eddes

I better understand your question.

 

In theory Lightroom should be able to do it, or at least get close.

If I look are the General-Punch preset it boosts Clarity and Vibrance, you could also add Saturation. Then play with the HSL setting. You have lots of control there. Way beyond me ability to use.

 

Another possibility is to try Nikon NX. One of the advantages tooted for the new D300 is that it uses the processing algorythms from Capture NX. There are not the same as the D80's processing but they should be trying to get the same "Nikon look". So it may resemble more the D80 results. If you can get a demo copy. it would be worth the try. Nikon would tell you NX will give the best result.

 

Finally you could save both a jpg and a Nef. Then use the former as a target from the latter.

 

Good Luck

Edmond

Raw is RAW. The only settings that are affected are shutter speed, lens opening and iso setting. Some other info is also put in the file such as white balance recommendation.

 

In your camera, the color settings and all the other settings determine how your camera cooks the raw to make a jpg.

 

The beauty of raw is that you can choose how to cook your pictures later in the process and some adjustment choices are better done during cooking. For example color balance is best achieved during cooking not after the cooking is done.

You need to make the settings such as "vivid" in your raw converter software using it's tools.

 

Have fun Edmond

All cameras eventually die. I personally I would like a D300 to replace my D80 and I know exactly why. I do a lot of table top photography and I am tired of climbing a ladder to see through the viewfinder. Depending on what type of photography you do a D80 or D300 will make no difference or a huge difference. Quite frankly. If you have to ask here. Make more pictures, the issues you encounter will give you your answer.

If you don't have any obvious issues...

Edmond

Hi Daniel

 

I see by your profile that you are using digital. The zone system is used to understand how luminance "zones" in the scene you see in front of you translate to print "values" by systematic control of exposure, negative development and printing. Understanding how the range of light levels and are mapped into a final print and how to control that mapping, to get the result you want, is universal.

 

But the mechanics describe in the zone system books are for B&W negative film. One of the basic premises in the zone system is to expose for shadows and develop for the highlights. This works for film.

 

You need to be careful because in digital, the world is upside down (actually more like positive film like slides). You need to expose for the highlights and post process for the shadows. Also, you have access to all sorts of new capabilities like exposure bracketing and combining images in post processing to work with. There are also elements you should master to get the best results like using raw files and sharpening that are totally alien to the film word.

 

I suggest you learn about zone and values and then go elsewhere to learn about how to process in digital. The luminous landscape is a great place to start.

 

Good Luck

 

Edmond

I use my D80 with the Sigma 50-150 f2.8 and the 10-20 f4. I have no problems with either and get great results.

 

Edmond

Szarkowski is the place to start. His "The photographer's eye" has recently been reissued and can be found at amazon. It is his treaty on why photographs are good: The thing itself, The Detail, The Frame, Time and Vantage point. 10-12 pages of text and 150+ pages of great examples.

Looking at photographs is more about the history of photography and should be on your list.

 

I you like landscapes then you should follow with Ansel Adams, Yosemite and the range of light. Than check out Eliot Porter and David Muench

 

Good Luck and Have Fun

 

Edmond

Hi

 

I am no expert on printing on vinyl but i do know that

 

1) Photo Inkjet printer inks depend on a surface that is very porous to absorb the very liquid ink. Things like micro ceramic refer to the holes in the surface coating to accept the ink.

2) Vinyl is not porous.

 

I doubt seriously that a B9180 would work.

 

A company called vutek makes printers for vinyl (but they are huge) for exterior billboards. Maybe someone there could point you in the right direction.

Many people use silkscreen to print on vinyl (with thick ink.

I found this on the web http://www.data-labels.com/258100vinyl20.html they claim vinyl labels on a laser printer.

 

Good luck

 

Edmond

I put those two on my short list because my "local" supplier (vistek in canada) has Elinchrom, Profoto, Speedotron. Speedotron does not have a kit to start and their compact units seam less interesting. BTW by local I mean 1000 miles away. So it is difficult to go see some units.

 

Thanks

 

Edmond

After a year of experimenting with an inexpensive continuous light kit, I am

ready to step up to some serious stuff. I cannot stand the heat anymore and want

more that my 2x500 watt tungsten lamps can give me and more color consistency.

 

I mostly do an still lifes (80%)with the occasional portrait.

 

I want to buy either elinchrom style 600RX or profoto compact 600 plus. I am not

sure which to buy. They both have a kit with 2 units to get started.

 

I do like the variable focus of the profoto. In the future, I will probably be

matching what I buy now with photoflex softboxes and other accessories.

 

I believe the elinchrom has a greater range of power adjustability.

 

Any thoughts on one or the other. I find the Profoto sexier but they are

certainly better reasons to pick one or the other.

 

Thanks Edmond

Hi Micheal

 

Amazon.com has a few variations of digital photography for dummies in stock. Read the reviews and choose one.

 

Welcome to photography and remember have fun

 

Edmond

I can understand why this does not suit the astrophotography community. But if I were in Nikon shoes, I would also concentrate on pleasing 99.9%+ of their market. But I would try to allow the feature to be turned off. This goes to show, Raw is not pure sensor output. At the very least A/D has to happen.

I don't want to quibble but the zone system was invented by Ansel Adams and Fred Archer.

I believe the expression is "expose for the shadows, develop for the highlights" at least that's what I always heard and can be found in abundence on the net

 

Edmond

Here is the link to the reference to on-sensor A/D converters for the D300. I did not find a reference for the D3 but I am certain it is the same case.

 

I quote "All-new 12.3 effective megapixel Nikon DX-format CMOS image sensor with integrated A/D converter and the increased bit precision of selectable 14-bit NEF (RAW) output"

 

see http://nikonimaging.com/global/products/digitalcamera/slr/d300/index.htm

I am not sure about the wolverine. I looked onto using an ipod as a storage device. Transfer from camera to iPOD drains the batteries and is very slow. By the looks of it, the wolverine is more a music machine than a picture machine. The first look on CNET, IMHO, is not impressive as a picture machine. I have a friend that has an Epson P-3000. He is happy with it. There is now also the P-5000. I believe this is what the pros use (or an actual laptop).

A lot of people talk about full frame versus DX frame as a big advantage. It does make a difference if you have a stable of full frame lenses they will still work the same with a full frame. That 17-55 f 2.8 is really made for a DX size frame. Most of the others advantages attributed to a 5D such as lower noise, I believe, comes more from having the A/D converters on the sensor chip and from the space to have more pixels. With the technology getting better all the time (Nikon has moved it's A/D converters to the sensor chip on the D3 and D300) the proof of the capability of the D300 as a low noise machine is coming out. The D3 being even lower usable the 1600 iso easily. Just like micro lenses in front of the capture sites has eliminated the advantages of CCD versus CMOS.

At this level of body, you need prime lenses and heavy tripods to really see a difference.

Other factors come into play which may have more impact. I find the Nikon dual wheel control much more intuitive (but that is me) and I would certainly look into the gorgeous 900 thousand pixel screen to better show images to clients. Good lenses are more important. The 18-200 is not so hot.

Of course Canon will not sit still. They will improve the 5D.