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manaheim,
Please notice that I did not say that about the D200.
I said that the 18-200 lens is a very good all-rounder,
but not pro quality.
Whoops... sorry, man. Serves me right for reading when I'm 1/2 awake. I totally agree, btw... the 18-200 is nice, but definitely not what I would lean on heavily for pro work. Awesome kick-around lens, though.
I had the D200, and it's a very good camera.
The only con I had about it was the noise that "woke up" early
on the ISO scale.
BTW, regardless of how the D300 is commonly considered, I regard
it as a pro camera.
(and quite a few pros use it, as well as the D200 and other models.
The photographer is much more important than the camera.
Incredible photographs were taken, along more than a century, and
most of them were taken with less advanced cameras than we have
today.)
The D300 is limited only by the format (DX and not FX), but for many
uses it is perfectly good.
Just like when I sometimes preferred using a 35mm Nikon, even
though I had both medium and large format cameras at the studio.
The smaller format has its merits & uses.
Another advantage of the D300 is the superb battery time, about
double the no. of pics than the D200.
Yup, I agree on all points. Though as I've told a number of people, I wouldn't dare show up for pro work with a D40 or any of the non Dx00 cameras (or DXs if you can afford them, of course), just because I think it would send the wrong message ... if there is a single soul in the room who knows the gear, you may wind up looking a little funny.