For me, making money from photography is more trouble than it's worth. I'm fortunate to have a reasonable job which is more stable and more lucrative than any attempt at photography I feel I could make. I don't need the aggro of professional insurance (gear or liability), additional tax responsibilities or the need to pander to anybody else for my photography.

There are innumerate companies out there preying on wannabe photographers, selling all kind of services, 'qualifications', franchises and equipment. Just giving them your email address guarantees huge volumes of spam for years and years. As has been mentioned in this thread, much of the skill will be the business/marketing side as well as the photo side.

I don't want to put anybody off (all circumstances are different), but have a plan before you start, don't rush out and spend a whole load of money without thinking about it and only show really top-notch photos in your portfolio.

I found a very inspirational book on the subject: 'My Mamiya made me a Million' by Kieth Cogman - obviously relates to the medium format film era, but most of book is about the business side of things.

Hi All, I'm looking for opinions on these (I understand I need the hood adapter for the lens converter - I can't see me using it as a hood itself). I'm looking mostly for info on how well it works when shooting - I appreciate there will be some compromise on IQ/distortions, is there a menu setting you need to set?

Any pointers as to where I can them would also help (the lens seems to be in stock at some dealers but the hoods appear to be harder to find.

Regards,

John.

Sadly it's not likely to be about the results, but the fact it's curved (i.e. about to become trendy). Curved Tv screens are dreadful unless you're positioned perfectly. John's right, film cameras with rubbish plastic lenses used a curved pressure plate to make up for the lens aberrations. However, lens design has tanked over the years, based on the premise that your image processing software has a lens profile to correct for the lens used - the designers don't seem to need to bother getting the best from the 'glass' (much of which is plastic of varying quality).

I have to say this is the bit that annoys me. I don't think you build a user base with flash offers way below the usual prices. It may be fine for us who want the brand and happen to be able to justify a rash purchase (I don't believe non-Pentax shooters will be tempted by the offers available to buy an expensive option on an 'instant' deal). CaNikon will always have a better deal or bigger presence. Just give us a good camera at a consistently good price. Pentax marketing historically was superb, it seems non-existent now.

Those are great, very expressive shots and a fabulous use of film (I can imagine some of them difficult to get). I also like the varied subjects and general moods of the sequence.

When I travel I take a 135 (usually an M135/3.5 as it's more compact/lighter than the K135/2.5 and has a built in hood). I don't get to use it often, but it doubles up as a 200mm on the K-5 - which can be handy.

The KX is a fully manual camera - the batteries only power the meter, everything thing else is purely mechanical. Sounds like something is a bit sticky somewhere, possibly related to the mirror lock-up?

This link may describe a similar issue/solution: link


John.

If I had my LX the FA43 would have to go with me, my choice though would be a P67 with 45/4, 75/4.5 & 165/2.8 lenses.

As Karlo mentioned, once you have reasonable lens, technique is more important. 300mm is a long lens on APS-C - especially for large aircraft. Something 400mm+ adds weight, bulk and can become a pain to handle if you have to hold it for long periods.

Concentrate on framing - when going for a tight crop you can easily lose the tip of the tail or wingtips out of the frame. Avoid shake, blurred landing lights immediately emphasise shake and ruin a shot. Keeping on top of your technique is more important than your gear.

If using the 'viewing mounds' at Manchester (small raised platforms), keep an eye on your surroundings - be aware that other photographers may be lining their shots up behind you - try to avoid moving across their sight-line. Once you've got your shot(s), consider whether moving out of the way would help them. When framing, watch for the fence across the bottom of the frame.

Hope this helps.

John.

I'm an old school film shooter mainly, I always* use a good quality filter of sorts (either UV or Skylight). The only exceptions are medium format lenses that I've bought used that would require huge (80+mm) filters** - these can be more expensive than the lenses! It's not about IQ but protecting the front element, I'll shoot in any conditions and having a filter gives me more confidence - cleaning a filter is easier than the front element - and much less risky. Whenever I've not used a filter, some calamity has occurred making me wish I'd use one.

By keeping a filter on a lens, you only need to clean the filter, thus you won't scratch the front element by attempting to clean it. The vast majority of front element damage is caused by incorrect/over zealous cleaning.

* Even my FA 43Ltd wears a filter full time - this is one of the best FA lenses Pentax make, any IQ lost is insignificant compared to most peoples technique.

** My P67 lenses require huge filters - good ones are really expensive, however there's so much surface area that it takes a big scratch to make a significant difference to the results (unless it's at just the wrong angle).

John.

Hi All, I have a SFX AA battery grip for sale - although it will fit the SFXn it is the one for the SFX ('SFX' logo on the plastic part of the grip rather than 'SFXn' on the rubber part). This is the correct 4x AA battery grip (note: it is specifically marked that you shouldn't use NiCd batteries in it). £25 posted to the UK.

Regards,

John.