of-the-line pro body until it was supplanted by the D3S in late 2009.

It's got all the features you'd expect from a pro DSLR: tank-like build quality, full weather sealing, dual CF card slots, and 9 frames per second burst mode.

You can click on all these photos to see them in their full 12MP glory.

DSLR Pics: Tractors at the State Fair with the Nikon D700

These are from the 2019 Indiana State Fair, using a Nikon D700 and a basic, inexpensive 24-120mm f/3.5-5.6 VR zoom lens.

Despite dating to 2008 and having "only" a 12MP full-frame (FX, in Nikon-ese) sensor, the D700 is still an extremely viable camera. They're built like tanks and there are examples running around out there with seven-digit shutter counts.

Mirrorless Pics: Around downtown Indy with the Olympus PEN E-P5

These were all snapped with an Olympus PEN E-P5 wearing Panasonic's little 20mm f/1.7 pancake standard prime lens.

Lenses I Live By: The Short Portrait

Portrait lenses tend to be longer than standard primes, since this allows taking photos without having to be all up in the subject’s grille, as well as exaggerating the effects of focal length compression to not cause the subject’s features to look distorted.

The “short” portrait focal length range, in my own personal lexicon, runs from about 75mm to 105mm, in full-frame terms. (I use “full-frame terms” because the 35mm format spent something like fifty years establishing itself as the lingua franca of normie photography jargon.) 

Most of the camera systems I use have a lens that falls into this category. For instance, the Nikon 1 system, with its little 1" CX-format sensor, has the 1 Nikkor 32mm f/1.2, which has the equivalent focal length of 87mm.

Nikon 1 V2 & 1 Nikkor 32mm f/1.2

Moving up to Micro Four Thirds, there are some pretty slick choices. Panasonic goes with 42.5mm focal lengths, which is an 85mm equivalent, in an inexpensive f/1.7 version and a bucks-up Leica Nocticron-branded f/1.2. Olympus, on the other hand, favors the 90mm equivalent 45mm focal length. They, too, offer a spendy f/1.2 PRO lens, but the M. Zuiko Digital 45mm f/1.8 is so compact, light, and inexpensive that it's the one I choose.

Things are similar with the Fujifilm X-mount ecosystem. There's a honking big 56mm f/1.2 portrait lens, but again, the bargain is the XF 50mm R WR "Fujicron", for its compact size and value pricing.

Fujifilm X-T2 & XF 50mm f/2 R WR

For my full-frame Canon DSLRs, I count on the EF 85mm f/1.8 for this task.

Canon EOS 5DS & EF 85mm f/1.8

DSLR Pics: Sports Cars with the Olympus E-510

The 10MP Olympus E-510 was the immediate successor to the E-500 as Olympus's midrange Four Thirds DSLR. It replaced the eight megapixel Kodak CCD sensor of the earlier model with a ten megapixel Panasonic Live MOS sensor, and was the first Oly DSLR to offer Live View as well as in-body image stabilization.

It's a compact little camera, roughly comparable to a Canon Rebel XTi; a little wider, a little shorter, and an ounce lighter. The difference comes in the lenses, since even a high performance zoom like the Zuiko Digital 12-60mm f/2.8-4 is about the same size as an 18-135mm EF-S travel zoom for the crop sensor canons.

First pics with the Leica Digilux Zoom...

So, I've got a Fuji-branded 32MB SmartMedia card in the Digilux Zoom. With image quality set to "Fine", which is 1280x1024 pixels, that gives me 46 images worth of capacity.

While that resolution is comically low by today's standards (your typical 24MP camera is more like 6000x4000), remember that in 1999 most folks were still looking at images on 1024x768 pixel CRT monitors and those photos were being transmitted via dialup modems as often as not. A 760k image file was big.

I have white balance set to auto. 

The Leica's ISO is fixed at the native 125; even in Manual mode you can't change it. Indoors shots obviously require flash.

The screen washes out in sunlight. Fortunately it also has a tunnel-type optic viewfinder.

Badge Engineering

Leica's first attempt at entering the consumer digital market happened in 1998 with the Digilux, a 1.5MP camera that was a re-badged Fuji.

In late 1999 it was replaced with the Digilux Zoom, a similarly reskinned Fujifilm MX-1700 (also known as the Fujifilm FinePix 1700 in the U.S. market.)

The Digilux Zoom boasted a Fujinon 6.6-19.8mm f/3.2-5.0 zoom lens, which combined with the crop factor of the 1/2.3" CCD sensor to give an equivalent focal length range of 38-114mm on a 35mm camera, which is a useful all-in-one zoom length.

While the body was a solid-feeling construct of aluminum and magnesium, the control layout was haphazard and the opposite of ergonomic. 

The camera used SmartMedia cards to store images and had no USB ports, so you'll need a SmartMedia-compatible card reader if you want to download images.

I'll play with this thing a bit and write an actual review.