Erm, actually all cameras have this issue. It's to do with physics, not the camera manufacturer!

If you have a black image, the camera will still try and expose to make it 50% grey. If this involves a long exposure, then the electrons in the CCD itself (which are generating noise all the time because they are moving) start influencing the image because there are so few photons to count.

The "noise reduction" in the camera is actually "dark frame subtraction" (Google it - it's a common astronomical term). That's why the camera "pauses" for exactly the same time as the exposure - it's generating a black frame from which it works out the noise floor.

If you really want long exposures, you are better off creating a "stack" (astronomical term - Google for it) of shorter exposures and combining them in Photoshop That's what you have to do for astonomy.

Hope this makes some sense
Matt

Link is here:
https://www.pentaxuser.com/forum/viewtopic.php?t=3160

Hope that helps!
Matt

The date is never imprinted
The Optio will show the date as an overlay. You see, the JPG file consists of two parts - the image itself and the EXIF data.

The image doesn't have the date in it - it's a real pain to remove it did.
The EXIF data contains date, time, exposure information and a whole lot more.

The Optio just overlays the date/time, as taken from the EXIF file. If you want the same thing on your PC, then you'll have to go modify the image. Applications such as the free Irfanview allow modification of images and the overlay of the date/time etc. This was covered at least once in previous threads... I'll see if I can get the link for you.

Matt

Of the pocket digicams I've opened to fix, most have a non-user serviceable button cell for the clock functions. It's often placed in a little metal clip, so it's easily replaced once the camera is open.

Alternatively, there may be a "supercap".

However, if it's been non-functional since new, then there may be other issues too.

Either way, it's going to need a service

Matt

Actually, next year as "Hoya Pentax HD Corporation"
Can't decide whether that's good or bad...
Matt

Stuck pixels are pretty common. If it's only one, then there's not too much to worry about. I have three on my *ist-D, and more when using high ISO and long exposure. You'll probably get more as it gets older.

Although you could ask for a replacement (dealers have differing views), you'll could end up with more!

Shooting RAW is fine because in Capture One and Silkypix they automatically detect stuck pixels and map them out. If you shoot JPG, or use other RAW conversion software then the healing brush or healing patch tools in Photoshop help out.

It's no worse than dealing with dust spots

Matt

Just to add a couple of thoughts:
The 18-55 isn't a bad lens, just not nearly as good as the 16-45. If you have a choice, go for the 16-45. SRS and Park have it for a crazy £270.

The resolution difference between the *ist-D series sensor and the K10D is astonishing - not because there are more pixels necessarily, but mostly because the K10D seems so much "cleaner" and particularly shooting RAW I can pull out an amazing amount of detail - so much so that it's getting a right pain to downsize images for the web into a decent byte-size

I've long wondered whether my current line up has higher resolving power than the *ist-D and *ist-Ds - now I know!

So, I reckon if you can get a deal with K10D+16-45 then aim for that. Otherwise, get just the body and "make do" until you get either the 16-45, or the new 16-50/f2.8 (which will probably cost more than the K10D though!)

Matt

Agree with Kim It's not just about maximum aperture.
I find the Pentax 50mm/f1.4 absolutely sublime. As Kim mentioned, the 1.7 is extremely sharp and flat-fielded (is that a word? ). But, the 1.4 with 8 aperture blades (as opposed to 6 of the 1.7) produces such a beautiful soft out of focus rendition I can't match it. I've yet to see anything else like it...

I've had both the SMC-A and the SMC-F. Optically both are amazing. The SMC-A was a delight to use - being wonderfully engineered, but for low light, and with my poor eyesight I had to stick to the SMC-F.

However, shooting in low light with wide apertures you need super critical focus. I'm sure the SMC-A 50/f1.2 is wonderful, but unfortunately I can't justify it's use

I reckon the Pentax f1.4's are amazing value for money, with the SMC-FA available new for around £160. Until you've used one, you don't know what you're missing

Matt

The link you've posted won't (and doesn't at the moment) always work
You've inserted the PBase image location, which is the cache server address. Could you post the gallery address instead, or in the form:

"www. pbase. com/ username / imagenumber.jpg"

Matt

EDIT: Just worked this time - looks great!

Kim,
Shhh! You'll get my LBA going again
Matt