I find little of interest here marred by the way the foreground leaves interfere with the 'horizon'. I can find no clear focal point. Sorry, I'd bin it.

Pentax simply has to win market share. If it doesn't it will cease to exist. It cannot rely on upgraders, there are not enough. The Pentax hordes are not hordes, they are the few.

The launch price of the D7100 is only really relevant now if the K3 can trump the Nikon. If it is of similar spec and performance then it has to compete on the current price, which is £839 at SRS.

That's the problem when you have to play catch-up. It is only innovation that will win market share. So is there an ace in the sleeve? If there is then it will be a crackingly good sensor as there are no surprises so far.

The only thing I've asked for is a step up in iso performance, high and low. I would be surprised given the extra pixels but that would be the Nikon killer for me, otherwise it seems pretty much on a par with the D7100. So here's hoping Pentax have something up their sleeves. I don't really know what most of the buttons or menu options on my K5 are for, so I've little hope with even more buttons.

Seems like that the video functions have been dragged into the modern world. The video capabilities have clearly been emphasised and the 'HD' lenses now make sense in terms of market positioning, HD being associated with the moxing image.

Some functionality there that is irrelevant to me (eg: headphone socket) as I never use video, so I hope Ricoh have brought their ethos of customisation to this. For example it would be interesting to be able to reprogram the video/stills lever to turn shake reduction on/off which is the only thing I miss from the K20.

A welcome move commercially for the brand nonetheless.

Good stuff all round. 1 & 3 are the class acts here for me. 1 is an overlooked subject but has real character (highlights a little strong?). 3 is beautifully simple but actually a textbook composition that works brilliantly.

Too much of a crop for this image and it limits the foreground which was the intention, but that would have been my approach to the shot.

It doesn't work for me either for pretty much all the above reasons. I like the idea but it just seems an awkward composition. I think
the slightly tilted look is probably down to diverging verticals, maybe the camera was tilted down a little to include more foreground.

I think it would have worked better just concentrating the composition on one pillar. I'd do it in mono too.

I fully agree too. I find it an engaging image, the toddler's connection with the viewer is immediate. And I think it does speak of place too, the emptiness of the road despite the fairly importamt looking building in the background. I would have quibbles about the composition, but street pohotography is more about catching an engaging moment, which this does well. The heavy vignette I am not keen on.

My take would be something like this: