Digital Stll SLR cameras - Message Board/Guestbook

1. From : cda (radhiah_ahmad@yahoo.com)
Url : http://radhiah.fotopages.com
Date : 04:35 PM Friday 18 January, 2008

Hi, I'm looking for second hand D40/D70..Anyone interested to sell off theirs? Do update.. thanks..

2. From : Peter Camen JR. (prefer@nomail.com)
Url : http://
Date : 02:07 AM Wednesday 16 January, 2008

Next, does the firmware upgrade can significantly improve the image quality ? if it doesn't can I ask why and what do they offer with the older version ? Just curious what are they meant for compare with an old version.

3. From : Peter Camen JR. (prefer@nomail.com)
Url : http://
Date : 02:06 AM Wednesday 16 January, 2008

Are the new Nikon D80 still having no info inside viewfinder ? I am having a couple of old lenses 24/2.8, 105/2.5, 180/2.8ED and love to try out on the digital SLR.

4. From : Jwoods (centrutywoods@noSPAM.com)
Url : http://
Date : 12:44 PM Tuesday 08 January, 2008

Jay (ibcom@onebox.com)is a co-maintainer for MIR's PENTAX LX board, recently he posted this and I find it interesting and share with all of you. the original post can be accessed via:

http://www.mir.com.my/rb/photography/hardwares/messageboard/pentaxlxmsg/index.php

"....The raising of the bar. There is no question that the new full 35mm frame top of the line DSLR Nikon and Canon entries raise the bar of options, features, and imaging expectations for professional users. Outdoor Photography Magazine has also, in some recent writing there, clarified that 10MP and upward DSLR cameras are in many ways better than film cameras for image capture, uses, processing, and true fidelity. The sole surviving advantage of film emulsions remains being of the transparency glow and color range capacity of these finest grain films--which time will tell if these new bar raisers can take on. Although, with the advent of HD, some movie making enterprises have converted to totally digital originations, most continue to produce on film stock for location shooting (with plenty of interrelated digitized on set imaging processes occurring while shooting and viewing results). Special effects have gone totally digitally based.

Present early indicators are that the raised bar still DSLR top two do and will take on present film advantage realities, and offer some greater advantages for the working shooter. Reviews of the D3 Nikon state that the highest ISO ranges, never prior offered on DSLRs, are usable and relatively noise free in all shooting modes. Hence, the Nikon does not come with an onboard popup flash unit. The burst rate is 9 FPS. Canon and Nikon colors schemes and resulting color depth are applauded.

Sensor and in camera processor combinations offer fresh advantages, with higher burst speeds, and almost no noise, as mentioned. Nikon has chosen a 12MP sensor of its own design, Canon a 22MP. In the past the standard was that when a 20MP DSLR camera is offered, good bye to film, for even the finest grain applications. Here, with the new bar as raised, the image quality differences are not yet apparent, but soon will be; as the Nikon sensor offers larger pixel receptors, hence, larger light value reception across a given scene zone dynamic range accompanies its 12MP sensor choice. As has been discovered with point and shoot digital cameras, the small sensor sizes increasing available megapixel counts do not necessarily grant increased image quality (IQ); in fact, because of light capture color issues, some MP increase can lessen image quality over lesser sensor MP counts with their design-related smaller pixels being necessarily conformed to a smaller sensor pixel size used for lesser light on the individual sensor pixel capture. The key to digital imagery then is how the camera's digital imaging system deals with scenic light and color challenges, while rendering smoothness, sharpness, contrast, color, and detail. New basic digital image file encoding and decoding compression formats will now emerge as important to these challenges, including those now recently developed from Microsoft and Apple.

Naturally, LX users are primarily interested in their own positive experience of camera,film, and support system ergonomics and resulting image quality. This has something to do with the then evolving dialogue which one can read on this site from the past over the tradeoffs which emerged as the DSLR came into its own. in 2004 and 2005 the great majority of post processing for prints and image duplicates was accomplished by that industry for film users, which shifted in 2006 to a large digitally based imagery processing majority. The obvious reason was that the IQ of sensors and in-camera image processors had finally reached acceptable quality for most users. Who can dispute the fast ability to change color, tone, and exposure values post shooting? Large prints no longer had visible noise and artifacts. The variables digital imaging coming into its own added to the photographers' pallet are legion and wonderful.

The light sensitivity of the LX meter continues to be a user advantage, as well as its coupling with all past K, M, A, F, and FA (non FAJ) optics. This means full interactivity with all optics listed, except for autofocusing, which some do not like anyway. Film quality development increased over time to increasingly offer many advantages to the 35mm format over some traditionally larger format applications. The lens arsenal and small systems components available being the most appreciated difference, with increasing image quality, along with user on location applications of full camera systems. But DSLRs and digital bridge cameras had by 2006 increased location use advantages for digital image originations as well.

The color range availability of fine grain transparency film is a landscape photography advantage over most DSLR camera systems at least for now (depending on final use of the image, the new test results and comparisons of these top of the line cameras mentioned from Nikon and Canon not withstanding). Coupled with a latest Nikon or KM film scanner there remain applications of these 35mm film small camera system components film image size advantages for creating up to a 200MB 16 bit color depth created file. This currently holds, depending too on final image uses and applications. Publishers past demand for a 50MB original file is now moot over many other imaging applications realities.

Computers CPU processors for image file use advancing to quad core file handling speeds (FYI Intel has created an 80 core processor model, without the heat and insulation problems associated with silicone processors, and AMD a 16 core model with an other than silicone heat insulator)--even in the present core processor 64 bit very limited software versions--will change how we view color depth and capture in the next few years. There is great potential for 64 bit machines moving to deal with the fantastically complex encoding and decoding image file manipulation challenges for all file information for imagery which emerges from digitally achieved greater scenic color depth than 16 bit depth for image file post processing. Currently imaging software is limited by its at the most being available for 32 bit computers and 16 to 24 bit color depth processing.

Still, the present trade offs between detail, color, and sharpness--in image origination and file processing between the camera's chromanance and luminance image bearing digital image adjustments--will be enlarged as greater camera image and computer processor core bit image file addressing software is made available. Although we currently may dislike how much of such software is unavailable for the latest Maces, and for Windows Vista, these too have raised the bar for what will become achievable through digital imaging post processing as color depth image file schemas become more complex and improved. I cannot tell you for me how often Photoshop CS's image adjustment features, such as the curves adjustments, have introduced acceptable tonal outcomes in what might have been otherwise flat artifical light renders via original digital photography (and saved the day's results). I do not yet know how bright and beautiful these two new professional so-called full frame DSLRs images will be, but, I suspect, very much so.

The Pentax K10D has won many deserved awards, and now seems to be emerging like the proven Pentax 6MP DSLRs, usable only for less than professional outcomes: as may be required for the most pressing professional on-time applications since the introductions of the newer full frame bodies from the top two manufacturers. It seems that even Globetrotter will be keen to use the D3 for its shooting speed and image quality--as is achievable without flash. It should breathe new life into his lens kits, and long built-up for field use nature applications camera system choices. Mico too must be anticipating a long life with Canon as it offers continuing professional systems upgrades.

For those of us who do not require the fastest burst rates and an array of long focal lengths for sport and field uses at great expense, we anticipate the new Pentaxes with their appreciated build quality, and proven handling quality establishments for the long run. The first Pentax DSLRs are mostly still being used as fully functioning. I wonder too if Pentax DSLR developers might not take a practical and marketing look at reintegrating the full primary KAF mechanical linkages into its new DSLR releases, in order for the millions of optics past made and owned to be enthusiastically incorporated into whatever offerings they will grant the advanced user from its systems, past, present, and future? How to leap ahead or up to the raised bar for professionals and advanced users alike certainly might consider such a lens mount re-integration into at least one newer Pentax DSLR camera body offering. Reviewers of the new Nikon and Canon full frame DSLRs often mention the large numbers of present and past optics both manufacturers have offered. In this regard even Sony/Minolta is no slouch. Regarding my recent lens summary DSLR AF body application writing on this site, a speed advantage could be gained for the uses of all K mount forward uses, as well as an extremely large preexisting advanced user lens asenal, if Pentax DSLR designers consider the practical advantages they could offer through a KAf lens mount reintroduction....". --Jay

5. From : Morgan (morgan_kok@amail.com)
Url : http://
Date : 02:05 PM Friday 04 January, 2008

Fuji S2 Pro right ? Check the lens compatibility chart at the mid/ottom section of this link:
http://www.mir.com.my/rb/photography/companies/Fuji/Fuji-S2pro/specS2pro.htm

6. From : ken kisty (kenkisty@yahoo.com)
Url : http://
Date : 10:52 AM Thursday 27 December, 2007

Can anyone let me know a list of lenses compatible with The Fuji S2 Pro SLR? I know the Tamron Di but what about the Nikon DX?

7. From : James HH (nomaiul@nospam.com)
Url : http://
Date : 02:28 PM Monday 10 December, 2007

Basic Spec of the new Nikon 300 (where yours belongs to the last category of "Non-CPU AI NIKKOR":-

Lens Mount:- Nikon F Mount with AF coupling and AF contacts
Compatible Lenses

1) DX AF NIKKOR: All functions possible
2) D-/G-type AF NIKKOR (excluding IX NIKKOR lenses): All functions possible (excluding PC Micro- NIKKOR)
3) AF NIKKOR other than D-/G-type (excluding lenses for F3AF): All functions except 3D-Color Matrix Metering II possible
4) AI-P NIKKOR: All functions supported except 3D color matrix metering II and autofocus
5) Non-CPU AI NIKKOR: Can be used in exposure modes A and M; electronic range finder can be used if maximum aperture is f/5.6 or faster; Color Matrix Metering and aperture value display supported if user provides lens data

Personally, I feel the D300 has a wider compatibilities of older Nikkor (AF/MF) lenses than the D40(x). For those who wants to read more on the basic specification of the Nikon D300, click and paste this link:

http://nikonimaging.com/global/products/d300/spec.htm

8. From : Kaiserimam (kaiserimam@journalist.com)
Url : http://
Date : 02:21 PM Monday 10 December, 2007

I have an FE2 and an FE camera. can i use their lenses on D300

9. From : Ken (private@nomail.com)
Url : http://
Date : 04:43 PM Friday 07 December, 2007

This was posted by Mr Yap at a page or two below that explained partially of your Q:

"...guide/use of manual focus Nikkor lenses on Nikon Digital SLR cameras is there. Higher end models offers excellent backward compatibility with MF Nikkor lenses. Newer models doesn't show exposure data even if they can be used in certain exposure modes or some entry models such as D40 - it even don't accept MF Nikkor. Nikon Europe has the spec sheets that says f0r the 10Mpixels Nikon D40X:

Nikon F mount with AF coupling and AF contacts Type G or D AF Nikkor
1) AF-S, AF-I: All functions supported,
2) Other Type G or D AF Nikkor: All functions supported except autofocus,
3) PC Micro-Nikkor 85mm f/2.8D: Can only be used in mode M; all other functions supported except autofocus,
4) Other AF Nikkor (Excluding lenses for F3AF)/AI-P Nikkor: All functions supported except autofocus and 3D Color Matrix Metering II,
5): Non-CPU: Can be used in mode M, but exposure meter does not function; electronic rangefinder can be used if maximum aperture is f/5.6 or faster. (IX Nikkor lenses can not be used).

If I didn't read it wrongly, the part on the G-Spec AF Nikkor was not fully supported as it will revert AF back to MF was a joke ! I can understand older MF Nikkor may not be fully compatible as the camera was an AF camera. But the AF-D and AF G behavior is something that I cannot accept....".

From what I understand, D80, D70(s) can accept the older Ai (minimum spec - for non -Ai lenses, you need to modify to Ai) Nikkor lenses and still be able to take pictures at M and Aperture Priority AE mode; however, Nikon strangely didn't designed the camera to show the info on the LCD, that is all. - Ken

10. From : Protap Dutta (protapdutta@gmail.com)
Url : http://
Date : 05:27 PM Thursday 06 December, 2007

I HAVE NIKON FTN camera with normal & 2.8 wide lenses. Now I want to have one Nikon D40, D40x, D80. I like to know will those LENSES WILL FIT THIS NEW DIGITAL CAMERA BODY.

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