All fair points Richard, thanks. I imagine the range of products available now that support high quality audio for DSLR work is expanding, so the choice is very much there for the film maker. I think we've made the point before in another discussion about still recording an audio track on the cameras for the purpose of easy track alignment in editing.

It's the size of the operation and venue limitations that will decide the ultimate compromises and restrictions. I would still argue that, in sound quality terms, a carefully managed hot shoe MIC could serve adequately in some professional situations, but I accept that this should only be when those venue limitations dictate, and when there's no further practical options. It's very easy to bow to your superior experience in these matters Richard, because there's so much useful discussion and added value that comes out of the exchange

My own experience of sound output from an accessory hotshoe MIC is that so long as the recording is made carefully, like having a wind reducer outside, managing camera sounds and moving carefully yourself and keeping quiet, is that the stereo tracks, as recorded at a good bit-rate, are very impressive indeed. The K7 outputs sound with fabulous clarity, and the surround-sound effect when I set 180deg on the mic can freak you out, like when walking through a silent forest, the crunch of a leave off behind you is uncanny in its realism, making you jump in your seat just listening to it!

Richard, without wanting to resurrect the previous debate about the location of the hot shoe, I do think you may be exaggerating the potential of those issues you list to become an actual problem, at least assuming some awareness in advance.

For example, really, autofocus noise shouldn't be involved, as really (as we've all recommended before) manual focus is the better choice for video, and then you'd be turning the ring carefully and quietly if any refocussing is needed during recording. Beeps would be turned off for video, that's a simple custom setting, and the only button being pressed, surely, is to start / stop the recording. So, I don't believe any of those concerns is really a big thing, given a little setting up and careful filming technique...

I accept operator breathing may be recorded, if there's any exertion involved for example, but for myself I'm always aware when recording of my own noise potential, and you just try and stay quiet!

I'd echo the recommendation to use a wind sock thing outdoors, and some mics will come with one. I've got a Polaroid branded one, very good value, check out Amazon, and it had a switch to control the angle that sound is captured from, eg 90deg in front of camera or 180deg right around.

I'll avoid ah extreme language like'superb', because we all know there's going to be more sophisticated options depending on your needs, but it is a very good step up from the sound from the built-in microphone.

That is an excellent telephoto prime, it's been a real gem for me, tack sharp and with the sold build and feel of a high quality lens from its era it matches up to our strong magnesium alloy bodied models very well. It had great focussing with a big focus throw, just like a full macro lens, although its not a real macro it gets usefully close to things because of the focal length. The built-in metal sliding lens hood is pure quality also. Good luck with your sale!

PS ... Mines an'adaptall' model that needs the adaptor ... Does this one also, or did they make an actual PK mount version?

A very nice survey of this riverside spot, we can almost 'hear' the peacefulness. It's a good range of view points, and all very well exposed and sympathetically processed.

Perhaps the first would have benefited from a slightly wider framing, the steeple looks a little crammed up against the left edge.

I like the through the wall one ... I wondered about the focussing for this, of course you might have been on manual, but If it was autofocus I am curious to know whether the camera automatically went for the centre point, or if it hunted a bit between the wall and distance, our indeed whether you set a specific focus point off to the side?

The low viewpoint on the flowers works very well, shooting although I'd like to see a bit more OOF grass along the bottom, just to add depth. Is it hard to keep the camera steady when you're crouched down so low?

John Riley showed some MX-1 photos recently, all sharp colourful animal pics, which were really very closely focused, so this is clearly a very versatile little machine. Your photographs here have demonstrated even more of that for us .

A nicely taken candid, almost too well positioned and framed to even look candid! You caught her just at the right moment, week done. I'd ditch the vignette though.

I can see what you were thinking, the eyes and facial appearance, and the processing has really brought out that' tortured' element, so its a great realisation of an idea, .... Well done! An excellent finale to a great mixed bag!

Good to hear ... Glad that the others were open minded enough to look at the camera itself and the photo output and see the quality for what it is. Lets hope they go and spread the word, or better still, look to Pentax when they next need to upgrade.

Thanks Jules for that report! Its a tricky one this k-S1. It's sensor specs and the price to pay for that puts it very much in the category of an obvious quality upgrade for someone like myself ... A big jump in IQ potential for a very reasonable price ... But ... The camera is targeted at the less 'Enthusiastic' photographer than me, and lacks a number of the direct controls and other sophistications' of the K7, photo taking aids and options that more experienced people would tend to use. A bit difficult this one ...

That's a very atmospheric night street scene with good exposure control and a nice natural mix of colours. The blue really makes it, but its well composed with plenty to explore, and the viewpoint, off centre, works very well. A really good and contrasting image again!