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Forum: Film SLRs and Compact Film Cameras
09-08-2023, 05:46 AM
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Some folks had questions about the Z-1 (and its variants) and how they compare to the MZ-S. I finally had a reason to pull one apart so I thought I would post some pictures of its internal components.
Structural Components
While the Z-1 is mostly plastic, it does have a metal front plate and mirror box, which gives a very stable base for the lens mount and mirror mechanics. The film compartment and body panels are all plastic.
Shutter
 
This thing is beautiful. All metal, even the chassis. I don't have any way of objectively evaluating the quality of the shutter compared to the MZ-S, but subjectively, I would have to give the nod to the Z-1 shutter.
Core Mechanicals
This is the most interesting difference between the cameras, in my opinion. The MZ-S looks like a camera that was built from the ground up to be an electronic camera, driven by motors and computers. But the Z-1, after you remove its plastic skin, feels more like a mechanical camera that they stuck a motor in. For example, the side of the mirror box looks more like an ME Super or a K1000 than it does an MZ-S. And it comes through in the shutter sound. The Z-1 has the old time thwack of a mechanical camera, while the MZ-S sounds like an RC car. Now before the Z-1 owners get too comfortable on their high horses, lets take a look at the charging mechanism that causes so many problems in the MZ's.
 
Ack! Plastic! The pic on the left shows the charging motor for the Z-1 (notice the plastic drive gear). The pic on the right shows the charging block, which takes the rotary power of the motor and charges all of the various mechanisms in the camera; the mirror, the shutter, the aperture block, etc. In my opinion, plastic parts are not really a problem. It is possible to build plastic parts that are very robust and long lasting (as in the Z-1). The problem is poorly designed plastic parts. The plastic drive gears on the MZ-X cameras are much thinner and of a different resin, which turned out to be much too weak to stand up to the loads in the system. It's also possible (but admittedly less common) for metal parts to be under designed. The Bronica S2, for example, has a gear in the winding mechanism that is notorious for stripping. It was so prevalent that they had to release an updated design (the S2a) with a stronger gear to fix the issue.
Anyway, hope you enjoyed some pics of camera guts.
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Forum: Film SLRs and Compact Film Cameras
08-22-2023, 03:06 AM
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Hello all
I recently got round to reviewing the ES II for Kosmo Foto's YouTube channel to mark 50 years since it was released.
You Tube
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src="https://www.youtube.com/embed/LBTmohyVK6Y?controls=1" allowfullscreen>
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Hands down this is my favourite SLR of all time. The video touches on Pennie Smith's use of the camera to shoot The Clash - and the cover of 'London Calling' - which is how I came across them.
Hope you enjoy the vid.
Cheers
Stephen
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Forum: Pentax SLR Lens Discussion
08-14-2023, 04:36 AM
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There's a good non-video review with lots of sample images here:
Review: TTArtisan 100mm 2.8 - The modern, affordable Trioplan?
I think my only concern would be contrast / flare, though I doubt it's any worse than some of my Soviet lenses. The rendering is exactly what you'd expect (and, in my case, hope for) in a Trioplan-type lens.
USD $155?!?! It's a bargain. I think I'll get myself one for Christmas... The HD FA50/1.4 re-issue will have to wait a little longer :p
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Forum: Pentax SLR Lens Discussion
08-14-2023, 04:12 AM
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Forum: Film SLRs and Compact Film Cameras
02-27-2023, 06:43 AM
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While most of the MZ/ZX line of cameras have been plagued by reliability issues around the mirror motor gear, the MZ-S seems to have fared better. But there's still a lot of speculation around exactly which parts of the MZ-S benefited from better build quality. I've repaired several lower model MZ cameras (MZ-X's from here on out) and I'm just diving into my first MZ-S repair. This MZ-S is an earlier model with a serial number 4621021 and Japan listed as the country of manufacture. So I come bearing some answers...but also a few questions.
Structural Components
It's pretty clear from just holding the camera that the body panels are more robust. On MZ-X's all of the body panels are plastic. Glass filled polycarbonate. On the MZ-S the top, bottom and front panel (around the lens mount) are magnesium, but the film door and front side panels are plastic. Additionally, the inner chassis is plastic on all these cameras.
Shutter
All MZ-X cameras use the same shutter. I've taken one apart and it's pretty cheap. All of the frames and armatures that move the blades are plastic. The MZ-S has a different shutter. I haven't dissected one but, from the outside, it's clearly on another level. Nearly all of the moving components appear to be metal. Probably necessary to get the slightly higher sync speed as well as increase reliability and longevity.
Core mechanicals
This is the most interesting bit for me. Here is where we find the infamous mirror motor. It drives the gear set on the right side of these images, which in turn powers several core functions of the camera. We have a lever that controls the aperture (red), a lever that cocks the shutter (green), and a lever that moves the mirror (blue). Let's start at the motor and move down the line.
These pics show motors taken from each type of camera. The motors with brass gears are both from MZ-X cameras (those are replacement gears not factory parts). The motor with the flat sides is from an MZ-S and is slightly larger, probably due to the higher frame rate (2.5 fps vs 2 fps). The gear in this MZ-S was plastic but it's not the same gear as the one found in MZ-X's. It appears to be made of a different type of plastic and it also has a more robust collar around the top. The gear was functioning before I started the repair, but on close inspection it's still cracked. However, it's entirely possible that this gear is less prone to failure than the MZ-X gear. The other important note is that this is an 11 tooth gear (mod 0.3) rather than a 13 tooth gear (mod 0.25) found in MZ-X's. I'm guessing the different motor and frame rate speeds required different gearing. So if you have spare gears laying around for your MZ-3 they won't work in an MZ-S.
The next difference is the shutter charging lever. This is plastic on MZ-X's but I've never seen one broken. I'm guessing the MZ-S shutter has more tension in the curtains and takes more force to charge, so they thought an upgrade to a metal part was prudent.
Lastly, and most concerning, is the mirror drive lever, which is plastic on both the MZ-S and MZ-X's. I frequently see MZ's with broken mirror drive levers. Maybe 30-40% of mirror lock-ups I've repaired have been caused by broken mirror levers. And it was also broken on this MZ-S. So this is the big question...When Pentax started putting brass motor gears in MZ-S's did they also start upgrading other parts. I can see arguments in both directions. If all of the MZ-S's in the world had plastic mirror drive levers, I would expect a lot more of them to be be broken. On the other hand, maybe fixing the motor gear removed the primary failure mode and was enough to keep the MZ-S off the radar of internet forum readers. Guess the only way to find out will be to eventually open up a later model MZ-S.
Pic of a broken mirror drive lever beside the replacement part I use.
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Forum: Photographic Industry and Professionals
02-03-2023, 10:25 PM
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This post is not directly about cameras, but might be interesting to those with an interest in Japan, Ricoh or architecture.
Ricoh announced last week that they would be rebuilding the San’ai building in Ginza.
The “San’ai Dream Centre”
This is a property owned by Ricoh that is right on the main crossing of Ginza in Tokyo. Tokyo has a number of very busy commercial districts, and Ginza is considered to be the most prestigious of these. It’s home to some of the oldest department stores and flagship stores of global fashion and jewellery brands, each of which compete with each other to have the most attention-getting architecture. On the other corners of the main crossing are the Wako department store, the Mitsukoshi department store and a Nissan showroom.
The San’ai building itself is a small, cylindrical glass structure, which used to have a Ricoh Imaging showroom and gallery on the top two floors, known as “RingCube”. This closed a few years ago. The other floors have some cafes and in recent years a tacky second hand clothing store called "Brand Off", aimed at the crowds of tourists that come through this area. On the exterior of the building is a huge, illuminated Ricoh sign at the top and two large billboards that flank the building, advertising Pentax, Theta or GR products. It has always struck me as ironic that even with the minimal advertising Ricoh/Pentax does, the only place where they have billboards is one of the most expensive places on Earth.
Here is a link to Google Street View - hope it works!
Google Maps
The building’s history
I always thought this building must be from the 80s, because of the way to looks, and the fact that so much was built in that era. But the announcement from Ricoh the other day mentioned it dates from 1963. So I looked into the history a bit.
That time was when Japan was really focusing on being a technological power in the run-up to the 1964 Olympics. Around that time, Tokyo Tower was made not long before and the bullet trains came into service the year after. It seems that the San’ai building was considered a much-loved symbol of that era, which might explain why it escaped demolition for so long. It must have seemed very futuristic at the time.
Looking at images, it went through a number of incarnations, from having a Mitsubishi sign, through Vodafone and eventually to Ricoh. I do remember seeing the Vodafone sign in my early years in Japan. I also realized how much the impact of the building has been diminished by being boxed in by adjacent buildings. The 1960s photo makes it look really cool!
What is really interesting is that the founder of the San'ai fashion brand, responsible for building it in the first place, was Kiyoshi Ichimura. Who is also known for being . . . wait for it . . .the founder of Ricoh! So Ricoh is not just the owner of this building, but also has a deep sentimental attachment to it.
There is an article about Kiyoshi Ichimura here.
The man who built the San-Ai building | GINZA OFFICIAL
The redevelopment
When the Ricoh showroom closed, I was pretty sure the building would be demolished. Buildings over 40 years old in Japan are normally targeted for redevelopment. One big concern is that they are not built to modern earthquake resistant standards. In the case of the San’ai building, there is also the issue that it contains so little usable space. Each floor was an awkward doughnut shape. No matter where you were inside, it felt like you were in a curving corridor.
Having said that and not knowing the history, I was kind of expecting that Ricoh would sell the real estate to another developer and it would turn out to be something completely new - like a Vuitton shop or something like that. Instead, it seems that Ricoh will do this themselves and basically build a new San’ai building on the same site.
Ricoh’s press release (Japanese) is here.
??????????????????????????? | ??????? ???IR | ???
They explain the safety reasons and their intention to maintain the legacy of the building in the new design. Also, Ricoh intends to preserve the memory of the old structure, by recording it using their Theta technology.
The new building
The reconstruction will start from this March, and last for two years.
The task of designing the new building has gone to Tetsuo Kobori Architects. I hadn’t heard of them before, but looking at their website, it seems that they have worked on a range of projects, large and small. They seem to like incorporating wood into their designs, which has been a trend for the last decade or so.
The architect said that he intends to keep a circular motif in the new building. You can see some of his works here. Works | Tetsuo Kobori Architects – ???????????
The architecture on that site seems quite tasteful and low-key, but I personally hop it is not too low-key. I think something like the old building on a larger scale and with modern materials would be great. Locations like this need to keep that bright Tokyo city feel that we expect at big intersections. They talk about making it a "New landmark", so I think it will be an eye-catching design, but I think they'll also try to show their sustainability credentials by making it with wood instead of steel.
I would say the chances of having a Ricoh or Pentax showroom in the new building are a bit low. Pentax already has another new location in Tokyo. It seems that Ricoh wants to highlight their digital work solutions, However, I do think it is good that the Ricoh name will stay at that location. And they may have billboards or screens outside that can be used to promote their camera products.
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Forum: Film SLRs and Compact Film Cameras
10-06-2022, 06:08 AM
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Hi all!
As you can probably tell, I've released a new PentaxTips video on a K1000 overview tutorial :)
This one was exceptionally fun to shoot. The K1000 is an incredibly solid unit ;)
Here are some screenshots from the video - let me know what you think :D
Enjoy!
Youtu.be
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Special thanks to Luis for lending his exceptional collection:
Instagram: @Spaceman_Lou
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Forum: General Photography
10-03-2022, 09:20 PM
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The Pentaxians Facebook group has released its fifth Pentaxians yearbook.
If you would like to have a look at it, just download the PDF file at The PENTAXIANS Yearbook 2021
There are 2 versions - an online version with all contributions and a print version limited to around 300 pages. The link to order the print version is just underneath the PDF button.
Thanks again to Stephen, Bela and the other volunteers for all the unbillable hours they put in!
And congrats to the contributors, many of them are fellow PF members, I know.
Design and production wise, these annuals are beautiful, I recommend people purchase it in hardback, it'll make a great coffee table book.
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Forum: Film SLRs and Compact Film Cameras
09-28-2022, 02:58 PM
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Yes, I swapped the screen on my FM2. To be honest it was a bit of a nightmare. Quite a fiddly operation and not easy to get the new screen perfectly aligned so the frame snaps perfectly back in place. I don’t think I will mess with it again. The F series cameras are the ones to own if you like swapping screens.
---------- Post added 09-28-22 at 03:04 PM ----------
The F2 is in a completely different league to the FM2. Far nicer build quality and smoother mechanical operation.
The only downside to an F2 is that they are on the heavy side and a bit top heavy with the metering prisms.
I recently picked up a Nikkormat FT2 and was pleasantly surprised by how nice this camera is. It has the solid feeling of an F2, but is better balanced. Nice viewfinder and intuitive metering interface. Nicer camera than the FM series in my opinion.
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Forum: Film SLRs and Compact Film Cameras
07-30-2022, 07:16 PM
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The Asahiflex camera series are a M37 screwmount vintage great-grandfather to the Pentax brand we know today.
Manufactured by the Asahi Optical Co. in the 1950s, that same company would go on to produce the M42 mount 'Asahi Pentax' camera that would bare the name of the brand for all cameras thereafter.
These sort of overview videos helped encourage me to get into photography, especially film photography where every shot counts!
These cameras are not very common and can be a bit intimidating to use the very manual photographic acquisition processes. Therefore, I'm pleased to present our PentaxTips Asahiflex IIA overview training video!
I hope you enjoy!
Youtu.be
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src="https://www.youtube.com/embed/2cf2xGa8Dok?controls=1" allowfullscreen>
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Forum: General Photography
05-27-2022, 03:51 AM
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Hi guys,
maybe some of you are interested - the new Yearbook of the Pentaxians Facebook Group is out - You can Download it here
The PENTAXIANS Yearbook 2020
Best regards
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Forum: General Photography
01-09-2022, 01:38 AM
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Not Pentax but Hasselblad. I want to share with you a very interesting project by the Rijksmuseum. The Night Watch in 717 gigapixels: Ultra high resolution photo |
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Forum: Pentax SLR Lens Discussion
11-09-2019, 10:32 PM
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Ricoh has a series of talks at their Shinjuku Tokyo and Osaka locations in the month of November to commemorate the 100 year anniversary. You can see a list of them here.
PENTAX 100???? | RICOH IMAGING
I decided to go along to a talk about the FA Limiteds by Kazuo Ikenaga (池永一夫). Ikenaga-san is now retired but was working there at the time these lenses were developed and is an enthusiastic user of them now, with his K-1 II. He gave a very interesting inside story of their development, and also a lens-by-lens description of their unique characteristics.
Im afraid I didnt take any photos at the event, but here is an image from the Ricoh Imaging Square Twitter.
????????????? (@RicohImagingSQ) on Twitter
As a big fan of the FA 77mm, I found this a very interesting story and here is an account of what was said. There may be some points I forgot between listening and writing, but it should be pretty accurate. This is going to be a long post.
The concept of the FA limiteds
In the late 90s Pentax was introducing a range of smaller cameras like the MZ-3 and MZ-5, and some people in the company felt they didnt have the quality small lenses to go with them. They conceived the principles behind the FA Limited series.
- The design should give a soft but precise rendering. For example, hair should look like it is soft, not like hard strands.
- The filter thread should be 49mm.
- The aperture should be faster than f2.
- The design is of high-quality aluminium.
- As soon as you pull the lens cap off, the lens should be ready to shoot, without needing a separate action to attach a hood.
Overcoming internal sceptism
The proposal to make these lenses met with significant scepticism and opposition in the company. The Sales department was not at all sure that they would sell. They believed that Pentax was known for more value-oriented lenses, and that customers would not see the value of such small yet expensive lenses.
This resulted in the original plan of a trio of lenses to be scaled down (or rather slowed down) to one at a time. When the 43mm came out, they faced pressure to keep the cost under 70,000 yen, which was very tough. Fortunately, the 43mm sold better than expected. With their concept validated, they were able to release the 77mm and 31mm at two-year intervals and the price was allowed to go higher.
To reduce the initial costs and make the project feasible, a decision was made not to invest in the machinery to manufacture the lenses in a fully automatic way, but instead to machine the parts in a more manual way. This allowed them to release the lenses in the first place, but prevented them from reducing costs as they scaled up production subsequently.
The unconventional focal lengths
What has become the convention for focal lengths used by most companies was derived from what Leica made, but beyond that there was little justification for using those focal lengths. So the designers decided to free themselves from that constraint.
The first lens to be made was the FA 43mm. The intention was to make a classic normal lens to start with, and 43mm was chosen as the optimal focal length to achieve their design goals - faster than f2 and with a filter diameter of 49mm. There was a precedent for forty-something lenses from old rangefinders, and people had found that useful as their only lens. The fact that 43mm was the diagonal of 35mm film frame was not a principle that informed the design. However, they ended up using that coincidence as a marketing narrative when sales felt they needed to justify the unconventional choice.
A similar approach led to 77mm being chosen for the next lens. It sounds like the 77mm was a real technical feat at the time, especially the coating. For the 31mm they must have relaxed the filter diameter requirement.
Unique approach to design and evaluation
As they developed the lenses, they were advised by a famous photographer, the late Shoji Otake. The common practice at the time was to use to use computer aided design and evaluate using test charts. They rejected that methodology for the Limited lenses and instead used a painstaking method of human evaluation of prints. This is understandably a very slow way of developing lenses.
They invested in an expensive, state-of-the-art printing system from Fujifilm. Using the images produced, prototypes with different designs and coatings were evaluated. When they started this practice, the designers were not always able to see the differences, but Otake-sensei could immediately see the significant areas and told them where to look. Once they developed the ability to see the differences, they became skilled in the art of evaluating images themselves. Ikenaga-san commented how much they felt their own eyes improving by being part of this process.
For each lens they made a description of what it should be able to do. For example, with the FA 77mm, they wanted to create a lens that suppressed flare to to avoid washed out photographs. They defined this as being able to depict the glint of a white button on a white shirt. Then they went about the process until they achieved it, and this is why the ghostless coating was applied.
Differences in the concept of the DA Limiteds
Although the DA Limited series has some similarities, there were some different decisions made about the scope of that series. While the FA Limiteds were deliberately clustered close to normal focal length on 35mm film, the DA Limited series was supposed to go from true wide-angle to telephoto on APS-C. Also the DA Limiteds are slower than f2.
There was some talk about the DA Limited series in this presentation, but it didnt go into as much detail about the design story as the FA Limiteds. He did talk about his personal favorites, which are the 15mm and 35mm macro. He also expressed his opinion that the DA 20-40 should be considered more like a prime - a normal with a bit of scope for adjustment. In fact, he seems to be a believer that primes instill better photographic practice.
Close focus ability
The designers took a lot more care about close focus ability than I had realized. The three lenses discussed here were the DA 15mm, the DA 35 macro and the FA 77.
The FA 77 has some kind special mechanism in the design that engages around f2.4 to allow better close focus performance when stopped down. Ikenaga-san mentioned you can feel a little click there if you use the aperture ring, but I cant detect it on mine. In any case he strongly recommends stopping down to f2.5 for the best close focus performance with that lens.
When designing the DA 35mm, they did not start out with the intention of designing a macro. The original intention was to make a more general purpose normal lens for APS-C, but they ended up designating it as a macro eventually.
Left me with a strong desire for an FA 31mm
That basically all that I remember form the talk. It was pretty interesting overall. After doing a quick search to check some information, I found that Ricoh has an article by Ikenaga-san on their website (in Japanese). It contains a lot of the same things he said in the presentations, but in talk he said much more about the development story.
?2? ?????????? FA Limited??????????????/ Beautiful Photo-life | RICOH IMAGING
By the end, I was feeling a strong urge to buy an FA31 by the end of the talk. Perhaps I can justify it to myself one day.
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Forum: Pentax SLR Lens Discussion
11-03-2020, 03:43 PM
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I should have made this clear that I didn't make the video, I just came across it on YouTube, found it interesting and made the post.
You Tube
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src="https://www.youtube.com/embed/LnhZOrwMHmY?controls=1" allowfullscreen>
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:cool:
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Forum: Pentax News and Rumors
07-21-2020, 09:21 PM
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Twitter
We would like to thank you for watching "PENTAX Cameras from Now on" that we released on July 16th.
This is the announcement of Part 2 release.
Today, at 19:00（Japan Time），the video of "New APS-C flagship model" will be released on the landing page of the following URL.
---------- Post added 07-21-20 at 09:22 PM ----------
DFA* silver coming
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Forum: Pentax News and Rumors
04-16-2020, 06:50 PM
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You can download the Pentaxians Yearbook 2019 here: http://pentaxians-yearbook.com/download/Pentaxian-Yearbook-2019-ONLINE.pdf
The PENTAXIANS YEARBOOK 2019
this is the third edition of the PENTAXIANS YEARBOOK. From now on we can say it is a series and no accident! We received more contributions than ever, of overwhelmingly high quality, both technically and artistically. This large number of contributions led us to the point where its no longer possible to include all of them in the printed edition. Thankfully, the digital version suffers no such physical or cost limitation, so we have been able to include all contributions online. The digital version also benefits from far wider distribution than the print, with more than 15,000 downloads.
This year, we also celebrate 100 years of Asahi Optical Joint Stock Co. the mother of our beloved camera brand. So Happy Birthday this is our gift to you!
Thank you all for being part of it and for being such an awesome community of great photographers from all around the world.
But first things first.
We congratulate Michele Marcolin for the title shot - a phenomenal shot, taken in the motherland of our beloved cameras. The title shot is this year rewarded with a RICOH GR III, sponsored by Ricoh Imaging Germany. A big thankyou goes to Wolfgang Baus and his team. The title Image was selected by Bιla and Stephen. RICOH IMAGING DEUTSCHLAND GmbH
We also want to congratulate Annabelle Schwesinger for being selected for the KASE landscape prize. A big thankyou goes to Matthias Conrad from KASE, for sponsoring a Kase Wolverine Magnetic Circular Filters 82MM Pofessional Kit. The shot was selected by Matthias Conrad and his staff. http://www.kasedeutschland.de (online soon)
The Book can be ordered from tomorrow evening CET on the The PENTAXIANS Yearbook 2018 - Due to massive internet connection problems today, we had no chance to update the website in time for the release of the download version of the book - please don't mind.
The biggest thankyou goes to:
AARON MARTINEZ ADAM SCALES AGOSTON ZACS AKHMAD ALJOHAN AKSHAT CHAND AL BURKUN ALAIN BLAIS ALBERT DE VILLIERS ALBERTO BASSI ALBERTO VICENTINI ALEX ROSE ALISTAIR DUNLOP ALLAN COBB ANAR SILLAKIVI ANDREA BIDOSSI ANDREAS KRETSCHMER ANDREAS WEYERMANN ANDREI ORGAN ANETA BERNACKA ANGELA RAMSDORFER ANGELO PETROZZA ANNABELLE SCHWESINGER ANNE M. ERDOGAN ANTONIO LEOFREDDI ANTONIS MIMERINIS ARITRA MUKHERJEE ARNO BRINKMAN ARTEMIS CALLISTE ARUNAS GRICIUS ATHANASIOS KOKKINIS AUGUSTYA SHRIVASTAVA BENJΑMIN CZΙTΙNYI BRAYDEN BISE BRIAN BARRETT BRIAN EDWORTHY BRUCE WALKER CAROLYN TOLEMAN CECIL THOMPSON CESAR FLORENCIA CHARLES EDINGTON CHER SIANG FOO CHETHAN DHRUVA CHRIS BEESLEY CHRIS HEWGILL CHRISTIAN GOW CHRISTIANE WELTZ CHRISTOPH ESCHER CHRISTOPH TRAUGOTT COULTER CHRISTOPHER STADLHOFER CLAUDIO BEFFA CLAUDIUS MACHATE COLIN BARR CONRAD SCHMIDT COREY BOYETTE CRAIG HUNTING CSORDAS GABOR DAMIANO STANZIAL DAN VIDRI DANIEL GONZALEZ AGUILERA DARIO BONAZZA DARIO TOLEDO DARIUSZ RENKE DARRELL RAW DAVID BENITEZ DAVID CHOONG FYE LIH DAVID GAVIN DAVID PARBERY DAVID RYLAND DAVID VAUGHAN DELANO BROWN DETLEV PIEL DONALD MCKERNAN DONATAS KARDOKAS DΣRA HIBA DUONG FAN EBERHARD PHILIPP HECK EIMAR KULL ERIC CLARK ERIC WETHINGTON ERNEST GODWARD FANIS PROKOPAKIS FEDERICO TOMASELLO FELMIN BETOY FERENC WEISZ FILIPPO BARBARIA FLAVIEN DAUSSY FLORIAN HARTMANN FLORIAN NOEVER FRANK ENGELSBERG FREDERIC LE PON GABOR CSORDAS GABRIEL ALVAREZ GABRIEL STANCIU GARTH BAILEY GARY SIMPSON GEBE GEBE GEBE GEERT VAN PUYVELDE GERGŐ KALMΑR GERGŐ KESERŰ GIDEON DIGBY GIUSEPPE GALLI GRZEGORZ BANACH GYΦRGY BΑRDOS HARIZ RAHAMAN HARVEY SPIKOL HAZIM ALDUJAILI HEINRICH BEUKES HELGE PETERS HENK ELSHOUT HOLGER WINKELMAN IAN CLARK IAN COLONNA IAN MORGAN IGNAS VALKAUSKAS IMRE SZŐKE ISTVΑN SZALATNYAI JACOB SMITH JACQUELINE WENHER JAMES WAFER JANEK KAMJA JASON DAVIS JAY RICHARDSON JEFF HINTE JEFF SCOTT JEROEN GEST JESPER SEIRUP JILDOU VAN OOSTEN JO TAGHIPOUR JOHAN VERHAEGEN JOHANNA BERTALAN JOHN COYLE JOHN KING JOHN OBRIEN JOIE SANDOY JONATHAN HANSEN JORDY WUBBELS JΦRG MάLLER JORRIT DE. JAGER JOSEPH GRUNSKE JOSHUA SCHWALBE JΣZSEF NΑNAI JUERGEN MAYER JULIEN LEGAY KAITI PILK KEITH SCHRECENGOST KEN LEE KEN WESTPHAL KENN CHANDLER KIERAN COUGHLAN KIRΑLY GYŐZŐ KJELL VIKESTAD KOBIE MERCURY-CLARKE KONSTANTINOS MALKOPOULOS KOSTIS KANARAKIS KUSTOS JANOS KYAW HTOO HLAING LADISLAV BODNΑR LΑSZLΣ MAYER LEWIS THOMPSON LIBUSE JINDROVA LONESOME CROW LUCIA PETROZZA LUIS CASTANEDA LUKAS TIETGEN ŁUKASZ WILCZYŃSKI LUKE BECRAFT MAGDALENA WEINHEIMER MAJA KUPIDURA MANFRED JABS MANI SRIGANESHAN MANOHARA KAMATH MANUEL VELASCO MARC DESIMPELAERE MARC GEBEHENNE MARC WIELAERT MARCEL DE ROZARIO MARGARET SMITH MARIUS RADU MARIUSZ OLINKIEWICZ MARK ROEDER MARK SMITH MΑRK TURΣCZI MARKUS BRANDSTETTER MARTIJN VERHOEVEN MARTIN YATES MASSIMILIANO SERCI MΑTΙ TΣSZEGI MATT PERRY MATTIA FUCILI MAX MOLENAAR MAXIME DE MOOR METTE MAREN MALTHA MICHAEL BOWDEN MICHAEL PECK MICHAEL THIELE MICHAEL WACHT MICHAEL ZWEIFEL MICHELE MARCOLIN MIHAI TOMA MIKE MUIZEBELT MINDAUGAS GRYBAUSKAS MIROSLAV JINDRA MITCHEL KELLER MOULAY AHMED KASSI MOURYA CHINTALAPATI NELSON OKANEKU NENAD KRBAVAC NILS BERNHARD OGUN CAGLAYAN TURKAY OLIVΙR SΑNDOR PΔΔRO METSAND PARINYA EKPARINYA PASCAL WILLEM PAUL DALLIMORE PAUL ELLWOOD PAUL JOHNSON PAVAN KUMAR T S PAWEŁ NAJBAR PETER HERMAN PΙTER KUKUSIK PETER LAUER PETER PUSZTAI PETER WEST PHILIP MARSDEN PIOTR KRASKOWSKI RAJA BASHIR AHMED RALF PRIEN RAY TAROL RAYMOND CLACK REBECCA ENGEL RENATO MAFFI RENΙ FLINDT RICHARD DERMODY RICHARD OUDE EGBRINK RIGOR NERPIO RIKE CAPITO ROB ONNIS ROB STUDDERT RΣBERT MΑRTA ROBERT SCHILD RONIE ADHIRAAJ GHOSH SALVATORE CATALANO SANDEEP TRIPATHY SARAH AINSWORTH SATOSHI INOUE SEBASTIAN ROITZSCH SEBASTIΑN. ARIAS HERNΑNDEZ SINCLAIR NEWEY SINISA LUDAS SIVAKUMAR SS STEFANO GIARETTA STEPHEN FRAMPTON STEPHEN LONG STEPHEN MCLEAN STEPHEN SLOAN STEPHEN WHITLOCK STEVE BROADBENT STEVE HAYWOOD STEVE PRANKE STEVEN KOVICK STUART STEPHEN SUGATA BANERJI SUTHEE SOMBUTWONGKAJORN SZABOLCS MAROZSY TAKE HUAT TEH TΑLAI VALΙRIA TAMΑS FARKAS TANJA FILONI ZANTOP TAREQ AHMED TAJ TAYLOR ALLCOCK TED WILSON TERRY MARTIN THOMAS BUCHTA THOMAS DEINZER TIBOR OLTEΑN TIINA MUST TIINA RANNAΔΔR TIM ZELKO TIMON TAMAS TINA DIPPE TODD MOYA TOIVO HOLLO TORSTEIN ROENAAS TREFOR HAZLEWOOD-JONES URS HAUENSTEIN UWE RUDOWITZ VALERIO CLEMENTI VERONICA SORLEY VIOREL SCURTU VOJTECH HRUZA VOLKER EHRMANN YOUNES GOUSSYRA YRJO KERANEN YUNG-HAN CHANG YUTO HIRASAWA ZOLTΑN GAΑL ZOLTΑN KARANCSI ZORAN RUDEC ZORAN TOLDI ZSUZSANNA ERΙNYI MATEUSZ ŻUROWSKI BAURZHAN UTEBAYEV PUNEET GAUR PETER REHBERG VYTENIS MALISAISKAS ARSEN ALABERDOV ALEX ROSE ROGER BRADSHAW KYAW HTOO HLAING MOULAY AHMED KASSI STEPHEN OBERMEIER HENRY TORRES KAUR KANGUR MICHAEK THOMAS JEFF LOITZ CSABA HEGEDŰS JOHN ROMANOWSKI WAYNE LARSON
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Forum: General Photography
03-31-2020, 02:49 PM
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See Youtube video:
You Tube
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src="https://www.youtube.com/embed/hZ1OgQL9_Cw?controls=1" allowfullscreen>
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So few cars!
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Forum: Film SLRs and Compact Film Cameras
01-11-2020, 12:57 AM
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I know that there've been a fair number of younger shooters popping up in this PentaxForums corner and I'm genuinely curious how many around here now did not grow up with or shoot film initially but began on digital. I'm a verified gen-x "bridge" shooter I guess, with equal memory and experience in both really but I know there's a wide swath of demographics here.
This is a well done and nicely produced little piece from NBC Left Field... quite a few familiar faces to me in it. Covers the film "trend" over the past decade pretty interestingly. I'd certainly say this is not the fad (at least overall, though there certainly are fads within photography in general, irrespective of film or digital as it's always been) that so many have called it over the same past decade. Thoughts?
Youtu.be
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src="https://www.youtube.com/embed/YotUW5WcOh8?controls=1" allowfullscreen>
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Forum: Photographic Technique
12-13-2019, 07:43 PM
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Thoughts:
A) Ouch, someone dropped the tact ball on that response.
B) Pentax forums has an Exclusive Gallery?
C) Purple fringing should never be the deciding factor on whether a photo is good or not. The world is full of very boring, technically perfect photographs.
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Forum: Pentax News and Rumors
04-17-2018, 08:28 PM
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Forum: General Photography
05-18-2017, 04:55 AM
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Forum: Pentax Q
04-14-2017, 09:31 PM
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