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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 : 11:42 AM Sunday 15 February, 2004

Anton, I must say I do like that Land-Rover shot with Janet. Nice.


2. From : Jay Hart (
Url : http://
Date : 02:03 PM Friday 13 February, 2004

For all regulars on this site, to see the drift toward digital small format cameras among pros--and some excellent comments and results of those users of Nikon and Canon gear to date--see the Fred Miranda user members site. It is also a good choice for checking out Tokina and Sigma pro lenses for Pentax application. The address is found on the posted resources list advanced here some pages back. --Jay

Url :
Date : 01:01 AM Thursday 12 February, 2004

Sounds good, Jay. I've always preferred the look of photos taken in-camera on the earlier Fuji S2 when compared to other brands, so this new version should be even better, especially if it covers part of the problems with DSLRs in not being able to cope with low-light levels.
I hope Pentax doesn't take so long in bringing out the next version of DSLR as they did with the first one....

4. From : Jay Hart (
Url : http://
Date : 11:52 PM Wednesday 11 February, 2004

Hi again, I am reporting on an innovation Fuji digital has come up with in their new S3 DSLR. Due to low light and normal light sensor interlacing in the new chip camera, dynamic range is increased four times over all earlier sensor chip designs. The resulting images are then a move away from the flat look that cautions one on taking the digital SLR plunge. There are other post imaging ways and means for abating the imaging flatness issue, but advancing technology that does this in camera on origination is wonderful. Battery normalization to double A's is also secured in the new camera release. These moves will challenge all other camera makers to do the same to the degree they can, and should boost Fuji's sales and place in the digital marketplace. Common sense approaches to imaging are what we are hoping for in the to be released Pentax Professional DSLR in 2005. --Jay

5. From : Jay Hart (
Url : http://
Date : 04:22 PM Wednesday 11 February, 2004

FYI, The Photozone tests website includes user reviews in application of most slide films. The accuracy of digital rendering with the 6X4.5 film backs in some ways surpasses even this 35mm film technology. But the large and various system accessories of small format cameras with interchangeable lenses offer greater flexibility than ever over even these fine 6X4.5 camera systems. --Jay

Url :
Date : 01:06 AM Wednesday 11 February, 2004

Just got back from driving across six countries...and I'm dog-tired!

The Show in Zwolle, Holland, went extremely well, with many hundreds of books sold - both hardback and leatherback versions. Now I'm back in cold & wet England, I have to get behind the computer and catch up on a mountain of work that was put to the side due to the new book being published. The next show is on March 20th & 21st, so I can at least enjoy some weeks slogging behind the computer and editing photos for articles, until the next hectic show schedule arrives! The Dutch publishing company has managed to set up a seperate website for my book, so that will help bring in extra orders, and also save me with some of the posting work worldwide!

The book itself really stunned everyone at the launch in Holland with the quality of printing, and just goes to show that a good colour transparency, combined with high-end scans and top notch printing is the only way to go if you want to see your photographs in almost 3-D lifelike clarity across double-page spreads. Now I've seen howe much fine grain and punchy colours can be squeezed out of my old Velvia 35mm transparencies, I can look forward to stepping back....Maybe that pro digital camera I was thinking about buying can wait for another few years yet!

7. From : J. Hart (
Url : http://
Date : 06:01 PM Saturday 07 February, 2004

AB, It is in fact Fuji Provia which is famous for portrait skin tones; and too for its tight grain. It is a very expensive film; normal transparency iso 100 emulsions do a very fine job for portraiture without the expense. National Geographic magazines show the results of ambient and available light portraiture in on location journalistic applications using slide film. Today these are from e6 emulsions, twenty years back Kodachrome was king. Remember the Paul Simon song of the same name?--Jay

8. From : AB (
Url : http://
Date : 05:16 AM Saturday 07 February, 2004

Wow! I never realised there was so much in it. Thanks

9. From : Ian (
Url : http://
Date : 02:05 AM Saturday 07 February, 2004

Thanks Mico. Anton, if, as you suggest you are not familiar with tranny, go knock yourself out. I think you'll love the results of a quality transparency film. I'd forget about the "portraiture" labeling. Perfectly exposed tranny is a wonderful thing. Just pay extra attention to the lower latitude. It's unforgiving, I've shot Kodachrome (amongst others) since I was 13, and my last roll caught me out. It happens. High dynamic range shots can be tricky, but in a controlled environment (your studio), it's a doddle (with your experience anyway). Film character (each being different) is one of the main reasons I still shoot film. I'm out of date with modern films, I used to find Ektachrome to hard and cold (and would not use it for portraiture). But I'll be trying the new stuff, with enthusiasm. And then theres Fuji, boy do they rave about that. I'm sure it's great, I just don't have any real experience with it. Although I get annoyed at repeatedly being told that Provia 100F blows the doors off Kodachrome. I won't waffle on about the tech, Jay has already explained it better than I could.

My suggestion to you would be to shoot a roll of E100G and one of Kodachrome, you can be playing with the E100G (E-6 local lab) whilst waiting the 10 days for your KR to return from Switzerland. I presume you have a GOOD film scanner? Prep the scans and upload to (for Fuji output) and Kodapost (for Kodak (obviously) output) and see which you like, other services use Agfa, that could be good too. The choice is there, without even leaving the house. Prices are sensible, no minimum order, and they'll print whoppers if you need them (although "bent in the post" becomes a problem). If you go to press, just send the scan from the transparency (or get it drum scanned if your doing the job right). For me, a good scanner and wet prints via the post is the solution. But thats just me. - Ian.

10. From : J. Hart (
Url : http://
Date : 10:19 PM Friday 06 February, 2004

AB, It is telling that the notion of a portrait film is needed for color negative shooters. Why so? Latitude and skin color come to mind. Latitude not being a real transparency film factor, as with making motion pictures, intentional lighting for portraits must be very precise. Most transparency films are not parceled out for "portraiture" designation because it is primarily unnecessary. Skin tones are factored into most slide film formulations--usually in the non added color versions for its given color temperature rating. So determined, it becomes the lighting itself which will affect skin tones for transparency applications. With paper print making from color negatives filtration in printing can and is often later added according to the printing equipment technology employed--usually to give an on papaer white white, all else being equal. One can ask a printer to factor in compensation for color shifts which are noticeable. Even so, results of processing the initial prints from the first processed negative roll will vary processor to processor.

What Fuji and Kodak came up with for weddings were emulsions which did not require precise lighting, with shooting ratioed lighting ratio sources contrast and fill factors to be determined at each set up, or predetermined by any permanent lighting set up. This difference in on location lighting is why there are few transparency films advertised, as such, for portraiture. Even so, most magazine portraits are shot on transparency film.

As for viewing 35mm slides without difficulty, an entire competitive industry exists to fill this need. Good lupes can be as expensive and positive in application as good primes. Once too selected images are scanned onto digital file formats their permanency for publication use becomes easily transfered. FYI publishers usually require a 48 MB file (which would mean a 16MP origination) to cover all their bases for its possible quality of reproduction use. This standard is very difficult to meet with 35mm negatives, not so with 35mm transparencies.

Data as recorded on negative film then likes the bigger formats to give equal results to transparencies with negatives. The 6 X 7 CM Pentax has the drawback of only having a 30th of a second for flash sync, and the very expensive alternatives as lenses in this format for EWA lenses and long telephotos. It is easier too to apochromatically correct lenses in smaller formats for detail and rendering. Take a 35mm slice out of a 6 X 7 and it will show lesser detail than a 35mm origiation. So, format size in going digital is more dependent on the large potential of MP ratings than on the size of format. In fact, as the AP and 35mm sensors grow in rating numbers the future for needing large formats to capture more imaging data will decrease; many pubising pros are already only using 6X4.5 cm as their largest format--because of the available MP ratings of the two quality digital backs available. This too is lessening in use as pros shift to the 10MP and up small format cameras, which, have uprate pixel software program advantage, after shooting, regarding making their output meet the 48 MB publishing standard.

A special film for transparency portraiture is really not required, special lighting or precise lighting can be. --Jay

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