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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 : Ivan J. Eberle (
Url :
Date : 12:12 AM Sunday 23 April, 2006

On another note, it's springtime and I'm thinking of the one other thing for which the LX has no equal: available light macros. The FB1/FC1 finder with incredibly high eyepoint and rotation for use as a right-angle finder, MLU, traditional cable release and my trusty SMC-A 100mm f/2.8 macro is superb... for long time available light exposures, at least.

Not quite as useful for flash work anymore, since K25 bit the dust and since I've gravitated away from K64 in recent years (due to inconsistent processing, and having my own E-6 processor). With it's 1/75 top synch speed it doesn't work as well with my butterfly bracket and preferred ISO 100 speed films due to ghosting.

May have to pick up the new Nikkor 105 VR to use with my F5 just for this sort of work.

But I'm still enamored of the LX for that available light work. And Fujichrome Astia 100F doesn't suffer from reciprocity failure, so there's less need for bracketing whole rolls as I used to do with K64.

Probably preaching to the choir, here, though... just thought I'd share one final useful factoid concerning all this:

Did you all know that the Nikon PG-2 focusing stage is a perfect fit for the LX body to rotate around it's lens axis center? The PG-2 is no lightweight, but as far as functionality goes, the vertical flop feature puts it a whole 'nuther league from the Pentax Focusing Rail III, at least for macro lenses w/o a tripod collar.


2. From : Ivan J. Eberle (
Url :
Date : 11:45 PM Saturday 22 April, 2006

Hi guys,

My venerable old LX (which you might recall my posts about digging into and repairing back in Feb) recently proved useful for a remote IR triggered wildlife cam after all:

Used a SMC 24mm f/2.8 @ f/6.3, Winder LX (continuous, got 24 frames of this female mountain lion) 2 off-camera flashes, Quantum Turbo, custom-fit weatherproof Pelican case, Fujichrome Astia 100F, +1 push. Got entirely lucky that the 2 fill-flashes balanced the existing early morning light as I'd inadvertently set them to Manual 1/16 power to test fire them and neglected to set them back to TTL!

Rather pleased to get this pose too, as the cat self-triggered the camera by breaking the two crossed IR light beams with it's front paw, and I had no further choice about the composition beyond the initial set-up.


3. From : Philip Ashman (
Url : http://
Date : 03:11 PM Saturday 22 April, 2006

I've just received the other day my new tripod head to go with my Manfrotto 055 pro. I splashed out a bit and have bought the Kirk King Cobra with a couple of the necessary lens plates to attach my Pentax 300mm 2.8 and Sigma 500mm 4.5 lenses.
It's an amazing piece of engineering allowing you to swing the camera/lens to virtually any position without having to lock/unlock knobs etc..once you have initially found the balance point for each lens (takes just a few seconds first time you use). The motion is extremely smooth and fluid (just one finger if you wish)and as soon as you let go it stays rock solid at that point. A real boon for anyone using big heavy lenses and you can track and find subjects so quickly it greatly increases the chances of not missing a shot (e.g. wildlife/sports)with no delay in repositioning.
I know that it is rather expensive, but if like me, you do a lot of wildlife photography, it's a good long term investment.


4. From : Jay (
Url : http://
Date : 07:50 AM Thursday 20 April, 2006

Since we seem to be back to the subject of previsualization for actual results from a filmscanner-monitor-printer combination, suffice it to say that there remain many avenues to achieve predicable results; one is mentioned below. As to using LCD monitors, there have emerged two grades of these, consumer, and prouser. The biggest manufacturers of the larger LCD screens offer prouser grade monitors which are not found in consumer computer electronic stores. This means that Samsung, and Sony, to name two, offer monitors in 17, 19, and 21-22 inch sizes (which cost at least twice as much in these sizes as what one finds in the consumer electronics stores). These can achieve a workflow approachability for final outcomes. They actually employ grey pixels, in addition to black ones (which most consumer monitors use exclusively) to achieve tonal and hue wide-color gambit stepping.

Canon makes excellent photoprinters. They seem to solve the clog problems of the basic Epson printhead design used. And one can install there own printheads with Canon, when necessary. One of the many secrets of non-flat print outcomes, in addition to using a photo-manipulation program for 16 bit digital processing--opposed to 8 bit digital photoimage processing--is to use and experiment with very good glossy medium and above weight photo imaging paper. Often flat papers equal flat results.

I do not know your scanner, but it is essential to scan in a 16 bit mode (eight bit only offers 250+ stepped colors, 16 bit offers over 65 thousand stepped colors and hues: as to the grey based tonal steps behind the two color matrix digitally involved).

Flat results then can come from unrealistic monitor previsualization, from 8 bit scans, from photo-mainipulation programs which do not work in 16 bit digital processing, and from poor printing and flat papers. There are other explanations as well, but these are the main issues one deals with on the digital imaging workflow workstation. --Jay

5. From : Mico (
Url : http://
Date : 10:29 AM Tuesday 18 April, 2006

Pat, I do not know this scanner/printer combination, but here is the starting point that most advanced users overlook:
First, calibrate your monitor, this is a MUST and starting point to get decent prints. By calibration, I do not have Adobe Gamma on mind, this is just too basic (at least). Than, you have to calibrate your printer to match the output with the computer/screen.
Sounds too complicated, but, if you buy "Color Vision" SPYDER 2 PLUS (PLUS is an extra software to fix your printer, otherwise Spyder calibrates monitor) this is going to bring you very close to the maximum performance of your devices. And I am pretty sure that you are not getting more than 50% of what they are capable of. This package is about 200US (maybe more or less in the UK) but it is a long term investment. Spyder 2 also works with LCD screens. M.

6. From : Pat (
Url : http://
Date : 07:32 PM Monday 17 April, 2006

Slightly off topic, but I do find I get good advice from this forum.

I use mostly Fuji positive film in my LX (and MZ-S)and then go digital to scan and print.

I have a Canon FS2710 35mm neg/slide scanner and a Canon s9000 printer and although reasonably happy with the pictures (I'm not sure I can call them photographs) the combination produces, I don't think I have ever got the two working at their very best. My slides are crisp and sharp but my prints seem mostly soft and flat - am I expecting too much?

Anyone know of any links to getting the best from these bits of equipment or any links to pages with good scanning/printing tips.

7. From : Philip Ashman (
Url : http://
Date : 03:07 PM Saturday 15 April, 2006

Oh the joys of spring!

Yesterday my 2nd LX body (purchased recently)came back from it's service/repair by Robin at Harrow Technical, looking great.
So I loaded up a roll of Sensia 100, attached my new (to me) Pentax 100mm f2.8 macro and AF080C ringflash and went for a late afternoon stroll on a lovely sunny day in a local wood, looking for new growth and the still available colours left from last Autumn. One or two early butterflies and the odd bumble bee were also around. Used most of the roll with a mixture of natural light or flash as the mood took me and subjects presented themselves.

What could be better?


8. From : Ivan J. Eberle (
Url : http://
Date : 11:36 AM Wednesday 12 April, 2006

I have an LX purchased in late 1985 with the S/N 5319*** so yours is likely earlier than this, if the S/Ns were sequential. Mine has the "older" style shutter release button lock, and the "newer" ASA 3200 dial.

9. From : Mico (
Url : http://
Date : 04:29 AM Wednesday 12 April, 2006

You are right Anton, two dots are missing. It has been a while since I did not check that...And domed shutter release button is older, I have one like that and one flat, the later one has higher serial number. M.

10. From : AB (
Url : http://
Date : 02:22 PM Tuesday 11 April, 2006

I believe the new curtain lacks TWO white dots, one top and one bottom. LX's seem to have a mixture of parts (transition models?). I had one with a semi-circular shutter lock (new), meter activation by the prism release button (new) but it only went to 1600 ISO (old). One of my current models has everything new - apart form the late shutter which is very recent - but doesn't have meter activation via the prism release.

I have noticed a slight variation in the very top of the shutter release button (where the hole is tapped for a cable release) on some this is completely flat but on others it is ever so slightly domed. This is very subtle, the slighly domed button seems to be earlier but again this isn't exact.

What fun!


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