Nikon D300S

Color (14.98)

The D300S performed very well in our color accuracy testing. We shoot the X-Rite ColorChecker chart under bright studio lighting with each of the camera’s preset color modes, analyze the test photos using Imatest software and score based on the mode that comes closest to reproducing the known chart colors precisely. In this case, that was the neutral Picture Control Style, which delivered spot-on saturation (barely a hair over 100%), and exceptionally accurate blues, reds and greens. Only the yellow values were significantly off the mark. More on how we test color.

The chart below shows actual-size crops from test photos taken with the D300S and several other interchangeable-lens cameras we’ve chosen for comparison purposes, each in its most accurate color mode.

Camera Color Comparisons					Expand
	Ideal	Nikon D300S	Canon EOS 7D	Nikon D5000	Panasonic Lumix DMC-GH1	Sony Alpha A550
Dark Skin
Light Skin
Blue Sky
Foliage
Blue Flower
Bluish Green
	Ideal	Nikon D300S	Canon EOS 7D	Nikon D5000	Panasonic Lumix DMC-GH1	Sony Alpha A550
Orange
Purplish Blue
Moderate Red
Purple
Yellow Green
Orange Yellow
	Ideal	Nikon D300S	Canon EOS 7D	Nikon D5000	Panasonic Lumix DMC-GH1	Sony Alpha A550
Blue
Green
Red
Yellow
Magenta
Cyan

NOTE: Because of the way computer monitors reproduce colors, the images above do not exactly match the originals found on the chart or in the captured images. The chart should be used to judge the relative color shift, not the absolute captured colors.

As seen in the graph below, where longer bars indicate higher scores (and more accurate results), the D300S outperformed all but its brand mate D5000 in this test.

Color Modes (3.00)

The D300S uses the tried-and-true Nikon Picture Control System to manage color reproduction settings. which includes adjustments for sharpening, contrast and brightness along with saturation and hue. Unlike many Nikons, the D300S comes with only four presets, one of which is monochrome. Fortunately, Picture Controls are highly customizable by the user, either in the camera or using computer software, and additional options can also be downloaded and installed easily.

In our testing, we found the standard mode pumped up saturation about 10% over the ideal and shifted blue and red values noticeably, while maintaining roughly the same skin tones and other color hues as neutral. Vivid pumps the saturation up to 134% and produces distinctly more vibrant red, magenta and blue, as you’d expect from a mode called vivid.

The chart below includes same-size crops taken from our D300S test shooting in each color mode.

Color Mode Comparisons				Expand
	Ideal	Neutral	Standard	Vivid
Dark Skin
Light Skin
Blue Sky
Foliage
Blue Flower
Bluish Green
	Ideal	Neutral	Standard	Vivid
Orange
Purplish Blue
Moderate Red
Purple
Yellow Green
Orange Yellow
	Ideal	Neutral	Standard	Vivid
Blue
Green
Red
Yellow
Magenta
Cyan

NOTE: Because of the way computer monitors reproduce colors, the images above do not exactly match the originals found on the chart or in the captured images. The chart should be used to judge the relative color shift, not the absolute captured colors.

White Balance (6.80)

Our white balance testing includes shooting with the camera set to Auto, and after taking a custom white balance reading, under three different lighting conditions. The D300S results were underwhelming, though it’s worth looking at the specific strengths and weaknesses involved. Compared to the Canon 7D, for example, the Nikon auto white balance system was less accurate, particularly under fluorescent lighting, but the Canon disappointed in our custom white balance testing, scoring just 2.10 to the Nikon’s 4.33. The Nikon D5000, on other hand, did well on auto and proved highly accurate after taking a custom white balance reading, receiving the top score in our comparison group. More on how we test color.

Automatic White Balance (9.27)

While the auto white balance system handled daylight quite well, and the D300S was about as flummoxed as most cameras we test when trying to cope with incandescent lights (i.e., your typical tungsten light bulb illumination), and its mediocre color reproduction under fluorescents lowered the camera’s overall score.

Only the Panasonic GH1 had readily visible problems adjusting to daylight illumination. Incandescent lighting is consistently the bane of auto WB systems, and the D300S is no exception. We’ve seen problems handling fluorescent lighting when testing several Nikon cameras, and the D300S maintains this tradition.

Custom White Balance (4.33)

Taking a custom white balance reading brings the incandescent light problem found in shots taken using the auto WB system under control, while producing good results under fluorescent and daylight illumination. However, we expect a very high degree of white balance accuracy from an SLR after taking a manual reading, and while the D300S results are fine, they hardly shine.

When taking both auto and custom white balance performance into account, the D300S lags the field in overall white balance score.

White Balance Options (10.50)

In addition to the auto white balance setting, there are a dozen preset white balance values, including 7 different fluorescent settings.

Most of these white balance presets can be fine-tuned along the amber-blue and green-magenta axes. Fluorescent settings are adjusted by choosing one of the seven bulb types.

White balance can also be set by entering a color temperature value in degrees K (from 2500-10000), or by taking a manual white balance reading. The procedure for taking a reading is not in any way intuitive but, once you’ve learned the secret code, it works fine. With the white balance system set for’Pre’ (which stands for Preset Manual, unlike all the other Presets that could be shortened to ‘Pre’), you hold down the WB button until the ‘Pre’ in the control panel and viewfinder start blinking. You then have six seconds to aim at a neutral gray or white object and press the shutter. If all goes well, the word ‘Good’ will blink in the display. If there’s a problem caused by lighting conditions, ‘no Gd’ will flash. Up to five manual white balance readings can be stored. It’s also possible to copy the white balance setting from a photo stored on the current memory card.

White balance bracketing is available on the amber-blue axis (green-magenta values are unaffected). Multiple JPEG versions of the same shot are stored, each with a different white balance setting. Up to 9 variations are possible, with increments of 5, 10 or 15 mireds.

Long Exposure (8.72)

Our long exposure testing didn’t reveal major flaws in the D300S performance, but it didn’t match the results we found shooting with the Canon 7D or the Nikon D5000 in either color accuracy or image noise at slower shutter speeds. We shoot the ColorChecker chart at a low 20 lux illumination level, with long exposure noise reduction turned off and on, at a range of speeds from 1 second to 30 seconds. For the D300S, long exposure noise reduction kicks in for shutter speeds slower than 8 seconds. More on how we test long exposure.

Color values don’t change significantly as shutter speeds increase, which is an important consideration. Unlike many cameras we test, long exposure noise reduction does have a significant impact when shooting with the D300S.Overall, though, we found higher image noise at slow shutter speeds than for most of our comparison cameras, which maintained image noise below 1%.

The long exposure score for the D300S is acceptable but not impressive when compared to other SLRs, including the less expensive D5000.