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Modern Classic SLRs Series :
Pentax LX - Message Board/Guestbook

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
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1. From : Ian (
Url : http://
Date : 09:51 AM Tuesday 24 February, 2004

Pat, if the rubber has not compressed/aged enough to screw up the focus at infinity (test with primo prime lens, not a zoom), then apply a small amount of silicon (white) grease to the mirror stop. Do not use oil based grease as this will accelerate the ageing of the rubber. Should stop the sticky mirror syndrome for at least the short-term. Although of course a service is really in order. Merely my advise, nothing more. - Ian.

2. From : AB (
Url : http://
Date : 05:54 AM Tuesday 24 February, 2004

Pat, email Robin -

3. From : Pat (
Url : http://
Date : 05:50 AM Tuesday 24 February, 2004

Hi All, I have two tired LX's both with "sticky mirror", one I want to keep the other I'm about to part with (and yes it will hurt!). The better of the two bodies,(the one I intend to keep), also has a problem with the frame counter -it's stuck on 36! I know sticky mirror can be cured by a service, but what I would like to know, is the frame counter repairable by a pentax service? Regards Pat

4. From : Jay (
Url : http://
Date : 12:31 AM Sunday 22 February, 2004

A comment on the zone system shift with different illuminant values. When Anton describes his set-up below my comments, he mentions a white background coming out grey. This happens when there is a significant difference in illuminant values--zone system neutral tone shift as it were--between a subject and a background. It depends on the film being used, for some a 1/2 stop difference will be OK, for others a 1 stop difference will not shift by the zone. This is a matter of understanding one's medium chosen and the light values involved. So, to not get a gray shift on a white background it may have to equal the value of the subject, or can vary, depending on the film used. Here is a case where one must have experience with the exact emulsion chosen. --Jay

5. From : Adam ÍÅÒ (
Url :
Date : 07:55 AM Saturday 21 February, 2004

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6. From : AB (
Url : http://
Date : 02:33 AM Saturday 21 February, 2004

Har! (as they say on the PDML) So I'm not the only one who sells something only to re-buy it later. I knew there had to be others. AB

7. From : Jay (
Url : http://
Date : 12:42 AM Saturday 21 February, 2004

Well, OK. But don't forget to take two final readings when all units are firing: one from the back and one from the front of the model, to ensure that the back gets less light than the front. Each time I write something here, I think, why did I not write it in MS Word, and edit an hour or so after the first writing. Then spelling, word usage, grammar, sentences and the reorganization of spontaneously expressed ideas would be better posted for the reader. But I cannot always find the time, and, if I so wait we could be two pages down into the next subject, whatever that will prove to be.

I've just bid on another motor drive LX, after selling one in the fall. Summer is coming, and with it high country wildlife going higher, being more lifeful, and unpredictable. It is unusual behavior which allures in prints, not grazing and standing, and, for that the motor drive comes into play. I just wish Pentax had such a high speed option for the MZ-S, which has very good autofocus response. Oh well, Jay

8. From : AB (
Url : http://
Date : 11:10 PM Friday 20 February, 2004

Thanks Jay I recently sold my Polaris meter that was capable of incident flash, I use my Gossen Lunasix 3s in incident a lot, but it doesn't do flash. I recently got a Gossen SpotMaster and this does do flash (that's why I sold the Polaris) but not incident. I guess I could do what you suggest by firing each gun individually and spot reading off a grey card. I could then take a final reading of all guns from a grey card held by the model. I guess I shouldn't worry too much, I'm going to have to bite the bullet and get this flash thing sorted. If the shoot's a disater we'll simply have to do it again. I'm only charging her the processing and she's a friend so she'll have to be understanding. I shall print off your advice and get set up well early. AB

9. From : Jay (
Url : http://
Date : 10:45 PM Friday 20 February, 2004

A last thought, you want at least a body length between the background and the subject, or you'll get "subject shadow fastning" to a lesser spaced background. The backlight is for separation from it, from the results of the front lights, and to control shadows on the background. All three of these postings are not so difficult to know and work with once their principles are seen on prints, tweaked for outputs, and factored into future previsualization for your lighting set-up. Here you have the basics, now to master them for future use and your own style. --Jay

10. From : Jay (
Url : http://
Date : 10:37 PM Friday 20 February, 2004

Sorry not to mention this prior, but, the chin neck area becomes critical to not having harshness of resulting shadows cast by them from the key or main, and as to having your subject look spontaneous. So, say the key or main is one to two and one half head heights above the model's head plane, aimed at the face, say at least a body length away from her. The fill then needs to be at least even with her head, normally about ten degrees further off center than the main, to help wash out nose and chin shadows on the face cast from the key or main. Remember it is set as a lesser light by what is written below. The umbrellas are forgiving, so those shadows won't be as they would with direct lighting (the umbrellas diffuse and bounce and expand the flashhead source). Watch the results on the printing of them, to so tweak their placement in the future. Always be looking at the results with the angle of light entry and exit principle. If you don't like what you see under the chin, or as cast by the nose angle, you can tweak it as to key and fill placements, outputs, and angles in the future. I am assuming your backlight is not diffused, for you mention two umbrellas? If so, you've got to spread it out just a bit, so move it away from the background, aimed at it, again about even with the model's head (placed behind the model's plane of placement so she does not cast a shadow by its placement). The placement of each lighting source, in relationship to the model, the desired output of each one, and the pushing down and.or washing out of shadows is in play. A backlight, in this case a background light on the white paper, becomes the snap light for 3D. Here is a case where taking a couple of reflected readings off of the background, when firing it alone, to see if the light is even across it, is a good idea after achieving your ratioed output. You don't want more than a stop of unevenness across the white paper (say it is an American 8 to 12 feet across). This means if it is aimed at behind the subject point center, aimed down a head from her head, watch the brightest point of reflection, where so, being pretty much on axis to the model (any intensity fall off being then as one moves away from that point). There may be no difference center to edge. After that evenness factor is established, still take your incident reading aiming the meter toward the background off which the light is bouncing back to the back of the model, to ensure that it is ratioed as discussed below. When all three are being fired is when to take a couple more incident readings, one off the background, aimed at it, one in front of the model's face aimed at the lens. The one aimed at the lens has to measure at least a half stop or more output than the one aimed at the background, when firing all the lights simultaneously. When you have each one read separately, it is a beginning to achieve their output ratio, this can change some when all three are fired at once, but you cannot have more light coming to the back of the subject that her front. You can experiment with all this without film, or final location setup, in order to achieve what is discussed here with your meter. Intensity of lighting too is modified by moving lights away from the subject and subject away from the background proportionately. Just have the camera in a position where it does not interfere with the output of the lights and become a source of shadow in the scene. The camera ends up somewhere between the key and fill but not in front of them. --Jay

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