Originally posted by Pat_H On rarity, I see quite a few questions of the "so what?" type. I.e., why does it matter?
Well, at some point market rarity equates with extinction. I think that is why it matters. In the back of our minds, I suspect a lot of us worry a bit that Pentax will go extinct, and at that point our camera familiarity and equipment starts heading for extinction. I have a Zeiss camera, for example (an old 35 mm). . . of what real value is that in a digital photography world?
What model Zeiss? There are a few users on this site who shoot vintage gear that would consider your camera worthy of ownership and use.
Quote: On boosting their product, would it have hurt to have one Pentax in the recent National Geographic photography issue? A lot of us Pentaxians regard the Pentax as an all weather camera and yet, in a setting featuring outdoor photography, it was Canon who was advertising.
Good point. I was introduced to Pentax as a brand courtesy of the monthly ads in EVERY National Geographic during the 1960s. The only other brands that advertised there were Nikon and Hasselblad.
As for market rarity == extinction...
Much depends on the intent of the maker. Current model Leica and Hasselblad are a relative market rarity. The same is true of Mamiya medium format and Voigtlander rangefinder cameras. Even more rarified is the market for Alpa (and similar...
LINK, very cool camera) as well as large format film*. The first two are expensive, the last two are moderately-priced and the last $$$. The makers of all of these camera brands are satisfied with a boutique-scoped market and moderate profits.
What does this say about Pentax? Might it be that the brand may be better off transformed into an ultra-quality, not-quite-cutting edge product with limited (as opposed to wide) consumer appeal?
Steve
* Yes, you can still buy large format film gear new. My recent purchase Chamonix 045N-2 is a good example. Hand made of teak, alloy, and carbon fiber, it was not cheap, but the competition can be VERY pricey.