As per the first two answers, both right in their slightly different ways.

The 18-135mm will cost less and is a very, very useful lens. I use it perhaps 95% of the time.

I'll give you an updated picture in the Gallery in a few minutes.

Well, made to simulate live on stage anyway, but Louise was performing for a studio shoot for ADAPS members. More details on my EPZ Blog, but here's a couple of samples, shot with the K-5 and either 43mm Limited or 18-135mm WR lenses.

Have a look at the Billingham Hadley range. Compact, slim to the body and room for a tablet as well.

Well done for trying things out in a practical way, rather than relying on theory! Glad you had fun, you've found out what the lenses will do for you as well.

The Pentax 1.4x converter works just fine, producing excellent results even though in theory it's a bit dark at f/5.8.
We have two Pentax 55-300mm lenses, one SMC and one HD, and both work equaly well.

Sue and I will be going, but which day we don't know yet.

The F series 17-28mm fisheye zoom might be useful as well. I use my 10-17mm quite a bit on the K-5.

December 1977 and some real information in a double page spread. For once, the case is being laid out for the benefits of the MX.

I'm back in now, so time to look closely at the seven images and select that winner.

Exercises like this are always interesting, because put seven photographers in one place and it's amazing how the seven will have different views on the world. We all see different things, and sometimes miss images we really wish we had seen.

Let's start with The Shadowy Fugure by davidstorm. David has caught sight of something very surreal here and well done for that keen observation on his part. Having taken the concept that far, personally I would have taken it a step further and elminated all the surrounding area. That would have left us with just the abstract image, but the figure is identifyable as such and serves to put the whole image in perspective. Leaving the ow contrast and dull appearance is actually a bold move. I would have made the image brighter and given it more punch, but I think David made a better choice than that.

George Carman gives us “P' ing round a corner”, a very crisp and carefully composed image. The edges have been lined up, the street furniture kept intact right to the edge of the frame. There are a couple of people, largely incidental to the image as a whole but well placed and giving scale. The texture, especially in the foreground, is incredible. This image shows us a slice of the condition of the modern city. Concrete is rarely a pretty sight, and the sense of lack of attention and hence lack of any respect for the environment is clearly shown. What is there for the locals to be proud of? A telling bit of photo journalism.

Paul has slipped in an extra photo of the Magnificent Seven. I have to include it, even if it can't win, because it's a brilliant picture. That ghostly figure on the wall is perfect, as is the statement “I want more”......Demolition in proigess also fits the bill beautifully! That is one fantastic group shot.

Park Hill Flats by Neil Hargreaves is an excellent record of this building. The colours are interesting and the surrounding landscape actuallu mirrors that perfectly. I might have corrected the converging verticals, but otherwise we have a well produced record shot of the building in the context of its surroundings.

Take a Seat by Paul is a highly competent, high contrast, black and white conversion. It makes a gritty and gard rendition that is perfect for the dereliction. There's an option here to add just one person sat on one of those benches, surveying a most unattractive view. You've made the choice to use the oblique view, I would have made a straight on composition from behind the benches, but that's just a matter of choices. A strong subject given a strong and very appropriate treatment.

It's Grim Up North by Dave Melling has a similar idea, showing more abandonment save for the inevitable bottle discarded on the floor. Again we have very careful composition, the left edge making sure the concrete pillars are straight and complete. Probably a bit more contrast would make for more drama, and perhaps a figure sat on the stairs. It tells its story successfully.

The Oasis by AndrewA has some good biting contrast and shows us more of the desolation of this area. The same question applies as before – would a lonely figure add to the overall effect? Possibly, but again it's a matter of making choices. And in lieu of a figure we have one tiny bottle, perfectly placed and essential to the image. The added contrast does make for a picture with plenty of bite to it and no doubt this would make a good powerful print.

Peter Weber has shown us all that we need to look upwards as well as all around. “Will U Marry Me” is a great bit of observation. I wonder if I would have seen it. Exposure against the light has held well, the message is readable and probably a longer lens wasn't available. If it had been, getting a bit closer to the writing might have helped, but as it is it works very well indeed. We also get the context by showing enough of the surrounding area.

So we now want a winner. I know judges always say it's not easy....but this is a fine set, showing such a variety of approaches, that it really isn't.

The winner is......AndrewA. Well done Andrew!

I'd also like to give a Special Mention to Paul Bland for his ineligible but superb Magnificent Seven.