For Sale:
MEII winder (boxed with instructions): works as expected: £25 posted to the UK.

MX Winder (intact battery cover screw): works, although the foam that holds the batteries tightly in place has disintegrated (doesn't cause a problem except the batteries often have goo on them when you take them out.

Two -3D M series viewfinder diopter correction lenses (in original packaging) - designed for the M series cameras, these fit the viewfinder accessory grooves for many later cameras (often hidden under the eye-cup on modern cameras): £10 each posted to the UK.

John.

Thanks LennyBloke, apparently it's a P6x7 lens cap 'type C', a push on 100mm diameter cap that I'm looking for.

John.

Hi All,

I'm looking for a P67 Super-Multi-Coated 35mm Fisheye lens cap, info for either where I might find one or the part number would be appreciated. I can't seem to find a model number anywhere.

John

I can see the merit of a photo tour, and given the right tour, wouldn't necessarily mind the expense. I'd be a bit cautious unless you know who the leaders would be and their experience, but their local knowledge should get you to the most scenic locations. I wouldn't expect much in the way of camera handling advice, but some tips on landscape photography would be helpful.

I'm not too keen on the idea of a group of photographers tumbling out of a mini bus, all setting up their cameras in the same spot, pointing in the same direction and snapping the same shot (some of the CaNikon guys shooting at 10fps, Leica M uses shooting with their lens caps on, 'blad users trying to unjam their lenses...). Or the prospect of communal chimping back at base.

If it's an expensive or 'once in a life-time' kind of trip, I'd be looking to take the best camera I could, possibly trying to rent a 645Z or similar. I'd be taking my P67 outfit and a lot of film.

The Gripstrap FDP must be very rare - when new they were ludicrously expensive given they only add a bit of bulk and a wrist strap to the camera. The attachment of the normal shoulder strap to the top of the wrist strap is also a bit awkward. They massively improve handling of the camera (especially if you have largish hands), I wish you well on your search.

If you're shooting weddings for payment, just buy either the 15-30 or 24-70 (or both), don't even think about it. Bearing in mind even a 24mm is usually wide enough on FF. A couple of weddings should fund a new 15-30 (if not you're probably not charging enough). You should be aiming for the best option before you ruin someones special day.

I have the FA20-35/4 - I've only used it on film - but it's wide enough for anything I'd want to use it for.

I'm with Algi on this one. Software licensing can be a real can of worms, without knowing the specifics of any licence restrictions, it's very difficult to blame Ricoh/Pentax. The instructions on the link provided sound like a hack to me, something that is likely to be outside any licence agreement. They're limited in what they can do/advise by their need to remain within their licence agreements, no doubt this is (and rightly so) 'company policy' rather than disinterest/lack of knowledge.

Ricoh/Pentax have to abide with whatever their licence agreement(s) state. They need to supply software with the cameras, they have decided it's better for them to supply by licensing via a third party instead of developing their own (a hugely expensive and time consuming task).

As photographers who value (and in some cases fight to retain/enforce) our copyright, it is hypocritical to castigate a camera company for protecting their licensed software providers copyright.

Looks a beauty - remember the golden rule: If you take the prism off, you must remove the lens before putting the prism back on. You risk breaking the meter chain otherwise. You can change lenses without removing the prism though.

Take your time loading the first few rolls (sit down comfortably if you can), it can be fiddly at first and bulk/weight of the camera may catch you out if you're not paying attention. Don't worry if the 'Start' arrow on the film backing paper doesn't line-up exactly with the mark inside the back 'close-enough' is usually enough (otherwise you may lose a frame off the end of the roll). Be gentle with the frame advance lever - guide it back into the 'stowed' position - don't let go and let is snap back.

Check the strap lugs are secure and stick the strap round your neck.

Enjoy shooting it (and don't worry about shooting it handheld if you want to).

John.

Sounds like a sticky mirror (similar to the LX).

Particularly this bit - I don't know if it's a DIY fix - you may need to follow Womble's advice regarding repairers.

John.

There was a significant shift when digital arrived, combined with easier ways to publish promotional material (i.e. PDF's and websites). Previously you not only needed good photography, but a good printer/publisher to layout and print the leaflets/flyers. Many companies felt they no longer needed photographers for product shots when you could snap one digitally and whack it on a website.

Estate agent photos of houses were part of the bread and butter of many pros, they were the only ones with super-wide lenses and the contacts to print the right sized wet prints to stick on the particulars. Digital changed that as there was no need for a photographer (the photos were rubbish by comparison but much cheaper).

Now every man and his dog has a DSLR, many companies get by by using an employee with a camera, quality of the shots is not important as most end up on social media, hardly worthy of excellent photography, These days it's not even a camera but a smart phone.