Apples position with regard to DRM is a little 'Jekyll and Hyde' given the lengths they have gone to in order to retain control over the use of OSX and prevent its installation and operation on non-Apple hardware. Similarly, from what I have read, they have gone to extraordinary lengths to retain control over the apps that can be used with the iPhone, imposing draconian restrictions on developers and locking out Adobe and Flash completely. I think it suits their purpose, and profitability, to present themselves as the 'consumer's champion' on the one hand, whilst engaging in exactly the same anti-competitive practices as the content providers on the other.

And yes, you're absolutely right I don't like DRM, even though it doesn't affect me directly as I do not engage in illegal downloads and/or distribution of material that is protected by copyright.

Jon

I couldn't agree more! I bought one when they were first released (83 or 84, I think) for use with my FR1. It cost me a relative fortune at the time, but I never regretted spending the money and some of my best slide images were taken with this sharp, contrasty and versatile lens, which had excellent close-focus ability to boot! I cherished it for years and only parted with it, reluctantly, a couple of years ago.

Of the other Adaptall 2 lenses I have used over the years my next best 'favourite' would have to be the 90mm SP Macro, which justified its fine reputation in practice although the build quality became less impressive in the later variants.

All this talk about Adaptall 2 lenses has made me feel nostalgic for the days when I shot exclusively reversal film and, after what seemed an interminable delay, would fumble nervously with the box of processed slides delivered by the postie to see if any would pass muster: which they often did, IMHO.

Jon

I Suspect Mike-P is referring to the Sigma APO 400mm f5.6 Tele-Macro AF, which can be seen at 'the other place' here: http://www.pentaxforums.com/userreviews/showproduct.php?product=486&cat=73

Several times I've thought I've found one recently only to request further detail and discover it to be one of its lesser brethren

Ho-hum

Chalk and cheese, Tim; chalk and cheese. I'm happy to embrace any digital technology that offers a demonstrable advantage and improvement over what it is intended to replace. The problem is not digital per se, but the way it is packaged and marketed with often outrageous claims made for it. I don't know if you are as long in the tooth as I am (well preserved gentleman in 50s is as much I'm prepared to divulge) but if you are you'll remember all of the hype that accompanied the release of the CD format. Since then, digital formats have been exploted ruthlessly by many manufacturers and content producers/owners to maximise profits and, increasingly, to tie consumers into long-term relationships in which they unwittingly, in the main, I suspect, cede their rights to use the content paid for as, when how and on what they choose to the extent that they, the consumer, retain no automatic right of ownership as traditionally understood: Apple being a prime example.

I am not so much of a dullard, well at least not yet, to acknowledge that for many people the convenience and durability of digital audio, as well as for some the perceived kudos attached to the ownership of certain players, outweighs all other considerations. For me, however, what matters most is the quality of the listening experience, which remains an ill-defined amalgalm of the performer(s), performance, venue, ambience and the care taken in the recording, mastering (hands of those compression sliders, please) and choice of format used for distributing the finished product.

Have to stop now as my blood pressure monitor has just self-immolated and I urgently need to take a quadruple dose of beta-blockers

Jon

That's enough posts for today (Ed).

Still have my Heybrook TT2 (poor person's Sondek purchased with hard saved cash when I was an impoverished postgrad' in 1984)with a later generation Basik and AT cartridge. Since owning it, apart from upgrading the arm, I have tweaked the suspension a little, replaced the tone arm cabling and mat and replaced the bearing oil and belt several times. Output is fed to an X-LP head amp with dedicated X-PSU before passing to my MF A1001 Class A dual-mono integrated which serves as a useful extra heat source in the winter months. For listening I use KEF Reference Model Ones with added ballast/damping material in the bases. Most of the cabling, including mains, is custom made using silver or silver-coated OFC purchased form Campaing Audio Design. For digital and FM I use Musical Fidelity's A3.2 CD player and tuner. I have a DAB tuner for listening to BBC R6 and 7, but MUCH prefer listening on FM and was delighted to learn this week that the enforced switch-off and migration to DAB has been delayed and may even be scrapped All the equipment is on a separate mains spur with added ground spike and fed via mains purifying boxes (assortment of home-made and purchased).

I don't listen to my LPs, some of which date from the mid-70s as much as I should but would never part with them. At its best, CD can approach the quality of LP but not exceed it and doesn't possess the same spine tingling quality of the best, simple-miked/mixed analogue recordings.

Remain totally unconvinced and unimpressed by all the lossy digital formats that today's 'yoof' and 'cloth ear brigade' consider to be the acme of music reproduction In fact, I treat it with the same disdain as I do fast food: cheap (or at least it should be), widely available, overly processed, addictive but ultimately unsatisfying

If, perchance, there are any of you our there connected with the 'Grumpy Old Men/Women' programmes please contact me by PM. I'll need no more than 24h notice, demand no fee and cover my own costs

Rant over

There is a lot of good advice here and Matt is right, you can spend/waste an awful lot of time in colour mis/management issues. IMHO, however, it has always seemd ironic that some folks are willing to spend "loads a money" on cameras, lenses and accessories but remain reluctant to invest in a decent screen and, or at the very least, a monitor calibration device; which can be had new for around £80 - £120, depending on what you go for. Other things that can be done for little or no outlay include paying careful attention to the sources, types and intensity of light in the room where you work and the position of your screen in relation to them.

Producing images and prints that approximate closely(cf Matt's comments again) to the actual colour of the subject(s) photographed is important to me because my main interest is plants and insects and, increasingly, birds. I have now settled on Adobe RGB throughout and stick to the manufacturers inks and papers (making sure I download and use the relevant ICC profiles for them) or papers from other reputable manufacturers, e.g. Ilford. Most of the time this results in a colour match between what I see on screen, in print and in the real world that I can easily live with and most people to whom I show my images think looks 'natural'.

I know some would advocate getting the printer professionally profiled too, but as I take, edit and print photographs for enjoyment and not for commercial reasons I don't feel the need.

Jon

I enjoy photographing plants and flowers but would like to be able to capture birdlife more often when the opportunity arises. Longest lens at present is a Sigma 70-300mm APO DG, which isn’t really up to the task. Have been keeping an eye open for an AF 400mm (e.g. Sigma APO 400mm f5.6 Tele-Macro AF) but am beginning to realise that the chances of finding one , let alone one in good nick, are slim to say the least. I’ve seen plenty of evidence in the forum gallery that the DA* 300mm is a very capable lens in the right hands (no names and no pack drill) and has a useful close focus capability. As we all know, however, quality does not come cheap and given that I’m not a fanatical watcher /photographer of birds, perhaps I should be considering one of Sigma’s big zooms (e.g. the 120-400mm f/4.5-5.6 DG OS HSM). Whilst obviously not in the same league as the aforementioned Pentax, it could be argued that for my needs it would suffice, offer greater flexibility and cost around half the price. My plea to you, then, is for considered advice: should I stop agonising, settle for the Sigma and get on with taking photographs, or, inhale deeply and go for the DA*; safe in the knowledge that I’ve bought the best and that it’ll probably still be going strong long after I’ve gone?

Yours in protracted vacillation,

Jon

P.S. A big "Thank you!" if you've read this far and apologies for the length of my post.

Hi John,

Interested in BG2 battery grip. PM sent.

Jon

I'm intrigued to hear people's experience of using K-M lenses with Pentax digital cameras because they are the exact opposite of my own! I have a 50mm f1.7 and a 200mm f4 and when used in M-mode without further adjustement the results are consistently over-exposed. I emphasise consistently because once this is understood, all that is required is dialing in the correct compensation: either by adjusting the shutter speed or by stopping down the aperture. In the majority of cases (e.g. where the scene/subject has no extremes of shadows or highlights) this is between 1.5 and 2 stops. This is true whether the lenses are used with my GX-10 or K20D.

If you are using A-mode with lenses of this type you will still need to dial in compensation because the camera is calculating an EV for the maximum aperture and cannot adjust for any other aperture subsequently selected automatically. Because of this, I tend to use them in M-mode all the time.

Incidentally, it is my understanding that whatever exposure mode selected on the camera, the actual reading taken will approximate to centre-weighted.

M-series lenses are 'big bangs' for 'few bucks', IMHO, so if you are having difficulties it's worth persevering.

Jon

Thank you for all you hard work, Aki. To find so many 'positives' to say about all the submitted images is a great feat of endurance and kindness

Best wishes,

Jon