As an electronics engineer I very much doubt that! And ultra high density like Apple's gear is crazy expensive unless you're making by the tens of millions.

No it's not
There the hulking great battery

Nice dream though

Matt

Apart from the film plane issue...

Anyone who's taken apart a dSLR will see just how much stuff there is between the sensor and LCD and the depth that's required. You've got the massive thickness of the sensor + SR unit + PCB + LCD itself. Add 30% to 50% to the thickness and it might be possible. But you'd end up with a lumpy back

EDIT: Whoops! Crossed in the ether with Beakynet

Matt

Brian,
The shutter is open while you are viewing LV.
But when you hit the button the shutter unit primes and releases - so it's a normal process without the mirror flip.
Matt

Stuart,

This is not a "lack" on Pentax's part

The requirement for a digital 'modern' flashgun is because HSS requires the flashgun to pepper the scene with small bursts of light. And this requirement is the same for EVERY manufacturer
(Unless you have a leaf shutter)

The highest sync speed of 1/180s is the fastest shutter speed where the two shutter curtains are completely open (ie the leading curtain has completed but the trailing curtain has not yet started its travel). Nikons support of 1/250s makes practically no difference whatsoever - it's a mere 1/3stop.

Faster shutter speeds require the trailing curtain to start moving before the leading curtain has completed. At 1/8000s the two curtains will move together, leaving a tiny slit to expose the sensor. To get HSS flash to work means that the gun has to hammer out bursts of light while this slit moves across the frame.

That's why HSS guns (for Pentax, for Nikon, and for Canon) are expensive


On the other hand, if you want to use fill-in flash outdoors then you just have to reduce the shutter speed to 1/180s or less to work with any flash. That may mean closing the aperture down (e.g. to f/16) and reducing ISO, and possibly adding an ND filter to further cut the light into the camera.

Strobist is a good place to look for techniques

HTH!
Matt

Mac for me every time
After 25 years of Windows (coding and use) I find OS X to be a complete refreshing change. LR4 + CS5 (and Pixelmator etc) is an excellent photography environment. For audio work it wins hands down for me (Reaper/Logic/GB)

The iMac screens are ok (I have an older non-LED lit version), and the MBP screens tend to be extremely bright. I've tamed them both using a Huey Pro and ArgyllCMS+dispCalGUI calibration software.

However, I have a Lacie 120 screen which is superb for image editing for real prints. It looks "dull" in comparison but when calibrated + profiled gives an excellent match for prints.

HTH!
Matt

MkI - hit and miss indeed.

MkII - +1 total game change. Easily focuses at f/2.8, ISO6400, 1/2s (I can't even see at that level!). Behaves like a new body to me!

Matt

You can run 32-bit apps under a 64-bit OS (but not the other way round)
Matt

I know it's not on your list, but the DA17-70 performed magnificently in comparison to the FA24-90. A touch shorter on the long end, nicely wide though, and almost as sharp as the FA50/1.4!

I've found that I generally prefer the rendition of the 8 or 9 aperture blade lenses from Pentax

As John says, the 18-135 would be a good WR option though

Matt

Have had the DA17-70 and now the DA*16-50.

The DA* has something "extra" which isn't easily defined The rendition is very close, but the DA* has some pixie-dust applied

I would say that it does have some little foibles like CA and purple fringing that can crop up, especially with in-camera JPGs (more than the DA17-70). But, in practice it's never an issue at all when using RAW + Lightroom and the supplied lens profiles

For me, the DA*16-50 and DA*50-135 cover 95% of my photography and are always in my kit bag. The DA12-24 has most of the remaining, with the FA50/1.4 + DA55-300 for the odd occasions.

Hope that helps!
Matt

Ditto.
Matt