Well this reviewer thinks they are clearly DSLRs, as explained previously. The EVF instead of an optical pentaprism is neither here nor there. Was a Canon Pellix not an SLR? Is an Asahiflex not an SLR? Of course they are.

Even Ansel Adams shot thousands of colour images and I seem to recall there is a book, possibly called "Ansel Adams in Colour" that offers a selection of these.

If anybody doesn't know who Ansel Adams was, then it's worth getting a book of his images, printed as large as possible so at least we get some idea of what the quality might be like in the real thing. The best books, from his official publisher, are printed in duotone to very high standards.

There are lots of Pentax pro photographers, but in the end it doesn't matter what camera they used at any particular time. Whatever it was, they knew what they were doing and they were great photographers.

The 50mm f1.4 must rank as one of the longest lasting discontinued items...and still no trouble selling them it seems.

It's to do with the initial scan, which is something that's far too late at the Photoshop stage. Try scanning black and white film on a colour negative setting and see what happens!

You can probably get good advice from those shops at some WWT sites - there's a helpful guy at Martin Mere, for example.

For adapters, look to SRB Griturn, who can adapt almost anything to almost anything else. Sometimes, but not always, at a price of course!

No need to guess, Kodachrome can't be mistaken!

Bear in mind that Kodachrome doesn't scan as well as Ektachrome, because of its different structure. The Nikon Coolscan has a special Kodachrome setting for this reason.

There were learned articles published in fine publications in the 1950s with titles like "Do we need colour?" and of course some masters of monochrome were reluctant to accept any new medium that they were not masters of.

Seeing in colour is, IMHO, quite different from seeing in black and white, it's a different selectivity when assessing a scene. That's why taking two cameras, one colour film and one BW film, never worked for me. I had to attune to one or the other for the duration of whatever the project was.

Both colour and monochrome photography have their own places and are equally valid, although I am surprised to find that in the case of these images in the original post, I actually prefer the colour versions.

It's a workshop job, not a user adjustment.

If you find it's important, then it should be returned under warranty. I haven't turned that feature on yet, so I have no idea whether or not our own levels are accurate. I'd rather trust my eye.