Pete,
(You didn't quite let it go )

USM - no. The SSM is a new feature in the K10D and the yet-to-arrive DA* lenses. Sigma reverse engineer the lenses (i.e. they don't ask the manufacturers for details on how the lens talks to the body, but they hack it), so there won't be anything until these DA* lenses arrive and Sigma have disassembled them
Besides, SSM on the K10D requires a firmware update

BTW Pete, I've been meaning to say this - a top notch lens won't suddenly or miraculously improve your photography If you can't get sharp/good results from what you have then I'd say look at your technique... when you are 100% certain (with experience and skill) that it's not your technique, then look for lenses. (This thread has some insightful comments)

FWIW, The 16-50 is a hunking great piece of glass, and expensive. Personally, I love the light, small, and portable 16-45. And I know the 16-50 isn't going to add much to my image quality. I still haven't hit the ceiling of what the K10D can achieve with the lenses I have, so I'm holding off buying more glass

And getting back on track my list stands at:
* 7 or 9 shot bracketing
* 22-bit full RAW + Silkypix
* Captured White Balance should show Kelvin temperature (so you can enter it into the three manual WB slots)
* Single button White Balance capture (like the *ist-D had)

That's really about it! (And all of them are firmware possible!)

Matt

Erm... I think we're getting somewhat off topic here

Gentlemen, can we please stick the theme?

Thank you
Matt

Flash subject continued here:
https://www.pentaxuser.com/forum/viewtopic.php?p=27398

Peter,
Seems like we are talking about different items...

I have one of these: http://www.bdimitrov.de/kmp/flashes/misc/grip.jpg
I use a 5P cable from the hot shoe of the camera to the 5P socket on the AF540.

It was the shorting of the pins that messed up the 5P cable link, so I insulated with film.

This grip is rather nice to work with - there's a little push clip that disconnects the grip from the plate in one go - so switching to portrait orientation is quick and easy (but requires two hands).

Matt

Peter,
The problem is that the 4P bracket was designed for 4 pins and uses a metal plate for the hotshoe. Doh!
The 5P foot of the AF540 shorts out and it reverts to non-digital mode.

I tried filing away part of the shoe-plate but that wasn't 100% successful. In the end, because of time pressures, I took a piece of 35mm negative, cut it to size and slide it on as an insulator for the hot shoe plate

I knew that film would come in useful one day!


Ted - that's very strange. AFAIK there are plenty of others using the *ist-D series with studio flash. The *ist-D even had a PC socket on the side. I do know that many use infrared triggers to fire the flash systems (which cuts down on problems with wires). But there should be no reason why an *ist-DS doesn't just trigger the flash....

Unless your *ist-DS is defective???
(Let others comment on the use of studio equipment first though )
Matt

Use the Infrared remote
Matt

Peter,
That's progress for you I can see that you need it, given that equipment list
The AF540 with an FG adaptor and lead straight into the AF540 on a hacked Pentax 4P bracket does me just fine
Matt

Not so sure about needing TTL... but I did notice the preflash and main flash are much closer together. Have yet to try on "blinking" people

Actually, I can't think of anything except a small bug fix where the bracket interval isn't kept on sleep or powerdown. And for HDR I'd like the option of 7 or 9 frames. But 5 is pretty good...

In addition, for HDR, is the option to do a mega-RAW dump of all 22-bits. That'll cover maybe 5 stops of dynamic range (when you consider it covers ISO100-1600). Then you'll only need that shot, or perhaps two shots to cover a full HDR. One trouble would be the software... but a 22-bit capture would do wonders for fast HDR - don't think any other camera would be able to touch it

Matt

The first crop doesn't work because there's not enough space to the left. The eagle appears to be looking to the viewer's left, and the close crop is creating a tension which spoils it.

Generally, check which way the subject is looking and make space for them to "look into". That's not to say you'd never have a close crop like that though...

Matt

Ditto

ROFL. That's just unkind
Matt