There are technical limitations everywhere in photography. From formats to camera types through everything else in between. You can stack the deck in your favour (larger formats, superb prime lenses, better sensors etc) everything else is a compromise.

You have to trust your gear. If you don't feel it's good enough, you need to trade it and replace it. Find something better. Don't be held back by its limitations, it'll only frustrate you in the end.

Once you trust your gear, you can use it as you feel necessary to get the shot you want, knowing that your gear won't let you down.

I appreciate you might be stuck with putting it in the container, but I'd strongly recommend you look for another solution. I presume you have checked, but some airlines may offer more hold baggage allowances for people emigrating.

If not I'd consider putting it in Peli cases (depends how much kit I suppose): link or similar and try to sell on the cases when they get there if necessary.

John.

I've just found these lying around on my hard drive having forgotten I'd even taken them. Shot with my Optio S in Sept 2006:



A-4 Skyhawk by John Halliwell, on Flickr



S3 Viking by John Halliwell, on Flickr



A-7 Corsair II #2 by John Halliwell, on Flickr



F2H Banshee #2 by John Halliwell, on Flickr

A few more here: link

John.

Completely agree, there are so many variables that need to be considered before determining if the results are as desired by the photographer. Sometimes the gear you have, the environment and circumstances you're in mean you can't get the shot you want at the quality you're aiming for. You have to decide whether to shoot it anyway or not bother (less so now you can delete it later).

I've missed so many 'one off' grab shots and messed up a load more, that I'm insulated against it now. Sometimes you're just not going to get the shot, but without the dynamism of the moment, sometimes it wouldn't be interesting enough either.

John.

PM received and pending payment etc.

I should point out this isn't one of the outfits that Jessop sold, it was bought as individual parts. There aren't any stands, but the brackets will fit standard tripod 1/4" heads.

Not strictly Pentax but I hope it will be tolerated.

For sale, as a job lot of Portaflash heads, brollies and bits'n'pieces.

NOTE: These are mains powered flash heads and I've only used them on medium format film cameras and don't recommend using them on either AF film SLRs or DSLRs - do so at your own risk.

These were sold as studio portraiture gear, I doubt they'll be up to that (maybe head & shoulders), but should be OK for still life type sets.

Series 3:
2x 336VM heads - 36Gn (100J), variable output (full, half, quarter), modeling lamps (not variable but you can put in lower wattage bulbs) sync cords, built-in slave.

Link to a review of one of the outfits that used these heads: link
2x 30" silver/white reversible bounce brollies (one needs a spoke end re-attaching).
1x 30" white shoot through brolly.
1x diffuser - clips onto head.
1x Soft box - 300mm x 300mm x 220mm
1x Colour filter set - red, orange, green & blue
2x brolly/head brackets
1x Snoot with honeycomb

Series 2:
1x 213W - wideangle head Gn13 (25J) - useful for lighting backgrounds.
1x ES mains power socket/lead for above.
1x Colour filter set - red, orange, green & blue.

Misc:
1x twin light bracket
1x Portaflash Studio Lighting Guide
1x Portaflash leaflet

I'm looking for £85 including UK postage, cleared cheque, bank transfer or Paypal with fees.

John.

I've got one of these, the only problem is that it's a bit difficult to put a body with longish lens attached because of the arrangement of the padding dividers and the strange 'D' shape of the bottom compartment. I used to carry my Sigma 70-300 in its case (using its belt loop) on the waist strap.

I haven't called it P-mode since buying my Z-1 (*), which along with the K-5 have been set to either 'M' (as in Hyper-Manual aka one-shot-program mode) or 'P' (as in Hyper-Program). Both of these are basically the same as hitting the green button in 'M' gives you the other and then spinning the dials gives you Av or Tv. Choosing the program line is a minor consideration as it's so easy to override it anyway.

More difficult is the metering pattern setting, preferring spot for 'M' and multi-pattern for 'P', but when you really want a grab shot, using spot means you may need to press AE lock too and re-compose.

* I'm still amazed the Z-1 did all this 20yrs ago, in that once in Hyper-Manual one button press (IF) set the program line, then hit AE lock and it holds that setting, then spin either dial to turn it into one-shot Av or Tv - changing one setting to balance the other. It's an incredible user interface whilst giving you complete control if you want.

The Z-1 certainly supported it with FA lenses.