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| Nikon D200 | |
|---|---|
| Name | Nikon D200 |
| Maker | Nikon Corporation |
| Type | Digital single-lens reflex camera |
| Lens | Nikon F-mount |
| Sensor | CCD |
| Res | 10.2 megapixels |
| Released | 2005 |
| Body | Magnesium alloy |
| Country | Japan |
Nikon D200 The Nikon D200 is a 10.2-megapixel digital single-lens reflex camera announced in 2005 by Nikon Corporation. Positioned as a prosumer model between the Nikon D70s and the Nikon D2H, the camera targeted photographers involved with events such as the 2006 FIFA World Cup, 2008 Summer Olympics, World Press Photo contests and publications including National Geographic, Time (magazine), The New York Times photo desks. It competed in markets alongside products from Canon Inc., Sony Corporation, Olympus Corporation, Pentax Corporation and FujiFilm.
The D200 launched amid technological shifts exemplified by sensors used in models like the Canon EOS 20D and firmware approaches comparable to Leica M8 updates. Nikon positioned the D200 to appeal to professionals and advanced amateurs who covered assignments for institutions such as Associated Press, Reuters, Getty Images and outlets like BBC News, CNN and The Guardian. Development drew on engineering practices at Nikon facilities in Japan and manufacturing collaborations similar to agreements seen between Canon Inc. and third-party suppliers. Sales cycles interacted with trade shows like Photokina and industry reviews from magazines such as Digital Camera World, Popular Photography, DPReview and Outdoor Photographer.
Key specifications include a 23.6 × 15.8 mm CCD sensor, 10.2 effective megapixels, Nikon F-mount lens compatibility, a 2.5-inch LCD, and continuous shooting up to 5 frames per second. Metering and autofocus systems paralleled developments in equipment used at events like the X Games and by organizations such as National Football League photographers. The D200 incorporated features familiar to users of the Nikon F5, Nikon D1 and advanced bodies used by staff at The Washington Post and Los Angeles Times. Storage options mirrored industry standards of the era like CompactFlash cards used by contributors to Wired (magazine) and agencies including Agence France-Presse. Communication and workflow integrations were relevant to editorial processes at institutions such as TIME (magazine), Bloomberg L.P. and The Wall Street Journal.
The D200 used a magnesium-alloy chassis and weather-sealing techniques comparable to those in cameras employed by National Aeronautics and Space Administration flight-project documentation and military contractors photographing bases like Camp Lejeune or assets at Naval Air Station Jacksonville. Controls and ergonomics were informed by design language used across Nikon models and competing ergonomics from Canon EOS-1D series and Minolta Maxxum heritage. Viewfinder coverage and pentaprism design echoed optical engineering traditions taught at institutions such as Massachusetts Institute of Technology and Tokyo Institute of Technology. Physical buttons, command dials and monochrome top LCD influenced workflow for photojournalists working with organizations including Al Jazeera, Der Spiegel, Le Monde and El País.
Image quality delivered by the D200 was often compared with contemporaries like the Canon EOS 5D and Sony Alpha A100 in print and editorial venues such as National Geographic Traveler, Smithsonian Magazine, Nature (journal) and Science (journal). Dynamic range, color rendition and noise characteristics were evaluated relative to sensors used in scientific imaging at CERN detectors and visualization labs at Stanford University and University of California, Berkeley. Autofocus performance and metering were benchmarked in sports coverage contexts like UEFA Champions League fixtures and motorsport events such as Formula One Grands Prix, as executed by staff photographers at outlets like Sports Illustrated. JPEG and RAW workflows using converters from companies like Adobe Systems and file handling in editorial pipelines at Reuters influenced acceptance among professionals.
Initial reviews from publications including PC Magazine, The New York Times Magazine, Wired (magazine), Amateur Photographer, Shutterbug, Macworld and online forums such as DPReview were largely positive, praising build quality and feature set while noting competition from Canon EOS 30D and Pentax K10D. Awards and recognitions in industry ceremonies paralleled accolades historically given at events like TIPA Awards and EISA Awards. Professional photographers at agencies including AP Photo Staff, Getty Images and freelancers contributing to Reuters offered field reports from assignments like coverage of the Indian Ocean earthquake and tsunami and political conventions such as the 2008 Democratic National Convention.
The Nikon F-mount ecosystem provided compatibility with lenses and accessories from Nikon and third parties including Sigma Corporation, Tamron Co., Ltd., Tokina Co., Zeiss (company) and Carl Zeiss AG optics used by photojournalists at Der Spiegel and The Times (London). Accessories included battery grips, GPS units used in conjunction with workflows at National Geographic Society field teams, flash systems like the Nikon Speedlight SB-800, remote triggers, and tethering solutions used by studios such as those servicing Vogue (magazine) and fashion houses like Chanel, Gucci and Prada. Third-party manufacturers such as Metz (company) and Profoto provided lighting compatible with editorial shoots for Harper's Bazaar and Elle (magazine).
The D200 influenced subsequent Nikon development evident in models like the Nikon D300 and guided prosumer expectations that affected competitors including Canon EOS 50D and Sony Alpha line decisions. Its role in newsroom, sports and wildlife photography contributed to practices at institutions such as Associated Press, BBC, National Geographic Society and academic programs at Rochester Institute of Technology and London College of Communication. Collectors and museums with photographic technology exhibits, including those at the International Center of Photography and Victoria and Albert Museum, note the D200 as part of a transitional generation between early digital SLRs and modern mirrorless designs championed by companies such as Sony Corporation and Fujifilm. Category:Digital cameras