I've done that and more than once I'm ashamed to say!

You can't, but the K10D will withstand a wipe down from a damp rag...

Eliminate the need for ND filters by making several exposures at the same settings (blur waterfalls and eliminate people from street scenes etc).

Make virtually noise-free images by combining several exposures at the same settings (noise is averaged out of the final picture so you can get down to a virtual ISO 8 or thereabouts).

Use red, green and blue filters on a scene that has both stationary and moving objects over 3 exposures for some funky effects (thanks Don for that one!).

Introduce ghostly images of yourself into any scene (one of my faves!).

Combining different exposures can give a pseudo-HDR result (probably not its strongest suit though).

Storyboard movement (in continuous shooting mode).

And many, many more!

It's one of my favourite features actually.

Hello madactuary and welcome to the forum

Hello and welcome to the forum

Hello Tim and welcome to the forum

Excellent judging Mike and congratulations to all the winners, especially Darkmunk for his splendid triffid!

Firstly, I've never considered my 12-24 as a "landscape" lens - I much prefer the angle of my FA43 for those sorts of shots. So this is it's least-used function (although I have used it for landscapes on rare occassions and its edge-to-edge sharpness never fails to impress).

It does get quite a bit of use as an "event" lens, whether walking round the village fete or the London Motor Show it's pretty much perfect for shooting things where you're forced into being up close to your subjects (take the Motor Show as an example; I wanted a side profile shot of the cutaway of the new Nissan Skyline that was on display, the only way to get a clear line of sight was to press up to the barrier - around 5 feet from the car - so the 12mm end was a lifesaver, 18mm just wouldn't have cut it). Similarly, it's a great street shooter as you can get quite a bit of the scene into the photo and the wide angle of view means people to the side of the frame are unaware they've even got a camera pointed at them - handy for candids!

It's a great "party" lens as it allows you to capture interaction between larger groups of people indoors. This makes storyboarding easier to achieve when the shots (inevitably) get posted on Facebook or similar the following week.

It truly excells as an "architectural" lens, both indoors and outdoors and you can see why ultra-wides are an estate agent's best friend; they make the smallest of living spaces appear like cavernous mansions and are particularly good for shooting in confined spaces such as bathrooms and utility rooms. The very low levels of distortion also make the 12-24 a great lens for QuickTime VR panoramas where there's always a degree of overlap involved (although you'll need a specialist panoramic head for this sort of work).

Finally, as someone who sells the odd car (or three) on eBay I can't imagine how I used to get on without the 12-24! It's amazing just how much impressions of space in (again) interior shots can capture the eye of potential buyers. I also start with my standard 3/4 angle shot from the front of the car, taken with the 12-24 perched at the very top of the tripod (about 6'6" up) and looking down over the bonnet in portrait format. I have to use a mini step ladder to see through the viewfinder but I can make the ugliest motor look glamourous with this trick.

When do I change to the kit lens? I don't. In fact I don't tend to carry the kit lens unless I suspect rain in which case it becomes my non-weathersealed-sacrificial-lamb-lens. The only lenses that are in my bag on a full-time basis are the 12-24/43/77/100 and each has a particular job (or jobs) to do. The 12-24 has certainly earned its place on merit!

Most of my prints are at 6x4 or 7x5 where you'd be hard pressed to see much noise at 1600. I'd probably sing a different tune if I was constantly printing A3+ sizes for exhibitions but I don't, hence the K10D's just fine and dandy for me at any sensitivity.

Gwyn beat me to it - I type too slowly