Two Professions, One Camera
The Nikon D300s by
Kelly Litzenberger
T
echnological advancements in photography over the past few years have caused quite the movement in the media world. Not only have most professional photographers crossed over from film to digital, a new trend is emerging with the recent wave of D-SLRs. Photographers now have the ability to capture high-quality video using the same camera bodies they’ve long been accustomed to, and videographers have a new tool to expand their horizons. Enter the Nikon D300s. Aside from being a prosumer (professional/consumer) powerhouse when it comes to shooting still photographs, this D-SLR also shoots 720p HD video. The use of macro and telephoto lenses with wide apertures along with a shallow depth-of-field creates a narrow focus plane that’s excellent at replicating expensive cinematic lenses for a fraction of the cost ($1000-$2000 for Nikon premium glass, versus Panavision’s $25,000 lenses). Any wouldbe videographer can now produce quality shoots, and in some instances TV and movie studios are choosing D-SLRs because of their quality, size, and affordability. The intro reel for the latest season of Saturday Night Live was shot exclusively with D-SLRs, albeit with a Canon 5D and 7D, but that gives you an idea of the quality this format is capable of.
The traditional video cameras that most skateboarders use cannot match the low-light capabilities of the Nikon D300s, which makes it possible to shoot video with virtually no additional light sources. The in-camera file management also allows you to trim video clips and delete unwanted extras, which saves time at the end of the day. 22
Concrete skateboarding
However, the format’s biggest drawback is the lack of image stabilization, so it’s important to use a sturdy tripod or a dolly track whenever possible for complex shots. As well, an external mic is needed for richer sound since the camera’s built-in microphone only records mono, one-track audio. The D300s is not only compact and light (2.2lbs, including the battery), it’s also compatible with every lens made to work with Nikkor’s F-mount system, which has been in place since 1959. Out of the box, the D300s can shoot sequences at seven frames-per-second, and last long enough to shoot up to a thousand photos on a single charge. With the optional vertical grip/battery pack (MB-D10, MSRP $339) the camera can be pushed to eight frames-persecond – fast enough to capture flip tricks and manny sequences. At a list price of $1549 (body only), the D300s is capable of shooting images sharp enough for full-page printing in magazines, not to mention its ability to film HD video using multiple lenses. Once you’ve shot with a D-SLR like this one, the way you work as a photographer and/ or videographer may change forever. On top of it being a quality still camera, the selective focus allows for a refined look that can’t be matched by consumer video cameras. As well, the low-light capabilities will make you want to film only at night. As technology surges forward, the only limitations will be one’s imagination.
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Visit concreteskateboarding.com to watch Brian Caissie’s Nikon D300s test-footage featuring Derek Swaim, Micky Papa, Cory Wilson, Paul Trep and more…