Give the camera shop staff hell for being ignorant nitwits.

You can't do better than a Pentax 135mm f3.5. Super quality, and very inexpensive.

I'm afraid you're stuck with it. Some sellers will describe a lens as "Pentax 135mm lens", even when it's made by Sigma or somebody.

In such a case, the title is misleading, and provides grounds not to pay. In this case the seller has been honest.

$26 is not a huge price to pay for experience, and if you use it away from the sun at f8 the results might not be too bad.

Good luck, and start saving for a real one!

Congratulations.

Do you have any M or K lenses, and if so, how does it handle them?

Also, have you tried the RAW software yet?

George

Sorry, I misunderstood.

I don't know where you are, but Pentax UK is still supplying parts for the Z1-P, and perhaps therefore for the Z1, too.

I have found them very helpful and efficient, and the prices are not totally outrageous.

Unless you have an LX, you should make very sure to keep any Pentax camera out of the rain. Water can get inside in all sorts of ways. The hotshoe is the least of your problems.

Don't lose any sleep over it. They're not vital.

It is a Japanese word which came into common use in the West a couple of years ago.
It refers to the way in which the lens renders the out-of-focus parts of the image, particularly the highlights.
Pentax people tend to consider that many Pentax lenses exhibit especially good bokeh.
It is something that can't be measured objectively, so if your favourite lens appears to do badly in tests for resolution you can fall back on the phrase: "But it's got wonderful bokeh!" to justify your apparently irrational opinion.

The reason there are lots of ME Supers around is emphatically NOT that they don't suit everybody (which is no doubt true), but that they were by far the most popular SLR camera of their time, and sold millions. Being well-made, lots are still going strong nearly thirty years later (unlike some of their owners).

They were deservedly popular, but designed mainly for leaving on auto. If you want a camera in the same vein, but somewhat more flexible, try the Super A.

Experiment with the three fluorescent settings. If none of them work for you, set the balance manually.

You can fool the manual white balance by using a piece of white paper as a target, and scribbling on it with a blue crayon, for instance. The camera will compensate for the blue by adding yellow, and thus giving a warmer colour.

I do this all the time with video.