I use the harman lab for mono and peak for colour. In both cases I go for the low resolution scans because the higher res scans are much more expensive, even when ordering at the time of processing.

Interest expressed in the early M 28mm. I also have a broken AF280T flash (doesn't charge), free with any of the above.

For sale some M and A lenses. All have snappy apertures, no fungus, slight dust and in good condition unless stated:

Early SMC M 28 f/2.8: Good condition, comes with generic caps. Smooth focussing ring. £40 posted to the UK.

Late SMC M 28 f/2.8: (A style focussing ring) Good optics, has slight click on focussing ring at about 0.6m. Comes with generic caps: £35 with UK postage.

SMC A 28mm f/2.8: Good optics but the focussing ring is stffer than many would expect. Generic caps: £50 with UK postage.

SMC A 50mm f/1.7: Good condition, generic caps: £45 with UK postage.

Pentax P30 (original version not N or T): Everything but the self timer works: £15 with UK postage.

Payment by PayPal (gift), bank transfer or cleared cheque.

I don't understand why there's so much discussion about Pentax and 'mirrorless' (horrible term as loads of cameras don't have mirrors). Pentax may not make a mirrorless interchangeable lens system (apart from the Q) in the same way very few make medium format systems. I'd much rather have the option of a medium format option than a 'me too' mirrorless system.

If Pentax did make a mirrorless system, there'd be complaints whether they went for an FF or APS-C option. The Nikon S7 (the flagship one) received an under whelming review in AP - a D810 equivalent that was less responsive with slower AF. Canon's doesn't have IBIS (keeps there IS lens sales up) and Sony couldn't even build a lens mount that was light tight.

If you want mirrorless go out and buy one, take your pick whether it's size, weight, AF, EVF or video. Personally I prefer medium format (film & digital) and would much rather cart round my P6x7 or 645D than anything else (both get more use than my K-5 or K-1). Life's to short to wait for something that might not appear or might not meet your expectations when it finally does.

I don't trust the plastic snap together buckles on various op tech straps (6x7 bodies) and tie-wrap them closed for security.

Doesn't help that most SR44's advertised online are actually LR44's. Only a few specialist suppliers seem to get it right.

That's a belting shot, love the processing. Personally I'd crop it tighter taking the face on the left out, a bit off the top and the other Sousa out from the right.

The trombone player is holding a tuning slide used to finely adjust the tuning of or draining it. Unless he's holding the rest in his other hand,he must have mislaid or dropped it.

I work nearby (helps as I have more opportunities for flat water) and have shot the Lowry quite a lot. I have used a 'travel' type 4 section tripod a few times without problem, working quickly and setting-up away from the crowds. A big heavy 'pro' tripod or shooting from somewhere where you're likely to cause an obstruction/trip hazard or hanging around might attract more attention.

I have been collared shooting the D handheld - as long as it's for personal use they don't seem to mind. There are usually lots of people taking photos, occasionally with tripods.

An earlier shot than the one with the K-1, this one's with the D from Feb - this time I caught the lights in their 'lilac' phase (they cycle every few seconds). Again blessed with a flat calm canal. The linked image on Flickr is larger.

645D, FA 645 33-55 @ 50mm, ISO 200, 3s @ f/8:


The Lowry Theatre (lilac) by John Halliwell, on Flickr

Love the variety and 'in your face' feel to them. The 150mm focal length isn't something I've tried on the D (I bounce between the 6x7 135/4 & 165/2.8 not seeming to find either ideal). I may have to try one, thanks for demonstrating its capabilities.