I would have thought that, with the battery upside down and having never been inserted correctly, there should be no electrical charge in the camera, so a steel feeler gauge should do the trick.

Philip

Following up Ray's cautionary note - be aware that a few of the older non-Pentax K-Mount lenses have a "Ricoh Pin" which might cause the lens to get stuck on the camera body.




Philip

I agree, apart from one point about #2 - it seems that the land is generally slightly dark for the conditions prevalent in the sky. Otherwise, they do convey to me the feeling of actually being there.

Philip

Wonderful shots, Tom - lovely sky in the first.

Philip

Thank you for your comments Gamka and Stuey.

This is "The Blob" -




And here are the two sunset shots without "The Blob" -







Philip

I think they are all lovely shots, with wonderful colours, Nigel, (even though I still don't understand the curve of the reflections in the last one! ).

Philip

Thank you, Nigel - the changing colours of the sky were amazing for about half an hour.

Regarding the blob -
Thank you, Dan - I had a look around the Web and found this picture, which seems to confirm your suggestion:




So, considering the time of year, Smeggy must be right too!

Philip

Thank you for your comments David. I think the blob in the tree is a nest of some sort - it appears to be lots of tangled twigs.

Philip

There was a spectacular sunset over the Thames this evening:

#1 - at 4.06 p.m.



#2 - at 4.17 p.m.



They are Jpegs from the camera, the only PP is the downsampling and some unsharp mask applied in PaintShop Pro X4. They are hand-held shots taken on Marlow Bridge from slightly different viewpoints, with a K-5II in the Auto HDR Mode with Auto Align, and using the 18-135mm WR zoom lens.

Philip

Smeggy's is a valid interpretation of the way we see things, which is apparent in the limited depth of field of images produced by many photographers, and enjoyed by many viewers, but it is not the only one.

When we look at anything, our attention is actually concentrated on only the tiny central part of the field of view (from which the light reaches the fovea of the retina) which, with good or corrected eyesight, is in sharp focus and fine detail.

But as soon as we change our view even slightly, it is difficult to stop the eyes refocusing on what is now the in the centre, so we see that part of the scene also in sharp focus. As our eyes continue to scan around the scene, it appears as though every part of it is in focus.

This effect of human vision validates the long D.o.F. approach that many photographers and other artists (e.g. many great painters) apply in creating their 2D images of a 3D scene (and have done so for hundreds of years), and many viewers also enjoy.

Philip