You could be right smudge, and maybe I'm just imagining it works with manual shutter adjustment ... I certainly do shoot in Av a lot using live view and histogram, and adjust with EC, so thats probably what I'm seeing. Of course as well there may have been updates between the K7 and K5II models as well as different firmware which could make differences between the cameras.

We're very lucky to have + / - 5 stops of EC, so that should be plenty for most situations when needing the histogram in live view

Thanks! I'm really glad it looks like that


Thanks Alan ... yes, tropical is an apt description at times in this part of the world ... well, you have to remember that the south Dorset coast is considerably nearer to the equator than Blyth Beach

Thanks also to David, Gary and Mark for those comments ...

Mark, thanks for the feedback. I prepare my main max quality jpeg for large prints, then I just do a resizing for web with bicubic sharper - this may be why they look sharp on the screen, but I must admit I do like very sharp images. I'm not sure what you mean about them being 'fiddled with' .. I carry out fairly standard sorts of processes, and aim for clarity and a good bit of 'punch' in the processing.And finally what do you mean by 'contrasty' colours - if its something I can look at and adjust then I'd be glad to try it.

Fast and furious action and all very close and very sharp - great stuff Simon !

That seems strange .. I need to go and check it on the K7, which should work in the same way. I am sure I have seen the histogram on the live view screen move up and down and change shape as I'm changing the exposure value, by whatever means (usually the shutter speed being adjusted in manual mode). I've used it in Av also and used exposure compensation and I'm sure the histogram has responded to those inputs in real time. I'll do another check at home tomorrow and report back.

well that answers some of the questions above

This is a very good viewpoint, I love the placing of the various subject elements around underneath the closer bridge, and the railings right in the foreground works beautifully. The starbursts are brilliant as well .

The choice of the mono processing is a personal one - I agree with others above that it works well and has been done very well indeed - nice deep blacks and nicely controlled contrast.

I have sympathy for walkeja's cry for colour there - I've done that myself a few times as I'm a confirmed colour fanatic - of course a colour version would likely work very well also, and it could be done as a valid alternative option, but I do think this mono version stands up very well as an image on its own.

Magicman .... come on, what are you saying here? It seems contradictory - there is 'too much photo graphics style' (do you mean this photo is in that style?) but also you 'respect those that love spending time micro-pixellising' .. (are you saying this is micro-pixellising?) ... and what the heck is 'flash toned' - do you mean with a flash white balance, because that would hardly be very relevant in a mono image? Or do you mean the whites are very clean and there's no colour cast? Do you think there should be some colour cast in that case? Personally I'm not a fan of any duo-tone type stuff, but it may have a place here ...?

I feel you need the opportunity to offer more information and clarity on your critisicm, because as it stands it hardly helps the photographer nor provides any real validity to your own points.

Thanks John, the rock formations certainly seem to reproduce very well with the perspective of a telephoto, and I was very pleased to get that great early morning sunlight breaking through before it lit up everything.

Thanks Philip, I'm not sure about that one from the boat, as to why the sky is different. The lighting angle is very different, and I can see different tones on the yellow grasses as well, but I rather liked them when I was processing it. I haven't tired to match tones between the shots, they're all such different perspectives on the same subject. Sorry, you may have missed the last two which I was posting just as your post came in!

Just decided to add another one in here, as it fits this series and I probably won't show more of these rocks from so far away ...



7) East looking from Peveril Point, Swanage (Western Head) .... 'M' 75-150 f4, f16 / ISO 100 ... Taken from near the same spot as photo 5.







And another, what the heck! I'm on a roll


8.) Middle Beach, Studland Estate .... DA 18-55 AL WR, f5.6 / ISO 200 ... this one is from a spot near to where photo 1 was taken

This striking landmark which strides outwards into the ocean between Swanage & Studland Bays, Dorset, is an all-pervading presence when visiting the area. Its unique shape and profile dominates the views from beaches, hilltops and of course even more dramatically from right up close on the sea itself.

Here I am trying to create an impression based on widely differing perspectives, as I found myself coming at this landmark from so many different angles. The lighting and times of day have a dramatic impact also, but one thing remains constant - you can't avoid taking notice of the Old Harry Rocks and Pinnacles at Handfast Point!

All photos with the K7, and lenses as described for each shot ....



1) Middle Beach, Studland Estate ... DA 18-55 AL WR, f8 / ISO 200








2) From Boat near Swanage Bay eastern head .... 'M' 75-150 f4, f5.6 / ISO 400







3) Knoll Beach, Studland Estate .... DA 18-55 AL WR, f4 / ISO 200







4) From Boat, Studland Bay, east of the headland .... 'M' 75-150 f4, f5.6 / ISO 400







5) East looking from Peveril Point, Swanage (Western Head) .... 'M' 75-150 f4, f11 / ISO 100







6) The Pinnacles from the top of Handfast Point headland, west looking .... 'M' 75-150 f4, f11 / ISO 100





Thanks for seeing these, and for you thoughts and feedback . Nigel.