Thats working really well Brilliant detail (love the Robot) and even lighting. Perhaps the hotspots on the first two are a bit strong - these high whites work better on the robot with his more 'matte' finish. Favourite has got the be the cupcakes - mouthwatering!

Clearly a very capable camera, no doubt excellent value now, as are all Pentax models!

The last one stands well above the others I think. If these are camera JPEGs, I wonder does the K-x have a contrast adjustment? If so, I'd suggest reducing it a notch or two, contrast is coming over too strongly for these subjects I feel. If its RAW, then should be easy to knock it back, maybe also pulling highlights down as well?

It doesn't mean that for me ... thats the sterotypical, exaggerated kind we have seen so manyexamples of (& yes, I've been guilty too). But HDR can be a purely technical process to bring visable dynamic range closer to what the human eye/brain actually registers when scanning around a high contrast scene. Used well for this purely technical purpose it is an indispensible aid.

Many of the images referred to here probably do not really need the purely technical application of HDR - the photographer has chosen to allow some of the 'effects' of the HDR process at higher levels to 'take over' his images, for an artistic purpose.

Another approach that can work would be to process using 'normal' adjustments, then on a duplicate layer (in PS) apply the HDR version, then use layer opacity to fine tune the balance between the two. This way you might just end up appealing to all tastes

A good exposure and natural colour transition across the scene. I can see even at this size that there is loads of fine detail in the sand and rocks.

Perhaps a lower viewpoint & closer in to the posts would be even more effective?

There is still a long way to go for photographers to reach a common understanding of the role and function of 'PP' to digital imaging. I disagree with the idea that 'none, or minimal' PP equates to achieving a true representation of the scene. I believe the limitations of the technology, both the optical and digital, create an automatic need for processing in order to reproduce most scenes realistically.

Even HDR (in its purely technical sense) is needed if we want to reproduce many normal high contrast scenes accurately. Lets not forget either that camera JPEGs, often inaccurately referred to as 'straight' (ie 'not processed)are in fact quite heavily adjusted by in-camera software, in particular contrast, dynamic range compression, bit depth reduction and colour edits.

So, for me, processing and image 'enhancement' is a necessary part in creating 'natural' and realistic images - its just a question of when that required input extends beyond the necessary and becomes 'artistic' enhancement which takes the scene beyond the real .

I think its in everyone's interest to invest in a good camera manual - both as a user of it and the producer. The media format (paper / electronic) I don't think is important these days, but the layout, intent & scope certainly is.

I'm a great fan of learning through context - and, no, camera makers are not responsible for photographers general learning of the subject, but they should take responsibility for learning about their cameras. Whats a good model? There's the 'Magic Lantern' type guidebook at one extreme and dry listing of features and menus at the other. With electronic menu displays offering intuitive operation now, as well as explanatory notes as you use them, there's no place anymore for dry listings type manuals. We now need a good balance between clear, consise listings of functions and options, and good examples of practical application to place the options in context.

So for example, take something fairly obscure - 'AE linked to AF point' on or off .... when would you need it? You might not think you need it, and many may not even be aware of it - but a good scenario description of two alternatives would cement the idea - say for example a portrait where the skin tones will be in the mid range, as opposed to a seaside scene with bright white sails bang in the middle of the frame.

Just offering such explanation, a practical guide to the camera operations, will add value to the features themselves in users minds - and thats got to be a good thing for camera makers.

I'd advise never let that hold you back Alan! Thanks very much for that encouragement - I'm very pleased a lot of these building images have gone down well, and especially delighted that no one has yet found even a speck of colour noise, moire or fine-grained luminance noise on any of the sky textures - thats the most important thing

Seriously though, in equipment and technical terms I have been very satisfied, and surprised, with what I have been able to get IQ-wise from my camera gear .... its fair to say that in Pentax range terms my camera and lenses are fairly modest, very modest in financial value thats for sure - the 2 lenses used for this thread are 80's era I believe, and K7 basically 5 years on. Just goes to show what amazing value and quality we benefit from with Pentax ..... OK, fanboy rant over .....

Thanks also to Rob Philip & Steve for those kind remarks, much appreciated guys.

Thankyou Russ David & David! I appreciate your encouragment.

Oh I'm sorry for making you worry too much about the colour balance - I've certainly been through many similar situations

My original suggestion was to target solely the road, roof and fringing around the treetops - the colours on the original church stone and the grass were great, so needed to be masked out of any adjustment. I wouldn't change the saturation or colour balance globally.

As Mr B said, maybe its just that the blue channel is too strong - a small reduction may be all thats needed. In the new version (with the very bright sky) the contrast is now too high - and the blue in the sky was always fine.

Now this sort of thing can not go unchallenged - I really need to inject some balance here.

In my experience over many years working in the area the High St Kensington branch of PC World has been a real haven and refuge, especially during the many and unpredictable bouts of heavy rain we've seen recently, and this is in a high street with almost no effective veranda cover along most of its length. And the shop is always very effective with no sign ever of any water ingress or leakage into the store, so provides a complete level of protection. The environment and temperature are also kept in a most pleasant condition.

Unlike many stores, when taking shelter you are very unlikely to be disturbed by staff, but when they have enquired of me, upon hearing my explanation ... 'Its OK thankyou, I'm just waiting for the rain to pass' ... they always adopt a most understanding facial expression and move on.