OK, more help coming up!

G

Yup, Irfanview is what you need.

G

I agree. Why? Because the subject is relaxed and happy and natural.

G

There was no point in producing a flash specifically for the Spotmatic, because at that time all flashguns operated in exactly the same way - the camera closed a circuit, and the flash fired.

Every flashgun fitted with a pc plug or a hotshoe contact would work with the Spotmatic.

G

I should point out that good macro lenses tend to have two other qualities:

1 They are exceptionally sharp
2 The have a very flat plane of focus - with most lenses the "plane" is actually concave. This makes them suitable for document copying, for instance.

G

People who buy and sell lenses prefer to call them by exactly the same name as the manufacturer, in order to avoid confusion. So what I said is what is written on the lens.

Translation

SMC - Super multi coating. This is Pentax's superior 7-coat lens coating system, which was jointly developed with Contax, and explains why Contax and Pentax lenses offered superior flare resistance, contrast, light transmission, colour fidelity, etc..

Pentax - I think you know

-A On a Pentax lens, the suffix relates to the mechanical/electrical/focussing technology in use. An "A" indicates a lens which transmits aperture information to the body, and which can have its aperture controlled by the body. Focussing is manual.

1:2.8 - This is the maximum aperture in optologist-speak. F2.8 to you or me.

50mm - The focal length, which determines the angle of view. On a film camera, it approximates to that of the human eye, on a digital camera it becomes a short telephoto, good for portraits.

The focal length has nothing to do with macro, which is primarily a question of the lens being able to focus on objects which are very close, and which therefore are magnified when you look at the printed picture.

The problem with macro lenses is that in order to get them to focus on near objects, the lens has to be moved much further from the body. This increases size, weight, and cost.

That said, the 50mm is not a big lens by any means.

And why does anything lose half its value when taken out of a shop? This is not a phenomenon unique to lenses.

My lens is manual focus, and 20 years old. So it's not worth as much as
a new one.

Here it is - or at least a similar one. Note how it extends.

http://www.bdimitrov.de/kmp/lenses/primes/normal/A50f2.8-Macro.html

G

It's all right, Drewster. Imitation is the sincerest form of flattery.

Perhaps I can interest you in a nice Pentax macro lens that I am selling?
SMC Pentax-A 1:2.8 50mm, lovely condition, sharp as a razor, and it's certainly not "anything", so you CAN afford it.

And then you'll be a true Pentax user.

G

Have you seen LX prices recently?

As of now, there are only three film bodies which merit serious consideration, in my view. They are the Z1-P, the MZ-S, and a late LX. Prices are now affordable even for those on a budget, so it makes little sense to buy a lesser body.

And I agree that the MX is wonderful, but production stopped in 1985.

By the way, ISO can be set manually on the Z1-P, if I recall correctly.

G

Pentax don't make studio flash equipment.

Elinchrom is a good bet:

http://www.theflashcentre.com/elinchrom-c24.html

For the Pentax UK head, ring Pentax:

01753 792731

G

Better ergonomics/handling
Better construction with weather sealing
Greater variety of "modes" - inc innovative variabe ISO
Very little need to use menus - nearly everything uses knobs or buttons
11 AF points versus 9
More WB options
More exposure compensation (3 stops versus 2)
IR remote
DNG
Made by a camera company
Better lenses
Greater owner satisfaction in DPReview study
DPR give it 9 for value against Sony's 8.5

G