Well, that figure is specifically the shutter, IIRC, but the point still stands.

There's got to be a reason for a slowdown. How rigorous have you been, Nathan, comparing the two?

Well mine's up to about 11,500 now. I haven't noticed any deterioration so far, touch wood.

How much slower is 'much' slower? Was the change sudden, or gradual?

They really shouldn't pack up at 16,000 actuations. If this were typical, it would be a strong argument for changing brands, but I bet it isn't.

Not to mention the purple fringing.

If there's a K30D with these features, say, middle of next year, it might be a good time to upgrade from the K10D for me.

Meanwhile, I'm with John - the '10 is fine for now, and the '20 isn't a big enough leap forward to place it ahead of another lens or two, or maybe a lens and a second AF540.

I know a girl who's a professional Focus Puller in the film industry.

She basically follows the camera about, adjusting the focus manually and continuously.

She has to know what's going on in the movie well enough, to know what the cameraman's pointing at, and what needs to be in focus, and adjust in real time.

All this without, would you believe, looking through the viewfinder.

You don't have your location specified, so we don't know where you are, but that's easy to fix. So I would suggest this:

Find someone with a K10D who is confident that their body and lenses are focusing properly (preferably someone that's actually confirmed it with the focus test chart).

Meet up with them, and adjust your camera to a couple of their lenses.

Then you'll be confident that your camera is correct, and you'll be in a position to evaluate your lenses.

Finally, buy the person who's helped you several beers, or alternate preferred tipple.

I like it. Made me laugh.

I suspect the sun was sinking (or rising) behind the trees in #21. That cyan banding is typical of the clipping you get when blue sky is overexposed, but not enough to completely burn it out to white. There's a bit of it too in #18 and #19.

I've ruined many an otherwise good shot by doing that, and I've never figured out how to fix it convincingly after the event.

I like the first and last in this series; I quite like the composition of #2 but not the light (not enough contrast), and the yellow branch in the right foreground is a bit distracting.

There's humour in #11, which I like, but the dog is too close to the edge of the frame to make the most of that.

Overall, I think there are a number of interesting elements (shapes, contrasting colour details) which suggest a lot of good ideas, but the implementation of them seems a little chaotic. My overriding impression (having seen his black and white work, much of which I like very much) is that that colour isn't yet a medium with which Cosmin feels really comfortable.

All true, with a static subject.

Not, though, with one that's running around.

Although perhaps the latter doesn't count as 'simple' flash photography.

I'd say exactly the same.

I like the way the dissonance between B&W and colour makes it more three-dimensional. Having the crossed beams in the middle as B&W too adds to this.

There's a touch more work needed to complete the colour removal in places, though, I think.