The K-1 is superb at low light photography, in fact one of the best I use.

But it isn't fair to say that the list provided had no images, because the technical shots were shown that could be compared to show the results at all ISO values.

It's also not fair to say that EPZ are "solely driven by commercial pressures and advertising." I do plenty of reviews for them and there is no pressure of any kind involved.

I've noticed as well it was a 2018 list, so the K-1 (released 2016) wouldn't be on it anyway, although arguably the K-1 II (released 201 should be. I presume the other cameras listed are all 2018 releases.

Physically, it's a big shutter mechanism and will need servicing from time to time. If it's a 6x7, as opposed to a 67, then it will be quite old by now, so a service is probably long overdue.

If it's in nice general condition I'd have that service done. Most 6x7 and 67 cameras would have been used professionally, so worked quite hard, and there's no guarantee that another one wouldn't have the same or some other defect.

A 50mm lens is a 2 inch lens, a 150mm lens would be a 6 inch lens. Or we could use 5cm and 15cm, and usually on pre-war lenses you are likely to find focal lengths in cm. Post-war we went to mm.

It doesn't really matter as long as we have consistency and we all know what we are talking about.

I always get tempted by lenses and the last purchase was a Samyang 14mm f/2.8. It performs especially well at the apertures I will be using it at, so will be ideal for interior architecture shots. Manual focus, on a tripod, and the widest rectilinear lens I have for the K-1.

At about the same time I picked up an SMC Pentax-F 17-28mm Fisheye zoom, which is in great condition and as sharp as a tack on the K-1. It has saved me waiting for the new lens that's on the Roadmap!

Algi, please don't call people names, that really does not help at all. I don't want to have to close this thread, but it seems to have run its course and if it's just descending into personalities then it will have to stop.

PS The cheap film scanners can be absolutely fine for web use or small prints. Mine, which cost about £50 a while back, uses a built in camera to make 5MP images o 110 and 35mm slides and negatives. It works great for web images.

https://www.amazon.co.uk/s/ref=nb_sb_noss_1?url=search-alias%3Delectronics&field-keywords=film+scanner

As long as we all remain civil there's no reason not to have a discussion, it's only pointless in the sense that there's no answer to this one.

People will and indeed should buy the kit that is most suitable for the sort of work they want to undertake. Those who want to move to another marque don't need to feel that they should justify what they are doing.

On another track, looking at all the cameras and lenses heading our way across all marques it seems that the order of the day is full frame!

I suppose we could also ask why enter the medium format market, but the reality was that they couldn't make the 645Z fast enough to keep up with demand. The same was true of the K-1. The new 50mm f/1.4 lens has also been subjects to shortages.

So if Pentax can sell everything they can make that must be pretty good. Expanding too fast would be a very dangerous situation and many companies have fallen foul of that.

I don't think we actually know that Pentax sales are doing - are they up or down? Is profit up or down?

At the end of the day I shoot pictures and I've assembled a full frame kit consisting of the 17-28mm Fisheye Zoom, FA 20-35mm f/4, 28-105mm, 43mm Limited, 50mm Macro, 100mm macro and 150-450mm, plus a Samyang 14mm f/2.8. That covers just about everything and doesn't weigh too much either.

I like to keep things simple and tend to use a half press on the shutter release to lock focus and exposure together. Then recompose and shoot. I do link exposure and focus point.

Using manual mode, meter from an appropriate point and that setting won't change as you recompose, so the half press is redundant in this case.

Regarding exposure, I use centre-weighted and aperture priority, then exposure compensation can be dialed in depending on whether the subject is light or dark. To keep a subject dark, such as a black steam train, then use a minus setting of perhaps -1 stop. Trial and error and practice will rapidly mean that your guesses as to how much compensation will become more accurate and eventually just second nature.