Not yet...
But that's a jolly good tip!
Matt

FWIW, I use Scooter Software's Beyond Compare for manually synchronising from the work-in-progress on the computer to the NAS/External/Backup

Matt

Use a Buffalo Terastation 2Tb at work, along with a pair of expensive Quantum Snap Servers. Have had single drive failures twice, and a complete RAID 5 failure once

I've got a LaCie NAS at home, which isn't RAID but sync to two different locations.

Don't trust your DAT tapes unless you regularly retention them. You can find they're no good when you come to restore after a crash!! It's not a nice feeling when that happens!!

Do be aware that the bottle neck in NAS is usually the CPU, and you do get what uou pay for
In the end it wasn't fast enough for me, and I'm now on Firewire 800 from the Mac. That flies!

Matt

FWIW, there's a very useful list of the ID tags embedded in the various lenses here.

Where there is an overlap of lenses, you'll see a dotted number, e.g. '4 45', '4 45.1' and '4 45.2' show that the actual ID of '4 45' could be any one of these lenses: "Tamron Lens (4 45)", "Tamron 28-300mm F3.5-6.3 Ultra zoom XR", or "Tamron AF 28-300mm F3.5-6.3 XR Di LD Aspherical [IF] Macro" and you won't be able to tell which is which.

The ID '3 255' refers to ten different Sigma lenses!

The camera will use the Lens ID marker for the AF adjustment, and you'll only have a problem if you own two lenses with the same ID

e.g. this little group:
Matt

It's a walk through the concept of flash - how early flash guns functioned and metered, how P-TTL works, and suggested camera+flash configurations for various modes of working.

It's not a "push-this-button" kind of guide. Hopefully I convey the understanding of flash so you can intelligently use any flash with the Pentax gear (rather than getting frustrated!)

Matt

Ditto

I have the DA16-45, FA24-90, DA*16-50, and have had the DA17-70

The bokeh on the FA24-90 is smoother than the DA16-45, IMHO. It's very close to the FA50/1.4 and DA*16-50. The DA16-45 has a busier bokeh (and personally I don't always like it!). FWIW, the DA17-70 has similar bokeh to the FA24-90 etc. I once compared the FA24-90 with the Limited 31mm - at f/8 there was practically nothing between them in terms of sharpness and colour rendition! (But the construction of the 31mm is sublime, whereas the FA24-90 is plastic).

I've seen DA16-45 going for £160-ish (especially the Samsung variant).
The FA24-90 is worth more than that (have seen it go for over £300 on eBay!) - mine's for sale at the right price

Matt

Hi Matt,
The K20D (and K10D) are very 'highlight' sensitive in their exposure
It's one of the reasons I wrote my e-book guide

Correct. It's wireless, but requires light, and line of sight.

I don't know the Metz 50 (though I do have the 'beast' Metz 50MZ5), but it should have 'basic' modes too.

I did put a few stickies on flash with Pentax, but my ebook should help a LOT

Matt

Chromatic aberration adjustment - particularly purple/green fringing. Works wonders!

Grad filters can also adjust white balance - great for multi-light sources

Matt

An 'out-the-box' monitor is typically set to a VERY high brightness. Consequently, you'll adjust your image and end up making it darker!

It is quite surprising just how dark a room you should be in for photo editing, and how low the monitor should be set for optimal matching.

A very simplistic approach would be to get your physical print and adjust the monitor brightness until it resembles what you see on screen. I'd guess that your brightness is waaaay too high

Calibration corrects for colour; profiling corrects for brightness etc

So, with a decent tool you'll calibrate AND profile.

Matt