There was an image and article in one of the mags last week, with a woodland path image shot on Kodak BW400CN chromagenic film - it was lovely and creamy with soft grey highlights, giving a smoky low contrast look. The photographer said he had deliberately set the camera's ISO dial 1 stop too low to achieve the effect (I think it was that way round! :shock

Can anyone elaborate on that?

I wonder if PZ.de and EPZ are measuring distortion differently? They seem to draw similar conclusions - the distortion is very low for such a wide lens. Especially if you zoom in fractionally.

I'm not convinced that third party glass is always better, wrt Pentax zooms at least. Some of the zooms seem to be bettered by 'third party' makers, or are co-designed with them: Pentax/Tamron 18-250, Pentax/Tokina 12-24 and 16-50. OK the lens corrections work better with Pentax lenses, but I turn that feature off anyway!

There aren't any pictures of it with a grip.

Are you sure you aren't looking at the gripped K5?

You didn't say you didn't want to go outside the brand, and your willingness to 'go Nikon' suggested to me that you are the type of person who picks the right tool for the job, rather than limiting yourself to brands.

The 8-16mm performs really well on distortion, compared to the Nikon 14-24mm:

Zoom in to 10mm and I am sure it will outperform the old Sigma 10-20mm.

The Sigma is slower though, and that's doubly disadvantageous on APSC. And for a tilt shift, you are totally stuffed on crop-sensor.

With Pentax, your crop-sensor frame is always half full, not half empty!

Very interesting advertising strategy, tying in with fashion shots and clothes / accessories ranges, with the camera model and Pentax logo prominently displayed at the bottom.

The 8-16mm would probably be better.

Yes, Nigel

It looks like a great little (full frame! :twisted mirrorless body... but i do not see any point in divorcing the lens from the body / screen. Having wifi link-up to a separate remote screen, yes that makes sense, but that would be acheivable with a more normal looking camera.

The 35mm f2.4 is outstanding value. I love it. If you find manual focussing your A 50/1.7 difficult, you could add the upcoming DA 50/1.8 later this year (when it is released). The 35mm is very cheap, and I am sure the new 50mm will be too. I imagine the pair will end up costing less than a DA40mm Ltd and certainly a lot less than an FA43mm, albeit they are made of plastic whereas the Ltd lenses are beautifully crafted in metal.