Thanks for that George. I did suspect as much, but I wanted to make sure.
Matt

George,
Appreciate the comment
I'll keep my eyes open for a 77mm then

That sounds interesting about the K. So do you keep the lens set to 1.2 and use the thumb dial on the *ist-D? Or am I missing the point?!
I also understood that matrix metering wasn't available unless you had the A (or at least the aperture electronic connections).

Thanks
Matt

'Twas as much as I feared.
George - thanks for the link

Well, one can dream

Matt

Hi all,

Has anyone seen the A*85mm/1.4 or the FA*85mm/1.4 second-hand?
(I rather like the A series on the *ist-D at the moment - A50/f1.4 and A28/2.8, an 85mm would go very nicely)

Also I'd be interested to know how much they fetch... is it a remortgage job??!

Thanks
Matt

Liam,
The full Sharpen-O-Matic tutorial is here:
http://www.ephotozine.com/techniques/viewtechnique.cfm?recid=367
Enjoy
Matt

That's probably true. However, don't forget that to double resolution you need to quadruple the pixel count!!
So a 12Mp sensor has twice the horizontal (and vertical) resolution of a 3Mp sensor.

I'll appreciate a little more resolution anyway, and a 10Mp Pentax would be very nice indeed. However, my point was that even at 6Mp I can produce images that were impossible when using 35mm (for me at least) - both in terms of quality and resolution.

Especially for theatre and gig work I have found the *ist-D to be amazingly good! Wish I could do more theatre work. I have some samples here: http://www.pbase.com/mattmatic/concerts The Swing Out Sister gig was particularly challenging - it required slow shutter speeds even at ISO3200! (And I couldn't get very close at all!) Every time I do a gig/theatre shoot I learn something new

Matt

You've only got to compare the viewfinders of a Nikon and the Pentax. I haven't seen the viewfinder in the D200, but the D100 viewfinder is APS sized - it's like being in a box (incidentally all the Fuji S DSLRs are the same).

All the lenses you mention will work a dream on the *ist-D series (and all the "A" series work very well too!). You end up with a crop which effectively multiplies your focal length by 1.5 (doesn't change the focal length, just the angle of view).

I think you would be surprised to see what you can do with 6 mega pixels and the lenses you have If you need seriously large output, then bank on getting Capture One Pro - it will give a fabulous upsize to 24 mega pixels (it does this from the sensor CCD information, and is much better than upsizing a TIFF or JPG in Photoshop).

I've recently taken some images (shot RAW, converted in Capture One LE at 6 mega pixels), then upsized in Photoshop CS2 and sharpened - to 51 mega pixels! Printed at 16x20" at 402dpi and the result is just sublime

It's just a very different workflow from film and needs a bit of time and experience to master....

Back on thread: Joshua - those B&Ws are excellent!

Matt

Yes, I've had it too...
Yesterday I emailed Will (who maintains the site) and couldn't find anything obviously wrong. I'll contact him again and see if it can be pinned down.

It seems to be a strange bug!
Matt

Duplicate thread: https://www.pentaxuser.com/forum/viewtopic.php?t=2103
(Locked)

Mac,
I've only used this film a few times, and this is what I've found:
* The developing is no problem
* The printing can be a real pain

It depends largely on whether they actually know how to use their equipment The last one came back with a sepia first shot, and the rest were just "bleurgh". The guy had set the colour profile only for the shot, not the roll Thankfully they took it back and reprinted for free. In regular "no-brainer" auto mode the colour printing equipment doesn't handle it very well at all.

So, to summarise - developing is the same as colour, printing requires a manual setting for the printer (the profile handles it all once the profile is selected). So, it shouldn't cost any more than regular colour

If I were you I'd shop around
Matt