Industry wide indications and ceasing film body development by Pentax altogether in early 2003 more than suggest the manual focus Pentax LX will not be having an upgrade (except, perhaps for very rare Limited Edition Models hand assembled by special commission by the new HoyaPentax Corporation). In 2008 Pentax became a division of Hoya Corporation, which had together with Pentax released jointly developed professional grade optics (since 2005); Pentax has shifted its attention to development of auto focus Digital SLRs having build qualities constructed for the long run--now with weather seals--like the LX. You may use this site for common support and sharing of mutual users knowledge or experiences among yourselves. You may also use this message board as a guestbook for the advanced users Pentax SLR cameras from the LX forward, including many such auto focus film cameras, and Pentax digital SLR cameras. We keep the site going too for the WORD SEARCH FEATURE found here as to its magnificent K mount system user archives: as have been shared here for many years. Have an inquiry related to Pentax gear? First try KEYING IN YOUR KEY WORD(S) for a preexisting archived response on your subject of inquiry from this LX site. If your inquiry or sharing is from advanced users K10D, K20D, or K200D SLR needs, proceed on to t NEW PENTAX ADVANCED USERS K10D, K20D SLR site.
This LX site was specifically created for the great Pentax LX SLR camera model(s), and now has incorporated increased opportunity for an expanded interchange with the introductions of the Pentax K10D, K20D, and K200D SLRs to include advanced and professional digital user models. Interchange is encouraged with the intention to continue as a forum for advanced system users of past K-mount film based SLR systems and the mentioned Pentax DSLRs. With decreasing forum traffic here, and enthusiasts moving on with SLR digital imaging products futures, we hope the continued convenience of this site and its past Pentax advanced LX users data archives--provided by the database KEY WORD SEARCH FEATURE found here--can be very useful to you. Most past site user techniques, systems components, and lenses of Pentax advanced applications--as have been past examined by users on this site--are still of use regarding the newest Pentax SLRs. Please don't mail us with other than constructive suggestions or to rectify mistakes found within this site, thank you. Since this is a non-profitable resource site, maintained by professional and advanced system users, the developer of this site reserves the rights to censor or delete any inappropriate, unrelated, misleading or excessively hostile messages posted herein. If your intention is to dispose of your Pentax cameras or its accompanying accessories and/or you are looking for a used model, or even for any of its system components: please use a separate section with a higher volume of related traffic for these purposes: on the Free Trade Zone site instead. The Photography In Malaysia sites sponsor has no Guestbook standing on its own, because it is an integral part of the MIR site. But if you want to leave a note on your experience of visiting our site and its service, you may use the MIR's Guestbook found at another new window by clicking on the Guestbook Link.
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1. From : Dan Grimes (firstname.lastname@example.org)
Url : http://
Date : 12:49 PM Thursday 27 May, 2004
I need to purchase some batteries for my Pentax cameras. What do you think work best in the LX? There are alkaline, silver oxide, magnisium, lithium, and zinc oxide batteries, all sporting the IEC "44" designation. I am sure that is just the size. All have roughly the same mAh ratings. The manual specifies silver oxide or alkaline, but that is before lithium was available. The worst thing I want to do is buy a battery that effects the metering system because of the voltage falling off. Has anyone noticed this effect? Some batteries are 1.55 while others are 1.3. For instance, the lithium lasts much longer but only puts out 1.3 volts. Will this effect my metering?
Then, there is the stacked battery. These used to be much more available, but now the only one I can find is the Duracell DL1/3n. Are there others? I think what I really want to know is what battery has the best power to cost ratio without losing performance of the metering system. Dan Grimes2. From : dylan butler (email@example.com)
Url : http://
Date : 03:55 AM Thursday 27 May, 2004
I have a selection of Pentax Gear for sale but wondered if anyone can give me any advice of the price I should be advertising?
Penax LX with FA1 finder
Pentax 50mm F1.4 a series
Pentax 24mm F2.8 a series
Pentax 35mm F2.8 m series
Pentax 70-210mm f4 a series
any replies gratefully received...thanks3. From : Jay (firstname.lastname@example.org)
Url : http://
Date : 04:01 AM Tuesday 25 May, 2004
Ian, I will answer your question when I can in about five working days. I am very busy now. --Jay4. From : Ian (email@example.com)
Url : http://
Date : 12:27 PM Sunday 23 May, 2004
Hi chaps! This fine weather here in Daphne AL has me shooting tranny once again (E100G/GX). I can't wait to see how this state-of-the-art film performs. Pity no-one here does E6 processing. I just wish my lead-lined film bag was larger (to return the unprocessed stock to England).
Ian2, good to see you have your LX cosmetics sorted. I believe that having one's camera "just so" is good for the soul, and good for the picture. There is little worse than having a niggling fault to distract you from the man-machine syncronicity that gets you the shot you want. And the better the condition/performance of your LX the easier it is to be distracted by less than perfect feel or function. My two bodies are a little rough, so I'm lucky in such respect.
Jay, I'm slightly confused. You said "Digital offers more color, not less, and can be tweaked to give film's lesser color results, with the kind of contrast one is used to."
My workflow runs as such - Film, fully continuous tone converted to digital via a 48bit colour scan using a CCD line scanner (Minolta 5400). I can then modify the image as required in Photoshop with minimal damage by staying in 16bit per channel mode (curves etc). Converting to 24bit for printing only. Or, utilizing that 48bit depth for 36bit printing with a Lightjet printer (sadly, I haven't as yet). With the exception of the Foveon chip, all SLR CCD's (CMOS, whatever) cannot capture a true RGB colour value per pixel. Single exposure CCD's (digital SLR etc) can't do what a line scanner can (which is what we're using with film scanning). They all use a technique called "Bayer Interpolation". This is where the values for RGB are interpolated (calculated-"made up" or faked) by the surrounding pixels - because each pixel can only capture one colour- red, green or blue. Therefore the colour accuracy is merely one third of what it would be with a line scanner. So the theoretical resolution of a digital SLR maybe 6MP (for arguments sake, lets call this the luminance resolution), it's colour resolution is more like 2MP. (Forgive the shoddy math, but you get the idea). In other words, the eye is being fooled. We get a data-set that is of a given resolution, but the colour information is merely made up to match this value. Yes, it works well, but to suggest that it is better than film, does not equate (for me at least). Remember that most good digital SLR's only output a colour bit-depth of 12bits per channel. This (a greatly reduced gamut compared to 16bits per channel) coupled with Bayer-interpolation does not give more colour, but far less (numerically, do the math). And this is before we get involved in the colour destruction by the spacial compression - JPG, which is common use in digital SLR's (for practical purposes, it's WAY faster in the CPU than RAW for reasons I won't bore you with).
Food for thought I hope, if indeed you've not already changed channels (forgive the pun).
Later, Ian.5. From : Mico (firstname.lastname@example.org)
Url : http://
Date : 05:33 AM Sunday 23 May, 2004
People too often try to open LX on there own, and one of the breaking points is rewind knob. It is not easy to remove it, and over all it opens clockwise, which is confusing for those inexperienced do-it-your-self guys. The consequence is over-tighten and sometimes badly damaged knob. So, I can bet that many of still existing LXs (5-24 years old) had at least one clumsy attack on the rewind knob. There is only one more dangerous point, shutter speed dial. Chances are 1:17 (intriguing, ha) that someone will hit the right way to do that properly and avoid costly repair. M.6. From : AB (email@example.com)
Url : http://
Date : 03:49 PM Friday 21 May, 2004
I've had a couple and still have one camera with a damaged rewind knob - not a big deal, just not quite level with the top plate, obviously had a minor bash. I too have wondered about this as nothing surrounding the knob showed signs of damage. What do people do? Do they drop the camera whilst trying to remove the cassette, it can be quite awkward and the knob would be extended but unless it actually fell on the knob there would be damage elsewhere - the knob would be the least of their worries.7. From : Ian(2) (firstname.lastname@example.org)
Url : http://
Date : 02:53 AM Thursday 20 May, 2004
Thanks eveyone for the various ideas/places to find a new winder knob. I've actually sent enquiries off to both Canada and France (my email to Benelux was returned, undelivered). Having done all this, I promptly found a site in the UK (WWW.asahiphoto.net) who had a brand new one on the shelf - but it was £20! Worth it though, to restore the looks of the LX. The guy there said that damaged rewind knobs are a quite common occurence, which surprised me.
8. From : Jay (email@example.com)
Url : http://
Date : 02:04 AM Thursday 20 May, 2004
Mico, I just e-mailed to your new personal address. Look for this.
Ian of UK. As you know film photography has many interrelated control variables for creative use. Digital has even more, some of which tweak color results, and wonderfully so. Part of the attraction of photography for those immersed and enmeshed is the control and interaction with the available variables. You are apparently used to the "film look" with the compression of tones onto film from a given scene. This is easily achieved in digital color, to give like results, once one understands and uses the viable controls available. Digital offers more color, not less, and can be tweaked to give film's lesser color results, with the kind of contrast one is used to.
Since only one responder was interested in my posting the second part on digital rendering vs. film scans I have not done so. --Jay9. From : Jay (firstname.lastname@example.org)
Url : http://
Date : 12:49 PM Monday 17 May, 2004
Mico, I think I received your e-mail, but have been too tied up with a project for too long, endless editing and the like to get to it (it involves a large potential income). I look forward to reviewing this, your mail. I also had written about how to tighten up the front barrels of an M 28 f 2.8 and an A 24-50mm, both bumped in use in the past and seem a little wobbly. Thanks, Mico. --Jay10. From : Mico (email@example.com)PAGE | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 26 | 27 | 28 | 29 | 30 | 31 | 32 | 33 | 34 | 35 | 36 | 37 | 38 | 39 | 40 | 41 | 42 | 43 | 44 | 45 | 46 | 47 | 48 | 49 | 50 | 51 | 52 | 53 | 54 | 55 | 56 | 57 | 58 | 59 | 60 | 61 | 62 | 63 | 64 | 65 | 66 | 67 | 68 | 69 | 70 | 71 | 72 | 73 | 74 | 75 | 76 | 77 | 78 | 79 | 80 | 81 | 82 | 83 | 84 | 85 | 86 | 87 | 88 | 89 | 90 | 91 | 92 | 93 | 94 | 95 | 96 | 97 | 98 | 99 | 100 | 101 | 102 | 103 | 104 | 105 | 106 107 | 108 | 109 | 110 | 111 | 112 | 113 | 114 | 115 | 116 | 117 | 118 | 119 | 120 | 121 | 122 | 123 | 124 | 125 | 126 | 127 | 128 | 129 | 130 | 131 | 132 | 133 | 134 | 135 | 136 | 137 | 138 | 139 | 140 | 141 | 142 | 143 | 144 | 145 | 146 | 147 | 148 | 149 | 150 | 151 | 152 | 153 | 154 | 155 | 156 | 157 | 158 | 159 | 160 | 161 | 162 | 163 | 164 | 165 | 166 | 167 | 168 | 169 | 170 | 171 | 172 | 173 | 174 | 175 | 176 | 177 | 178 | 179 | 180 | 181 | 182 | 183 | 184 | 185 | 186 | 187 | 188 | 189 | 190 | 191 | 192 | 193 | 194 | 195 | 196 | 197 | 198 | 199 | 200 | 201 | 202 | 203 | 204 | 205 | 206 | 207 | 208 | 209 | 210 | 211 | 212 | 213 | 214 | 215 | 216 | 217
Url : http://
Date : 05:17 PM Sunday 16 May, 2004
Jay, I tried to send you e-mail with post-cards samples(3MB) but it could not reach your mailbox - it is full. M.
Maintainers for Pentax LX Series SLR Camera Models Message Board:
Tony Davies-Patrick (Globetrotter) (firstname.lastname@example.org); Mico Smiljanic (email@example.com);
Jay Hart (firstname.lastname@example.org); Philip Ashman (email@example.com)
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