NEW PENTAX COMMING SOON

[denys_meunier]

Hi guy's just read below,of course a new Pentax comming soon but I don't think

the reason is because they remove the K100D,its normal,watch this,every 2 years

or aprox,what ever the brand,they introduce new body,new technology,faster

focus,new sensor,new this and that but what I like about Pentax,its affordable

when they introduce new body,may be K1,I have no idea but if you want,you can by

it,don't cost a leg and if they get something new after,you can upgrade like the

K10D firmware 1.0 to 1.30.Try that with nikon or canon,sorry you have to buy the

new body,no upgrade possible.The Nikon D3 is comming around 6000.00$,not out

yet,nikon tech working now on the D3X,comming out spring 2009,talk with nikon

rep this week-end because they want add somethings new and its to late to put in

on the D3,so you have to buy the new D3X if you want upgrade,,another

6000.00$,its crazy and canon its the same to.We always want the last

technology,more pixels,more this and that and its normal to because we love

photography,we always searching for more performance,perfection and I think

Pentax know that so we have the possibility to get the new technology at

reasonable price but don't try that with Nikon or Canon,all they want its more

money from us,,,well its my opinion.

 

fotoman

[andrewg_ny]

I don't think real feature upgrades in firmware are the norm for Pentax--the K10D was the only body with anything substantial added; and I get the feeling it was a the result of compromises made in order to hurry the K10D to market.

 

As for the rest of what you're saying, I have no idea. I don't think there's any actual Pentax news in there...?

 

I don't know what you're trying to say regarding the $6K bodies from Pentax's competitors. Those bodies are being designed for folks (professionals in particular) who are willing to pay dearly for the technological, ergonomic, and durability improvements that those $6K bodies offer. They also offer bodies such as the D30/D40 and D80/D200/D300 that are priced within reach of many more dollar-conscious photographers, amateur or professional. I think we have little reason to doubt that cameramakers could continue to enhance their firmware after initial release but they usually choose not to. Certainly Pentax could provide better Auto-ISO and program shift via firmware upgrades in their *ist D-series and K100D/K110D but they choose not to. They'd rather give their customers a reason to upgrade to a future body.

 

It will be interesting to see if Pentax releases some more pro glass (DA* 60-250 f/4, DA* 200 f/2.8, DA* 300 f/4 are roadmapped) alongside a K1D or K20D that might be competitive with latest Nikon D300, Olympus O-3, or even Sony A700.

[andrew robertson]

Say what you will about the D3, it is a different machine than anything Pentax makes.

Nikon and Canon are both pretty competitive with Pentax except for the in-body

stabilization thing. They are different products in many ways.

 

Take flash. Pentax has wireless flash, but not as advanced as Nikon or Canon. Or lenses.

Pentax offers a number of really innovative lenses which I personally envy quite a bit, but

they don't offer some things that some people need, at least not any more / yet.

 

But Pentax is more geared to competition with Sony, Olympus / Panasonic, etc. I have

recently gone through a long, careful cost / benefit analysis and gear search to see if I

could do what I do with my Canon gear with the Pentax.

 

Certainly, Pentax would be cheaper - I could forego autofocus as long as I kept auto

aperture, enabling me to really save money especially on the extreme telephoto end

(Canon L telephotos - especially IS telephotos - even in beat up condition retain most of

their value, so they are impossible to find cheap). A whole set of the excellent Limited

and other new Pentax lenses would have less bulk than any one of the larger Canon lenses

I own, and they are not so expensive.

 

Flash seems like a mixed bag to me. Wireless manual flash is a pain in the ass

sometimes. Having groups with ratio control as I do with the Canon wireless flashes is

absolutely invaluable. Pentax does not offer much information on its flash system either

which makes it hard to decide anything. I got a lot more information from this particular

forum than pretty much anywhere else on the internet.

 

The main downside is that I would have to give up my 24mm tilt shift lens. Now, this

would not be so much of a problem if Pentax offered a DSLR with a larger crop factor. But

the Ukrainian TS-E (the only TILT lens for the Pentax mount) is a 35mm lens, and that

makes it too long with the crop factor included.

 

What I am trying to say, is that if Pentax comes out with a few more crucial system

upgrades, I will jump ship. The in body IS is so tempting on its own that I would have

pulled the trigger long ago if there was a suitable tilt shift lens available. I still may, if

Canon doesn't get off their ass and release a cropped camera with in-body IS!

 

A wide angle tilt shift lens, a wide angle f/2 or faster lens, more controllable wireless

autoflash, and ideally a full frame DSLR or their 645 digital, and Pentax would have Canon

and Nikon quaking in their boots.

 

Pentax is being quite innovative, and I heartily congratulate their efforts. I just hope we

can see some more real jaw droppers, like the K10D and the FA and DA limited lenses.

[andrewg_ny]

Andrew R.: I'm pretty sure that the P-TTL flashes can be set for different ratios in a wireless multi-flash setup but I will agree wholeheartedly that manuals and information available on the Pentax flashes is poor.

 

I wouldn't hold my breath waiting for a Pentax T/S lens anytime soon. I wonder if a bellows setup might be similarly capable if perhaps less convenient? You could always keep an older Canon body around for that purpose. It sounds however that even if you might enjoy Pentax for mainstream use you would probably miss the less common system extensions that the bigger companies offer.

[michael_kuhne]

I have read that T/S effects can be done at desk or laptop with PS or other programs.

 

I believe you can set ratios, but what is missing is the ability to attach flash exposure to a particular focus sensor area.

 

With the Pentax system and a flash bracket on the camera, the built-in flash can be used together with the hot-shoe flash for bounce and fill. Some nice effect can be quickly and conveniently achieved with this carry around setup. A ratio can even be set so the built-in flash output is 1/2 that of the bounce flash.

[michael_kuhne]

Also, as Andrew indicates, there are some here who still shoot with their old Canon or Nikon system too, which serves a particular need.

[andrewg_ny]

I think I found in the AF-540FGZ manual that the 'Contrast Control' multi-flash setup has the a fixed 1:2 ratio such that flashguns set as contrast control will have 1/2 output. Sounds like some other systems may be somewhat more flexible.

 

Regarding 'ability to attach flash exposure to a particular focus sensor area' -- I seem to remember reading that you can link AF point and AE with multi-segmented metering--I haven't tried this myself but it sounds like it may offer that capability. This is enabled with Custom Setting 'Link AF Point and AE', though it defaults to 'Off'.

[andrewg_ny]

Incidentally, I imagine one reason Pentax doesn't make 'Link AF Point and AE' = On the default setting is that if you're in the practice of focusing-then-recomposing rather than relying on the other AF points, this might not work as expected. On the other hand it may be no worse...does anyone has any experience with this?

[paulstenquist]

Yes, I turned it on for a while but blew some exposures doing what you describe, particularly when shooting people. I'd focus on the face, recompose and end up underexposing. I now leave it off.

Paul

[andrew robertson]

Shift can be emulated in a number of different ways, but all require sacrificing image detail.

Tilt can not be emulated (at least not convincingly).

 

If anybody has any links to Pentax flash manuals or other reading materials on their flash

system I would be most apperciative.

[mountainvisions]

Pentax is geared toward a niche market. People need to remember that. It's essentially a japenese leica. Leica doesn't compete with Canon or Nikon. it doesn't worry about the D3. It does what it wants. And no, I am not comparing Pentax to Leica other than the niche aspect (i needed to add that before a leica board member saw this and want on a frenzy).

 

Several years ago people used to say to me when I'd whine "why isn't pentax competing with Canikon" and they'd say if you want to shoot those cameras got shoot them, nothing is stopping you.

 

I pass the torch in saying that. I think the value, build, IQ, and features, of the Pentax bodies are exceptional, and if people were less worried about who has more lenses at the olympics and more concerned about their own bottom line and own results they would look at all the brands (not just 2 or 3) before making a purchase.

 

Anyway, as I've been saying for some time, if Pentax turned into a Canikon clone and battled directly with them they'd be out of business in a hurry. If they continue to hold the niche, and draw people looking at them as a second system for the size and uniqueness of the system they will not only survive but be able to compete more directly with the big two. Abadonding the niche market for direct competition though is the the fastest exit route for Pentax.

 

Finally, other than sports, people assume that photojournalist all shoot the big 1D and D1/2/3 series cameras by canon and Nikon. The truth is most photo journalist (non sports) shoot 10/20/30D series. So IF Pentax wanted to compete with that market, it's not really that far off with the K10D. 2-3FPS and a few more 2.8 zooms. And for the wedding market the K10D fits in just fine. So really, Pentax is conceeding the sports market, and quite frankly, even as someone who likes shooting sports, I think it's brilliant.

[dogbert]

"truth is most photo journalist (non sports) shoot 10/20/30D series"

 

Where I come from (Australia) I am yet to see even once a pro-photojournalist shooting with a 10/20/30D series camera. It is all 1D and D1,2,3 series cameras.

[jgredline]

Same here...They are all cannonites..I don't even see pros using nikons...

[scott_gardner1]

In the U.S., the majority of photojournalists are employed by newpapers. Those large enough to have multiple photographers typically have a pool of equipment rather than expecting the photogs to provide their own. High end Canon digital dominates that market.

 

Justin, were you referring to freelance PJs who have to buy their own equipment?

[kari v]

Michael Kuhne: "I have read that T/S effects can be done at desk or laptop with PS or other programs."

 

I'd be interested in reading how you do a tilt in PS... ok, with multiple exposures and some considerable work perhaps.

[andrewg_ny]

Scott/Geoff, I've also seen evidence of equipment pool Canon 10D/20D/30D used by journalists, here in NYC as well. I believe the person I'm thinking of was working for the Times. It likely depends on who it is and what their assignment is. For many assignments, the expense and heft of a 1D system would be wasteful.

[scott_gardner1]

No question that the 1/2/3/40D cams can easily do a lot of what the single digit cams can do. Heck, for most PJ work published to screen or pulp, the quality provided by the dRebel series is fine.

 

I haven't worked in PJ for a few decades so take my input with a shaker full of salt. ;o) Durability of gear and standardization of process were the top priorities. From what I read those still are important.

 

Organizations that can afford more durable gear will buy it because they know how much it costs to lose a shot. One of the primary differences between the 1D series and the double/triple digit bodies is shutter life. PJs make thousands of pix a week and the cost of shutter rebuilds can easily make up the difference in price so it makes sense to get better gear up front.

 

And like it or not, gear used by PJs is often used in rough conditions. Editors could not care less if a football game was played in the middle of an absolute sleet storm. They "need" a dramatic shot of the key play and don't care how you get it.

 

I'd also suggest that post processing is easier when files come from cameras that are as similar as possible. When editors have to go through thousands of files under deadline pressure to find selects it's essential that PP be minimized. When I shot 1D and 20D side-by-side I found the files required significantly different modifications to get them "right".

 

FWIW/Scott

[michael_kuhne]

Kari, check with Justin on the T/S comp on computer, and I think correction of other distortions as well. I think I saved that info somewhere, but he probably can supply that link.

[mountainvisions]

Geoff I know (by association) a AP photogs (used to live down the block from her), I was suprised she used a 20Ds and the several interviews of whitehouse photogs have listed the 20D as the body of choice.

 

Yes Newspaper photogs use newspaper gear, but lots of stuff that is shot by the AP/Reuters is personal stuff. My local papers all use D1H or D2H for the most part with a few Canon 1Ds as well.

 

If you ever watch C-SPAN you will notice they are shooting 10/20/30Ds. Time to make use of all that HD technology and Tivo some C-Span tonight.

 

Maybe we should change what I said to differentiate between newspaper photogs and other PJs.

[andrew robertson]

The 10D remains popular with photojournalists because of its excellent file quality and

because it's the quietest DSLR, period.