In my last article I covered nine different possible lens combinations for your holiday kit, ranging from single primes to a super-zoom to multiple lens setups. Each has its own advantages and limitations. Today I'll discuss one final configuration, my current choice when traveling with two camera bodies and two photographers. First I'll make some general points, then I'll reveal my lens line-up and finally I'll present a handy table summarising all the possibilities.

Introduction

Some will notice that I've restricted this discussion to Pentax brand lenses. There's no mention of popular Sigma offerings, nor even of older Takumars, Vivitars, and so on. That's for two reasons. First, I prefer the Pentax rendering; their coatings are superb. Using all Pentax brand ensures a commonality in the resulting images.

Second, for this application (holiday photography) I wanted auto-focus and auto-aperture models. Although I use manual lenses on a day-to-day basis, I don't necessarily want to do the same on holidays. Besides, other people will be using the cameras as well. With modern lenses I can stick the camera on Programme mode and hand it over to someone who is less experienced or simply doesn't want the bother.

And lastly, I just don't like the plastic build of Sigma and other contemporary third-party brands.

One proviso: I do not own all of the lenses under discussion, though I am quite familiar with their reputations and the images they take. But when I put together my own holiday package I obviously had to restrict myself to those lenses I actually own.

10. Hybrid Solution

I now reveal what I think is the most flexible line-up. You'll no doubt recognise two zooms and two primes; a hybrid solution.



I derived this kit by starting with solution 6, "Two Mid-Range Zooms", namely the DA 12-24mm and DA 55-300mm. But rather than add a general mid-range zoom, to get solution 7, "Three Mid-Range Zooms", I instead added the two FA Limiteds from the "Multiple Prime" section. The FA 43 covers the gap between the zoom lenses. The FA 77 provides longer low-light excellence.

In short, I am giving up the general walk-around zoom for the benefits of compact, excellent primes. This enhances my ability to take photos in low light situations. If I instead restricted myself to maximum aperture of f/4 I would need to carry flash or tripod or both. Instead I will forgo those items and carry less.

This configuration covers the widest focal length range of any I have proposed. And it does not compromise on the optics. Remembering that I will have two bodies, I can choose the two lenses I most expect to use on a given outing, carrying a third in a pocket or small bag. This cuts down on both changing lenses and hauling gear. There is no reason to take four lenses on a given day's outing if you don't think you'll need them.

Whither Macro?

In fact, I can be very happy with only the FA77 for an entire day. The secret to my happiness is the mysterious circular object I pictured in the first article, Your Next Photo Holiday: What To Take. It's a macro filter. I use it on the Limited lens to provide a facility that is otherwise missing from my kit. It's much smaller than carrying a dedicated lens and has proven its worth.

The only other filter I would consider is a polariser for the DA12-24. I have one, but it might be too fiddly for holidays.

Comparison

Pentax lenses have been a bargain for some time, but unfortunately, due to the inflated value of the Yen, prices have just jumped up considerably. Canada, UK and the rest of Europe have so far been hit with this increase, though the USA has seen only slight rises... so far. For the next short while you might be able to find some lenses at old prices in the EU, but I will use the new amounts in this comparison in all cases, to be consistent.

These are not full list, but instead the selling price at a major online vendor. The super-zoom appears to not be in general stock, so I got that price elsewhere. The relative price column shows the enormous range these configurations cover. The most expensive solution costs twelve times the cheapest.

(The chart appears about a mile down the page. No, I don't know why!)

1. Super Zoom
Coverage	18-250mm
Speed	f/3.5-6.3
Lenses	1
Pros	flexibility, price
Cons	image quality, low light
Price	£360
Relative Price	$$
2. Fast 50
Coverage	50mm
Speed	f/1.4
Lenses	1
Pros	image quality, low light, price, weight
Cons	flexibility
Price	£439
Relative Price	$$
3. Thrifty 35
Coverage	35mm
Speed	f/2.8
Lenses	1
Pros	macro, image quality, price, weight
Cons	flexibility
Price	£489
Relative Price	$$
4. Kit Zooms
Coverage	18-200mm
Speed	f/3.5-5.6
Lenses	2
Pros	price, weight
Cons	image quality, low light
Price	£218
Relative Price	$
5. Professional Zooms
Coverage	16-135mm
Speed	f/2.8
Lenses	2
Pros	image quality, environment seals
Cons	weight, price
Price	£1754
Relative Price	$$$$$$$$
6a. Two Mid-Range Zooms: Coverage
Coverage	12-24, 55-300mm
Speed	f/4
Lenses	2
Pros	widest range
Cons	low light, gap in focal length
Price	£1285
Relative Price	$$$$$$
6b. Two Mid-Range Zooms: Price
Coverage	16-45, 55-300mm
Speed	f/4
Lenses	2
Pros	value
Cons	low light
Price	£575
Relative Price	$$$
7. Three Mid-Range Zooms
Coverage	12-300mm
Speed	f/4
Lenses	3
Pros	full focal length coverage
Cons	low light, changing lenses, price
Price	£1815
Relative Price	$$$$$$$$
8. Four Primes
Coverage	15, 21, 43, 77mm
Speed	f/1.8-4
Lenses	4
Pros	size, build quality, image quality, low light
Cons	price, changing lenses, telephoto lacking
Price	£2669
Relative Price	$$$$$$$$$$$$
9. Three Primes
Coverage	15, 35, 77mm
Speed	f/1.8-4
Lenses	3
Pros	size, build, image quality, low light, macro
Cons	price, changing lenses, telephoto lacking
Price	£1928
Relative Price	$$$$$$$$$
10. Hybrid: Three Lenses
Coverage	12-24, 43, 55-300mm
Speed	f/1.8-4
Lenses	3
Pros	image quality, low light options, flexibility
Cons	price, changing lenses
Price	£2030
Relative Price	$$$$$$$$$
10. Hybrid: Four Lenses
Coverage	12-24, 43, 77, 55-300mm
Speed	f/1.8-4
Lenses	4
Pros	image quality, low light options, flexibility
Cons	price, changing lenses
Price	£2820
Relative Price	$$$$$$$$$$$$$

Which solution should you choose? Well, that depends again on your priorities, your budget and what lenses you already have in your kit. All I have tried to do here is formalise the possibilities.

Finally


Do not forget to take lens hoods for all your lenses. Always use a lens hood! It'll make you as happy as the drummer in the background of this picture.

My gear picture shows a lens pouch that can hold one of the Limited primes and a larger bag that can hold one of the zooms. I always pop an unused lens into one of these, to provide that extra bit of cushioning in the bag.

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In my previous article I provided a discussion of what to take on your holiday. I covered nine different categories, from the camera body to memory storage to backup solutions. That leaves the tenth category: the lenses. In this article I'll discuss approaches to choosing holiday lenses in the general case, while highlighting particular Pentax solutions.

Choosing lenses for traveling is a simple matter. And also an wickedly difficult problem with no perfectly optimised solution.

It's simple because there are only really two options. The first is to pack a single lens and live with the restrictions, the second is to take different lenses for different purposes.

It's a wickedly difficult problem because each approach offers its own set of benefits and drawbacks that results in inevitable compromise. This is largely due to the need to keep your kit as minimal as possible for ease of travel, so you can enjoy your holidays outside of photography. If you could afford to take everything, life would be easy, huh?

And, yes, OK, I fibbed in the last paragraph but one. There are more than two approaches to this conundrum. In fact, there are ten by my count, so I'd better start telling you about them.

One Lens Solutions

Some might say the whole point of an SLR is that you can change lenses, and hence question why I'd take a single lens on a trip. But even with a single lens an SLR will out-perform a point'n'shoot. You can dedicate yourself to making the most of the lens you have, without the cognitive overhead of switching from one to another. This makes good sense.

What one lens should you take? I will provide three options. All save you time and bother. Plus you needn't pack a sensor cleaner.

1. Super Zoom

A 14x zoom like the Pentax DA 18-250mm f/3.5-6.3 (reviews) is available for all camera makes with similar characteristics and compromises. The main advantage is that the focal range allows you to zoom in on distant objects or zoom out for interiors or cramped European city streets. The main disadvantage is that the lens is terribly slow. It is fine for outside but rather less good for interiors, unless they are brightly lit. And it might not be so hot after all for those European streets, lying in shade or under cloud as they so often do. But if you're traveling to Iran, Utah, Australia or some other bright location, you're sorted. (OK, you might need some help in Iran.)

The second disadvantage is image quality. Outside the centre of the image, quality degrades, as it does in the wide end of the zoom. This may not matter much if you place the subject near the centre of the frame. Some people shoot like that all the time. The noticeable distortion in the wide end can be corrected in software, if you don't mind taking the time.

Personally, this approach does not appeal. I would never use a super-zoom except on holidays, so I wouldn't get much value from it. But I have seen great work from travel photogs who are happy following this simple plan.

2. Fast 50

The opposite approach is to pick one focal length and just deal with it. You won't be capturing birds in flight, but that's not what holidays are generally about. You also won't be getting any wide interiors with a "fast 50", since the 50mm on an APS-C sensor acts like 75mm, which is well into mid-telephoto territory.

What you will get is exemplary image quality from a very fast lens you can still use when the light dims. This is the solution for the creative photographer, but isn't the best for someone trying to be a bit more pragmatic. After all, it's your vacation; you probably don't want to miss great shots due to focal length limits. When your friends gather together for a group hug and the pub is only so big, how can you step back to get them all in the shot?

The Pentax FA 50mm f/1.4 (reviews) is an excellent lens that is also inexpensive. It's pretty well a no-brainer to own this lens. (Though, through a strange quirk of fate, I don't!)

3. Thrifty 35
If not a "Nifty 50" then how about a "Thrifty 35", my term for the Pentax DA 35mm f/2.8 Macro Limited (reviews). If you want just one small prime on your camera this is a great choice. It's wider than the fast 50 option, so you'll get more in the frame. It's also a proper 1:1 macro, so you can get as close as you want to your target. And the image quality from up close all the way out to distant landscapes is perfect.

No other firm makes a lens like this, so it is a Pentax-only option.

It's two stops slower than the Fast 50 option, but since it's a shorter focal length you can hand-hold it at slower shutter speeds.

It's more expensive than the FA50 but more versatile. I traded mine away to get another lens I needed, but I will buy it back when I can. This is the perfect flower lens. The colours and textures render so nicely, thanks to buckets of micro-contrast. If you love taking shots of gardens, wilderness, or landscapes, this is your baby.

I would be remiss if I did not mention the FA 31mm f/1.8 Limited (reviews), since many judge it the best lens Pentax makes. It's fast and excellent, but larger than the two other prime solutions and not able to focus as close as the macro.

But the main drawback is the sky-high price relative to the Thrifty 35. Though, to be fair, it is cheaper than many of the multi-lens solutions that follow.


Multiple Zoom Solutions

In order to get around the inevitable compromise of the first three solutions, you need to take more than one lens with you and switch when needed. This is also an inevitable requirement if you wish to take more than one body (whether for yourself or a second photographer).

Zooms are certainly convenient when traveling. They allow a range of focal lengths from one perspective, which makes sense when you are restricted in movement. This happens more often than you may think. You have little control of perspective when on a train, safari jeep, taxi or tour bus. And also when on a precipice, the end of a pier or when chasing wild game. It's one thing to say "zoom with your feet" but another thing entirely when getting closer means swimming the last few lengths to that whale. Or school of sharks.

In this day and age a zoom lens does not have to mean a large image quality compromise. Nor does it necessarily mean sacrificing much light, though a zoom is generally slower than a prime in the same focal range. It'll also be bulkier and heavier.

In a similar fashion to other manufacturers, Pentax has three "lines" of zooms, depending on how much one wants to spend. But unlike other brands, Pentax does not distinguish these by the presence or absence of image stabilisation, since that feature is provided by the body. It's also not entirely clear from the lens nomenclature where on the totem a given product lies. So what follows is a guide that might help you whether you are contemplating a vacation or not.

4. Kit Zooms

The first lens line is comprised of the DA 18-55 f/3.5-6.3 and DA 50-200 f/4-5.6. These are cheap and serviceable "kit" lenses, but slow and not of the best IQ. One can and should do better. (Please note that I am only criticising them relative to other options; for the price they are great.)

Just released are weather-sealed versions of these lenses, offering a high-end benefit in the cheapest line-up. That should shake up the market!

5. Professional Zooms

On the opposite end of the quality spectrum are the special weather-sealed professional "star" lenses. The DA* 16-50mm f/2.8 (review) plus DA* 50-135mm f/2.8 (review) might be all the glass you ever need. If you encounter hostile environments and need speed, they are certainly your best bet. But they are relatively big and heavy.

It has never made sense for me to pay for such speed when I've got primes that are even faster. The price is also a disincentive: twelve times the cost of the kit combo! But I'll not say a bad word against the impeccable quality of these zooms.

Mid-Range Zooms

The middle tier of DA lenses tend to have fixed f/4 aperture. The image quality is vanishingly close to that of the DA* lenses. But they are one stop slower and not weather-sealed. However, this also means they are lighter and much better value.

From the widest to narrowest we can choose from the DA 12-24mm f/4 (review), DA 16-45mm f/4 (review), DA 17-70mm f/4 (review) and DA 55-300mm f/4-5.8 (review). The DA 17-70, with its special focus motor and wider range, was rumoured to replace the DA 16-45, but the latter lens is still available and is much cheaper.

Of these the DA 55-300mm is the cheapest and an absolute bargain. Though it gets slow in the tele end, it is no worse than f/4.5 for most of its range.

I will divide this category into two, depending on how much gear you want to carry.

6. Two Mid-Range Zooms

Want only two lenses? My recommended setup is the DA 12-24mm and DA 55-300mm. This gives you the widest and the narrowest focal lengths on offer. Yes, there's a gap in between the two lenses, but you may never notice. Of course you may find yourself switching a lot, so this might be best for those who carry two bodies.

Want the cheapest two lens combo? Try the DA 16-45mm with the DA 55-300mm. These lenses both perform way beyond their price.

7. Three Mid-Range Zooms

In order to cover the full focal range, you need to add the DA 17-70mm to the DA 12-24mm and DA 55-300mm. This bumps up the cost but gives you the benefit of being able to keep one lens on the camera most of the time, swapping to either extreme only when needed.


Multiple Prime Solutions

Pentax makes some lovely metal and glass primes in their Limited series. These uphold the fine tradition of workmanship known to those who worshiped Zeiss or Leica lenses in a previous life. No major brand offers great primes like Pentax.

Manual focusing the full-frame FA series lenses is a treat. These also have aperture rings so you can operate them completely manually with perfect control. Once you're used to the solid metal build of the Limiteds it's difficult to go back to plastic zooms. In addition, the "pancakes" in the DA series are perfect for minimising your baggage. Even the non-pancakes are quite small and light.

Since Pentax has so many great primes, we're spoilt for choice. I would start with the two focal length extremes, the DA 15mm f/4 Limited (review) and FA 77mm f/1.8 Limited (review). The latter is one of the best portrait lenses ever made, but is versatile well beyond that one application. (I've got a little FA 77 "trick" I'll mention in my next article.) The DA 15mm is quite new but I've seen some nice sharp images it has produced.

The gap between these lenses can be filled in one of two ways.

8. Four Primes

If you can afford two more lenses, take the DA 21mm f/3.2 Limited (review) and FA 43mm f/1.9 Limited (review) to best cover the focal range. I have not tried the former but the 43mm has perhaps the nicest rendering of any lens I've used.


9. Three Primes

If you want to limit your kit to three primes, add the DA35 Limited for a versatile solution. You can kep this one lens on your camera most of the time, switching to the extremes as needed.


Conclusion

This article has become rather long, so I'll leave the tenth solution until the next installment. In the meantime you can follow the Pentax Forum review links to read the opinions of actual users.

I hope this article has provided some perspective on the rather large selection of lenses Pentax offers. There are telephoto, macro and fish-eye lenses I haven't even mentioned, since I don't think they have a primary place in a holiday bag. Those who have a special interest will no doubt disagree.

All images © 2009 Robin Parmar. Mouse over images for special messages. Click through to get larger versions in Flickr. Please donate so I might afford a holiday!

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It's summertime here in the northern hemisphere. Children are out of school, birds are singing, the sun it is shining and all right-thinking people are planning that break from the quotidian we call... a holiday. Photographers especially look forward to new locations, people and happenings against which to test their prowess. So, what to pack for your trip?

In this, the first of two articles, I'll help you by providing a handy checklist based on the following picture, which shows my travel kit, more or less. (Click to get larger versions of all the included images, via Flickr.) Read on for tons of handy tips.

Introduction

I've divided the kit up into ten gear categories. But before I itemise these, please bear in mind that every trip is different. Are you going for two days or two months? Are you taking photos as a primary activity or just so you'll have some holiday snaps? How serious are you about quality? Are you traveling to harsh environments or just the next town over? Do you prefer macros? Close-ups? Interiors? Portraits? Shots of wild animals in their natural habitat? How much do you mind carrying? Will anyone else in your party be sharing your gear?

That's a lot of questions, but it certainly helps the planning stage if you take a moment to think about each.

In my case I can say I am dedicated to image quality, look for serious photo opportunities no matter where I am, generally travel for only short periods, don't go to harsh environments (but would love a trip to the desert some day) and need a camera for my wife as well as myself. I generally shoot macros, nature and urban with some portraits. My wife and I like to capture the small details of places we visit, whether that is a store sign, a menu or a typical museum exhibit.

1. Camera Body



The first thing is to choose camera bodies. Do you shoot film or digital or both? Is it worth packing that heavy medium format kit? Will you be satisfied with a point'n'shoot? In my case the answer to that last question is "no" and I own only APS-C sensor digital SLRs. So the choice is easy.

For short trips, or those where I am the only photographer, I would take the Pentax K20D. It's not shown in the kit photo since it is taking the picture! For longer trips where my wife also wants to take shots, I would include the Pentax K100D Super, as illustrated. It's smaller and lighter than the K20D and has the advantage of using AA cell batteries, which are available literally everywhere. Having two bodies means we can both have a camera on hand, plus we have the benefit of two lenses ready to use. I don't mind switching lenses out in the field, but doing so too often can get in the way of enjoying an outing. And a holiday should first and foremost be about enjoyment!

2. Power



Be sure to take enough power. If you are going somewhere particularly photo friendly (say, a zoo) or need to use the flash a lot, you might run through batteries quite quickly. You need enough so you can have a second set at the ready, while your third set is back in your hotel room recharging. In my case I carry two extra K20D batteries (the third is in the camera). However, I carry only one extra AA set, since the second camera is not used as extensively. In a pinch I can buy more batteries. (And, oh yes, these are Sanyo Eneloops, the only brand I recommend for the K100DS.)

Be sure not to forget any chargers you need. At home I have a professional slow charger, but it's too big and cumbersome for trips. Pictured is a typical fast charger.

If traveling to a different region, make sure your chargers can deal with universal voltages! You will also need prong adapters for your destinations, though I have not shown these here.

3. Media: Film & Memory



If you take film cameras be sure to take a decent supply of film with you; you cannot count on getting what you want on site, unless you know your destination well. Digital photographers will need lots of memory cards. I shoot RAW, which means the files are large.

With the 6 megapixel sensor K100DS I get 110 RAW files per GB of storage. Of course this varies with the image, but that is a real-world average. I use two 2GB and one 4GB SD cards for a total of 8GB. This amounts to 880 images. Is this enough? Well, that depends on how you shoot. It also depends on whether you plan on emptying the cards during your trip. For a longer holiday, I assume you will. So your maximum capacity is limited only by how often you wish to backup.

Of course you can always shoot JPG instead. I was able to get 500 images per GB, meaning that my cards allowed 4000 images without needing to off-load any. That is a goodly amount!

With the K20D things are different, thanks to the 14 megapixel sensor. I get 75 RAW images per GB but, oddly, only 105 JPG images. This must be something to do with how the image compression has been calibrated. I have two 8GB cards for exclusive use with this body. That's 1200 RAW images.

Between the two cameras we've got a capacity of over 2000 images. Since I take the time to delete obviously bad ones in-camera (usually while sipping a coffee or pint), this is quite sufficient for even a week or more.

One last thing shown in the photo: take a little storage pouch for your memory cards. When you have filled a card, place it back upside down. It'll then be obvious which ones are ready to use. If you want to be extra careful, flip the write-protect tab on cards that are full.

4. Backing Up

Included in the photo above is a USB stick. This represents backing up your images. This is essential for any but the shortest trips. Even if you don't fill your memory cards you should back up the precious photos you have taken!

There are several methods. The most expensive is to buy one of those dedicated USB host drives. Simply plug in your SD cards and the images are sucked off. But these are too dear a proposition for me.

Instead, simply buy a portable USB hard drive. Make sure it runs off the power from a single USB connection -- not all do. Spend some time in an internet cafe and backup your images. Be sure to make two copies if you plan on erasing your memory cards. One copy is never enough!

For the second copy either burn a DVD or upload the images to a web host somewhere. Depending on the available bandwidth, one or the other might be more time intensive. A website has the advantage that your precious photos are stored at a different location -- handy if your gear or luggage gets lost or stolen. But you can get around this problem using the DVD method with the following simple expedient: instead of carrying them with you, mail the DVDs to yourself back home.

One more thing: take a card reader. I bought an SD reader for a couple bucks and, though not labeled as such, it just happens to support SDHC as well. I find this much easier than dealing with USB cables. Plus I can transfer one card while keeping the camera ready for use. (Just in case a photo op presents itself in the internet cafe, ha ha ha!)

5. Camera Support

This is all the support I need. The K20D can be too heavy for this mini-tripod, but the K100DS is fine. Use it on tables in pubs, on the ground in urban situations, or any time you need extra stability and can find a flat surface. You might prefer one of those grippy tripods you can wind around poles and the like.

Planning a safari or need to shoot out of car or train windows? Here's a tip I read somewhere: bring an empty beanbag, one you can zip up. When you get to your destination fill it with lentils, dried beans or rice. Wind down the window and rest your camera on the beanbag. Empty it again before returning home. Make a nice soup with the fillings!



I don't believe in taking "proper" monopods or tripods with me on holidays. First of all, many airlines will no longer let you carry them on board; they're a deadly weapon don't you know! So you have to check them and I never want to check any of my gear. Secondly, they add considerably to your weight allowance in these times of serious restrictions.

More important, hauling them around on a day out can kill the joy of the occasion. The monopod pictured above came with me on one eight hour hike, but never again!

It is also the case that tripods are not permitted in many places, unless you get a permit. This includes museums, galleries, malls, railway stations and other busy concourses. Plus anywhere in Manhattan! Check the rules before you travel.

Pentax (and some other) cameras have in-body image stabilisation. This is like a portion of the benefit of a tripod built into every shot. I take advantage of this and leave the heavy gear at home. (If you're using Canon or Nikon you likely already know the advantage of IS lenses. You are likely also familiar with the cost.)

Of course, if you know you are going to need serious stability for the sort of shots you have to get, that is a different matter. Get used to being a pack mule.

6. Remote Control

I find that a cheap remote control like this is all I need. It's easier, smaller and more versatile than a cabled shutter release. This cost me about two bucks on the net. I can use it when I set up the mini tripod thingy. Only the "S" button does anything on a Pentax camera, but you can set up your body to autofocus when it's used, if you like.

It can also be handy for getting candid shots. If your hand is nowhere near the shutter button, people don't expect you to take a picture. Tricksy!

7. Cleaning Tools

It's important to keep your camera clean. For lenses I favour the lens pen: it's got a brush on one end and an eraser nub gizmo on the other. Compact and lightweight, this is a no brainer for inclusion on any trip.

For sensor cleaning I love the Arctic Butterfly. No fluids, no muss. But the truth is that the built-in sensor cleaning on the Pentax cameras works very well. If you do not plan on changing lenses much, and don't anticipate very dusty or windy environments, you might just be able to leave this one at home.

Also pictured is an air blower, which some people prefer. I don't think I've ever used a lens cloth; I prefer the pen.

8. Storage



And then you need a bag to put it all in, which is another article. Consider that you may take a good amount of gear on your trip, but you may not need it all with you each day. So you may require a smaller bag for your daily outings, but a larger one for transport to and from your destination. Also think of how much other non-photographic equipment you may wish to have with you on a day out: your wallet, passport, purse, rain coat, etc.

Sometimes a non-photo bag can be fine as a photographic day bag. I travel with a couple sheets of the thinner bubble wrap. With this I can shroud precious gear or create cozy little pockets for my camera.

9. Lighting



Finally, here's a picture of something else I don't pack for holidays. It's an older manual flash with filter hood and remote trigger. I use it mostly at home for macros. But I would not bother taking it with me, as it adds too much weight and bother. Remember that if you take a flash you'll need to ration extra batteries! Me, I stick with natural light shots. If I was totally into portraits that might be different.

Conclusion

I hope this article has helped you put together your own holiday checklist. Check it once and check it twice. Then find a nice secure way to pack it all up in your carry-on luggage. Don't take more than you absolutely need.

Attentive readers will have noticed I skipped discussing that little circular thingy in the top photo. In the next article I'll discuss lenses, the tenth and last gear category, along with lens filters.

As always further suggestions and discussion are welcome! I await your comments.

P.S. Sorry for the rather average quality of the illustrations.

P.P.S. This article was partially inspired by Scott Coulter's Flickr page What's Missing From My Bag?.

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This Sunday 21 June 2009 is the open house day for Limerick Animal Welfare. Come on out to visit and meet the animals, learn tips for taking care of pets and enjoy some complementary refreshments. Walk your favourite dog or kick back and view some agility demonstrations. There are cats, bunnies, pigs, goats and ponies as well! Drop by from noon to 4pm.

Limerick Animal Welfare is a charity that cares for abandoned and neglected animals. They campaign through education for the humane treatment of all animals. Their website tells the plight of many of their charges, particularly the poor way in which greyhounds are treated in Ireland. There is material there that will break your heart.

They raise funds through donations and a charity shop they run in Limerick City. This is near the railway station at 59 Parnell Street (for those who wish to visit). A portion of their costs is recovered through rehoming animals they have saved. Their policy is to spay or neuter dogs and cats before moving any animal to its new home.

Please visit their site and plan your trip out to the shelter. It is about an hour south of Limerick City, set in beautiful countryside in Moorestown, Kilfinane. There are historic sites and churches in the vicinity -- a day trip might be the best way to take it all in. (They have a map on their website.)

The photo above illustrates the fact that kittens are abandoned at an enormous rate. When we visited, the shelter had sixty, many waiting to be old enough to find a new home.

This is Crocket, one poor animal who lost his eye due to neglect.



See my Flickr set for more photos from their facilities.

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This post is inspired by the Pentax K-7, the first Pentax camera to shoot proper motion video, in HD no less. A lot of still photographers have little experience with video; while I am not a video expert I do know something about sound. So I hope this will be a useful introduction.

This article will outline seven approaches to capturing sound for video, in order of increasing complexity, cost and quality. I will mention some specific products along the way. These are illustrative; other products may do just as well. But these have been recommended by many.

1. Use the built-in microphone

This is the simplest solution as there is no additional cost and everything you need comes with your camera. The sound quality will be abysmal, however. This approach is best only for silent video or where you will add all audio in post-production.


2. Mount an external microphone on camera

This requires that the camera has a microphone input, which the K-7 does. Such a mic mounts directly on the accessory shoe of a video camera, or the hotshoe of a still camera. For $150 the RØDE VideoMic provides many advantages over Method 1. First, the mic is on a shock mount, to reduce handling noise. Second, it has a foam windscreen to prevent wind noise. However it is certainly advised to get a proper "dead cat" wind sock to cover the mic completely. This is true in all cases, but especially when using a directional microphone.

And that is the third advantage: this mic has a super-cardioid pickup pattern, meaning it is more directional. Sounds from directly in front of the mic will be favoured, while those from the sides or rear will be attenuated. Point the mic where you point the camera and pick up the sounds from that direction.

Fourth, this mic will give you massively improved audio quality in terms of lower noise floor, greater ability to record loud sounds, less distortion, smoother frequency response, etc.

Fifth, the mic has a built-in high-pass filter. Engage this to roll off low frequencies and kill rumble before it ever gets recorded.

And finally, this microphone is flexible enough to be used in the Method 3. scenario.

There simply is no reason to use Method 1. when for a reasonable cost you can leapfrog to all the advantages of Method 2.


3. Get the microphone off the camera

In order to get closer to the sound source, or to pick up directional sounds that do not happen to be exactly where the camera is pointing, we must get the microphone off the camera entirely. The RØDE VideoMic can convert to use on a boom pole, a tripod, or a hand-held grip. Each of these have advantages depending on the use scenario. A tripod is fine for studio use; a boom is perfect for targeting dialogue; a hand grip might be best for roving sound gathering or times when you need to be a bit less conspicuous. Of course it can be difficult holding both a mic and a camera, though there are tried and true methods for operating a boom in this way. Check YouTube and elsewhere for video demonstrations.

The RØDE PG1 Pistol Grip ($30) is designed specially for this microphone.

4. Buy a better microphone

If you wish to operate off-camera and want better sound quality, there are several battery-operated microphones you should consider. RØDE's own NTG-2 has improved frequency response and noise characteristics. The Audio Technica AT897 ($260) is in the same range. For the flexibility of modular microphone capsules, the Sennheiser K6 System should be considered. The ME 66 "short gun" and ME 67 "long gun" are both good choices depending on how directional you need to be. The K6 + ME66 combo is around $500.

What is the best way to mount a microphone? Most prefer a "blimp" housing for the best suspension and protection from wind and handling noise. These setups once cost a fortune, but the RØDE Blimp is a more reasonable $300, especially when you consider it includes the suspension, casing, trigger handle, "Dead Wombat" windshield and a cable. Cheaper yet are certain products from India available on eBay, but these are not as complete or as well made.

For a boom consider the RØDE Boompole which is cheaper than many ($150) but still made of aluminum. You don't want your valuable microphone on the end of a plastic stick!


5. Record to a field recorder
Your camera is not a great audio recorder. Dedicated digital recorders have been released by the droves in the last few years. Some have built-in microphones, some are pocket-sized, some have professional features -- the Tascam DR-1, Edirol R-09, Marantz PMD620, Zoom H2... the list goes on.

I should mention here that all of the microphones we are considering are of the condenser type. These require power to operate. There are three main sources of microphone power. The first is from batteries inside the microphone housing itself, the second is a low voltage source known as Plug In Power (PIP) and the third is a higher voltage (48V) source known as phantom power. I will ignore PIP since it is not terribly suited to professional recording (there are exceptions).

In this section I will assume we are still using battery-powered microphones, so our recorder need not have the facility to provide phantom power. This means it can be significantly smaller. Buy something like the Olympus LS-10 which is tiny but of high quality. At this point you will need a dedicated sound person to record your audio. You will also need a way of synchronising the video and sound recordings. A simple time-tested method is to use a clap-board or similar "slate". The visual of the board and the sound of the impact can readily be lined up in a digital video editor. It's old fashioned but it works.


6. Use phantom power
In order to use a (generally) higher class of professional microphone, one needs to supply it with phantom power, either from a recorder or a separate device dedicated to the purpose. The most full-featured and reasonably priced recorder is the Fostex FR-2LE ($650). Unlike the minute Olympus LS-10, which one can use hand-held, the FR-2LE is designed for over-the-shoulder use. With this recorder, one can use RØDE's top-of-the-line shotgun, the NTG-3 ($700) or the industry-standard Sennheiser MKH-416 ($1100).


7. Use time code
Professional sound for video requires time code for accurate synchronisation. That's why recorders like the Sound Devices 702T ($2500) are used in combination with video striped for time code. Since the Pentax K-7 is not in that class of recorder, we can safely forget this option!

Summary
Here is a final list of the suggested configurations and their approximate total cost. I omitted the timecode option.

1. $0
2. RØDE VideoMic = $150
3. RØDE VideoMic + RØDE PG1 = $180
4a. AT897 + Blimp + Boompole = $610
4b. K6 + ME66 + Blimp + Boompole = $950
5. K6 + ME66 + Blimp + Boompole + Olympus LS-10 = $1250
6a. RØDE NTG-3 + Blimp + Boompole + Fostex FR-2LE = $1800
6b. Sennheiser MKH-416 + Blimp + Boompole + Fostex FR-2LE = $2200

This may look like a large investment, and it is. But if you want to make professional or semi-pro videos you have no choice but to pay close attention to the sound. It makes no sense to spend one or two grand on the visuals and nothing on the audio. Your finished product will show the lack.

But by no means am I suggesting you need to spend $2200. I have merely outlined possible options. At least consider being somewhere between Methods 3 and 4.

For more information on microphones for video, I refer you to Ken Stone's excellent articles As I Hear It - Choosing the Right Microphone and Low Cost Shotgun Microphone Comparison. There is also a wealth of information out there on the various video forums.

But I do hope this article has at least pointed you in the right direction(s).

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I will now qualify my previous UI ramblings by stating the principles that are operating to inform my analysis. These design principles are generally applicable to different application domains. But for the purposes of specificity I will give examples from the current domain. That is, a comparison of the Pentax K-7 to previous camera models like the K20D.

First I present my ten design principles. Then I will follow up in detail.

1. Maximise positive affordance
2. Group related controls
3. Prevent undesirable actions
4. Make functionality clear
5. Avoid arbitrary changes
6. Make things as simple as possible
7. Provide positive feedback
8. Consistency is not always desirable
9. Provide user customisation
10. Avoid modes

1. Maximise positive affordance
Controls should be placed where they can easily be reached and used with a minimum of muscle effort or reference to memory. Consider which controls might need to be used in sequence, how often they need to be used, etc. Controls that trigger mode changes or functional differences that are more difficult to recover from need to be harder to activate. Perhaps use switches in these cases. Controls that need to be used repeatedly, that cycle between multiple states, or that choose between a list of values might better be dials or push-buttons.

Example 1: The basic model of using two rotary dials in coordination with push-buttons has been preserved from the K10D through K20D to the K-7. This layout allows multiple functions to be quickly accessed and changed using a combination of thumb and finger movements. It has proven to be highly effective.

Example 2: The Green button should be near the shutter release, so they can be triggered in sequence with the same finger, as part of the same overall user task.

Example 3: The Delete button has a small nub in the centre so it can be recognised from touch. (I assume this is the same on the K-7 as on the K20D.) This provides a small "prick" to the finger, indicating a negative association entirely in keeping with its functionality. Small factors like this mark out exceptional design.


2. Group related controls
Grouping embeds meta-information about the functions of the controls in the physical design itself, reducing reliance on memory and learning. The less one needs to remember, the better.

Example 1: Four functions which are used outside the shooting process -- Menu, Delete, Info and Play -- were together on the K20D but are split into two groups on the K-7. This is a bad thing.

Example 2: The AF mode selector has been moved to encircle the AF button. This groups related activities where before they were not grouped. This is a good thing.


3. Prevent undesirable actions
It is often more difficult to recover from an error than to take longer to perform the correct primary function. This is true for three reasons. 1. The source of the error may not be immediately recognised. 2. The error recovery process requires a different task function to be followed through, interrupting the primary cognitive task. 3. The error recovery process may not be obvious. It is very important, therefore, to avoid possible user errors.

Example 1: The four-way controller has raised buttons where a left-eyed shooter will have their cheek positioned. On the K20D these controls were not always active (unless AF point selection was engaged). On the K-7 they are always active in one of two functional modes. This might very well increase the error rate significantly.

Example 2: It is impossible to accidentally change the mode dial on the K-7 since it now has a lock button on top. On previous models it was possible for this to be moved accidentally. While this was unlikely during camera operation, it was perhaps more likely when the camera was stowed for transport, or grabbed out of a bag prior to use.

Example 3: On the K20D the Menu, Delete, Info and Play buttons are inset within a flange to prevent accidental presses.

Example 4: Tapping the Delete button twice in succession puts one in a menu where one has to confirm or cancel the deletion of the entire disk of images. This can happen quite readily and faces the user with a critical choice. This situation could be avoided if the second action after the first tap of Delete was one that required a different control entirely. Getting to the critical choice would now be very unikely to happen by accident.


4. Make functionality clear
This can be done in part by following the principles above. Labels are also key to this process. Text labels may not be clear to readers of other languages. Iconic labels may not be consistently interpreted. Both must be kept clear and concise. Developing solutions to this problem is a difficult matter, which is why it is all the more critical that the other principles are followed through to the utmost.

Example 1: The hexagon on the four-way controller is perplexing. There was much guessing about its functionality in the Pentax comunity until it was revealed as accessing image parameters.

Example 2: The metering labels are clear and consistently iconic.

Example 3: The focus point labels are inconsistent: one is an icon, one is text and one includes both. This is less clear than it should be.


5. Avoid arbitrary changes
If moving a control does not make a distinct usability improvement, just leave it where it was on the previous model. This makes it easier for users upgrading from one device to another, and also those who wish to operate more than one model as part of the same workflow. This principle must of course be balanced against possible positive benefits.

Example 1: Consider the EV and ISO buttons that have moved from the back to the top panel. While it still might be easy to use these, there is no distinct advantage in moving them. In fact, I could argue it is intrinsically disadvantageous, but even if this is not the case, the simple fact they have been moved is a disadvantage.


6. Make things as simple as possible, and no simpler
This is easy to state and very difficult to evaluate. Sometimes overloading a control with more than one function increases complexity. Sometimes adding an extra control increases complexity. Sometimes introducing a user-defined feature increases complexity. But sometimes all of these can enhance simple operation. This principle cannot be evaluated without reference to those stated previously.

Example 1: The OK button on the K-7 has two different functions; this has been indicated by two different items on the button label. This has the appearance of becoming more complicated than necessary.

Example 2: The front and back dials control more than one function, but as their affordance suggests this, there is no confusion. No attempt to label all the functions has been made, except that the image review icons have been stamped next to the rear dial. Perhaps these are better removed, since they indicate a single functionality where multiple functions exist.


7. Provide positive feedback
To avoid confusion, hesitation and error, it should be clear to the user that a control has responded to the touch. Likewise, the current state of the device should be obvious. Readouts such as LEDs and LCD panels can aid in this. Switches are ideal for physically indicating state.

Example 1: The positive action of the K20D buttons makes it clear, by touch, when one has been engaged. The overall solid feeling of the controls on Pentax bodies is a notable achievement.

Example 2: The SR switch on the K20D provided a positive notification of the state of this important feature. Even if it the SR setting did not have to be changed very often, this control played a valuable role. The switch has been removed in the K-7 and initial shots of the top panel reveal no indication of SR status. (Note however that there is always a viewfinder indication when SR gets a lock.)


8. Consistency is not always desirable
Form should follow function. Since functions and affordances differ it is not always desirable to have consistent form. This has already been discussed in regards to control labels.


9. Provide user customisation
As devices become more complex an increasing number of settings are required to accommodate different users and their various needs. For example, the K20D has 36 custom settings. As the number of choices expands several problems arise. How can the user get from one configuration of settings to another? Which settings are important enough to be raised out of the menu to the physical UI? Since the answers will be different for different people and uses, customisation is required.

Example 1: The K20D and K-7 provide a User setting on the mode dial. Custom setting can be locked into this mode for quick recall. This is a great idea in principle; perhaps even a second User mode would be advantageous. But in execution this has several problems, notably the fact that there are settings that cannot be assigned in this manner. These remain inaccessible. For example, I wish quick access to taking multiple exposures, but this is not retained by the User mode.

Example 2: Some people wish quick access to exposure bracketing, some to multiple exposures, some to SR or other functions. An obvious solution is a "soft" button that can be programmed through the menu. This excellent idea has been suggested many times but never implemented. I have no idea why, since it requires no further technological developments or physical real estate. In fact, what if all four of the directions indicated by the four-way controller were assignable? That would provide an eminently adaptable interface.

Example 3: The menu structure of cameras is getting increasingly long and complex. Why not allow us a custom menu with shortcuts to those functions we wish to access most often? (Apparently the Nikon D80 had a "My Menu" feature that did exactly this.)


10. Avoid modes
A mode is a system state in which certain controls do certain things. If you have more than one mode, controls have more than one function depending on the mode. This is generally undesirable since it violates principle 4, among others.

Example 1: SLR cameras generally have shooting modes indicated by a dial. This can be considered acceptable since each mode dictates an approach based on basic photography principles. The modes are clearly visible, providing positive feedback at all times. Furthermore, viewfinder or back panel confirmation is provided. This is an acceptable use of modes, though I will argue in a later article for a new concept camera that does away with them. For some reason, however, Nikon blazes their own path and uses a push-button/dial combination to select modes, a considerably inferior solution.

Example 2: According to current information, the four-way controller on the K-7 operates in two different modes. It either selects from the marked functions, or it selects the AF point. The OK button toggles between these modes. This breaks our design rules. Had their been a switch to toggle between the modes, positive feedback and visual confirmation of the modes would have been provided. But using a button for this is a poor choice, especially as it does not appear there will be information on the panels to indicate the modality. The confusing labeling on the button is a hint that the affordance is wrong here.


Conclusion
I trust this adds more rigour to discussions of usability. I hope I have not forgotten any important points in my desire to make a timely blog post. (Sorry for the brief glitch where a post named "Nine Interface Design Principles" showed up for a few minutes!) As always, I welcome constructive comments, corrections and so on.

This is a synthesis of design information I have gathered over many years. The only specific reference I can provide is to the Norman book discussed in my article on Everyday Design.

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In this article I continue my evaluation of the new K-7, again with the proviso that this is based on documents, pictures and video -- not actual hands-on usage. This article won't provide any solutions to the problem of DSLR design -- that will come later in the series. Instead I'll continue my critique from my previous article, looking at the physical interface. All the images here come from the official press kit (with one enhancement).

What do I like and dislike about the K-7? I will answer these questions with special comparison to the K20D.



Front dial tilted
This is a good thing, since it more naturally fits how one's right-hand index finger will come to rest when gripping the camera.



Larger grip protrusion
This compensates for the fact the camera is smaller. I have always been able to hold the K20D with one hand and I can't image the K-7 would be different in that regard. This looks solid.

On/off/depth of field switch
This looks the same, but on the K20D the final position is also used to turn on Live View, should this option be activated in the menu. The K-7 has a dedicated LV button, as we will see.

Exposure compensation moved to top panel
At first glance this appears to be a poor choice. I cannot imagine how one is supposed to hold this button down while moving a dial. On the K20D this was simple since the EV button fell to the thumb.

Dedicated ISO button
This is only for obtuse reviewers who complained there was no ISO button on previous models. There was, but it was labeled "OK". So now we have an extra button that provides no new functionality. And again, this is on the top surface. Could this be because this is how Canon does things?

Lock button on mode dial
I don't think I have ever moved the mode dial by accident, as it is quite firm. For those that have, this is a nice touch that might prevent an accident. For the rest of us it provides an inconvenience that is perhaps not warranted. These sorts of decisions are certainly difficult for the designers to make.



The controls on the side are the same as before with only minor changes. For some reason "AF.C" now simply read "C", which is a bit clumsy. Why not label the three "S", "C" and "M" with "AF" marked on the switch itself?



Moved delete and play buttons
They are out of the way near the top of the back panel. This makes good sense at first glance, but then note where one's left thumb lies when holding the camera... yep, right over these buttons. Something more important could have been put here. [Er, what was I on when writing this? See comments.]

So why have they been moved? Well, consider that this is how the D700 and other Nikons do things. Hmmm... another case of copy cat?

One button bracketing removed
This control, once placed for handy thumb use, is now gone. [Same brain glitch as above.] The function has been moved to the drive mode menu. This will bother those who need the function and please those who never (or rarely) use it. This highlights one problem in design: different users have different needs. Me? I'd prefer to have it retained, and also happen to need quicker access to multiple exposure mode. (There is a simple solution to this dilemma I'll discuss in the next article.)

SR switch removed
This control is also gone, moved to the menu. Personally, I do not mind this, so long as there is a very obvious indicator somewhere on the camera of SR operation. I wouldn't want to have SR off by mistake!

New four-way controller
The OK button now chooses between two modes. By default the four-way controller can choose one of the four icons. Alternately, it controls the AF point. It's hard to see this change as an improvement, since it adds more modality to the controls. How will we know which mode the camera is in? How will we remember which button functions are active?

Removed Fn button
Previously we had to press a button to activate the four-way controller. Now this is active all the time, increasing the chance we will hit a control by accident. Worst of all, rather than being set back to avoid this, these controls are actually raised. Unfortunately for anyone who is left-eye dominant, looking through the viewfinder puts our cheek in touch with exactly this part of the back panel.

Changed AF dial
This dial used to be larger, around the cardinal controls. Now it is smaller and around the AF button. An arbitrary change.

New LV button
This is positioned badly, near other controls that need to be frequently accessed. I think it made more sense to have it out of the way as before, together with the on/off switch. That's because some of us might never use it, and even those that do will not want to hit this control by mistake.

Green button on back panel
On the K20D the green button is right near the shutter. That makes sense, since the functions are related and sequential. One can accomplish both tasks with a quick movement of the same finger. On the K-7 we need to use a different motion to press the green button and the shutter switch. Sure, we can get used to this, but it makes less sense.

Info and Menu buttons relocated
These are now near where the "Fn" button used to be. That's ok, but it made more sense to have them grouped with other controls as before.

3" LCD
The screen is bigger, but I do not think it needed to be. It is also higher in resolution -- that I find very welcome. If the screen had stayed at 2.7" there would have been room to space out the existing controls and create a more usable interface.

Overall fit and finish
It's going to be hard to fault the K-7 on this. The camera looks very solid, with no ugly seems or textures. There are grippy surfaces where grippy surfaces should be. The white and black colour scheme is stylish. The addition of green and even a bit of orange and blue does not detract. After all, careful use of colour is a good visual indicator of function. Of course the body is weather-sealed. So far, all is like its predecessor.

Unfortunately the nice SD card latch has been removed. The equally nice battery compartment latch has been retained.

Well, that's it for my blow by blow account. I am truly sorry things turned out so negative! In my next article I will recommend improvements to the interface, applying the everyday design principles I wrote of previously.

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The classic book on design and usability is Donald Norman's The Design Of Everyday Things, published by The MIT Press in 1998 (and by Basic Books in the UK). Not only is this book full of definitive advice and wisdom, it's written in an easy-going style. Why are door handles so badly designed? How has the classic telephone been rendered unusable over the years? Why can't I use my stove? Which switch should control which light? These are just some of the questions Norman tackles with humour and -- dare I say it? -- common sense.

The Design Of Everyday Things is not a very technical book, nor does it get into details of methodology, but it does establish the foundation of user-centred design.

Norman's Seven Principles of Design are:

"1. Use both knowledge in the world and knowledge in the head.
2. Simplify the structure of tasks.
3. Make things visible: bridge the gulfs of Execution and Evaluation.
4. Get the mappings right.
5. Exploit the power of constraints, both natural and artificial.
6. Design for error.
7. When all else fails, standardize."

Likewise he has several steps we can use to evaluate a design, to tell whether it is good or bad.

How easily can one:

1. Determine the function of the device?
2. Tell what actions are possible?
3. Determine mapping from intention to physical movement?
4. Perform the action?
5. Determine mapping from system state to interpretation?
6. Tell what state the system is in?

These two lists very much make up the core ideas of the book. But you'll need to read it to get all the details... and have a good laugh along the way.

Keep these points in mind as you read my next article on the Pentax K-7 interface.

You can support this site by buying The Design Of Everyday Things from Amazon through the following links.
  

Or, start with those links and buy anything else from Amazon. You pay the same, but a portion of Amazon's profits instead go to help this site. Thank you!

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Pentax has announced a new camera to great excitement. Features of the K-7 were leaked slowly from several sources, leading to a frenzy of interest on websites like Pentax Forums. You can read over 4000 posts in just a single thread -- and that's just one thread of many! Instead, I recommend you save many hours by reading this article. I won't go into excruciating detail but will cover all the new features of the camera from my own (rather more reserved) perspective.

I am doing this to provide a bit of an antidote to the gadget-crazy feeding frenzy that results whenever a camera with new features is announced. I don't think this has ever happened in the Pentax world to the extent it is happening now, for good reason. Pentax have been lagging behind the big camera manufacturers (Nikon and Canon, but perhaps also Sony and Fuji) in sheer quantity of features. Now they have caught up and perhaps even lapped the competitors, so of course people are interested.

However my perspective is simple: will this camera make me a better photographer? Does it include features that are useful or features that are gimmicks? Of course this must be a personal examination. I shoot different photos than the next person, so my priorities are different. I prefer still lifes, macros, landscapes and sometimes street scenes. But I also shoot events, especially art events. This involves portrait and action shots. I hate compromises in usability or image quality (IQ). I prefer portability and natural shots and so rarely use a tripod or flash. I have very good lenses that highlight any camera deficiency.

One very large proviso before you read the following critique. Since Pentax did not deem it necessary to give me a K-7 ahead of the official release, I am working from literature found online. My opinions might well change once more details are known or when I get my hands on the actual item.

OK, that's a long enough introduction. I will now compare the K-7 to the flagship K20D (I also own the K100DS) on a point by point basis.

Magnesium shell
While the substrate is the same robust stainless steel as before, some will find reassurance in a metal instead of a plastic outer body. Those who work in the cold might not prefer this. Besides, the plastic was already very robust. Pentax build quality is excellent!

Cold-resistant to -10°C
Pentax are here marketing a feature that has always existed. Previous models have been used in Antarctica, northern Finland and even sent into space!

Improved dust removal
This worked very well before -- I have not cleaned the K20D sensor in five months! I assume this is press hype then.

SD compartment latch
The nice secure latch on the K20D is missing in action. But the battery compartment latch is the same as before, thank goodness.

Focal plane marker
It's nice to have this marked on the body. It costs nothing and is useful when testing lenses.

Smaller and lighter
This means a lot to me, but let's look at the facts. Loaded with a battery and SD card we have to carry 754g instead of 802g, a negligible savings of 48g. The low-end K-m is 590g, which is more like it. In terms of size we have a crude estimate of 928 cubic centimeters. This lies closer to the K20D at 1004 than it does to the K100DS at 831. Though any reduction is welcome, this is not a significantly smaller camera.

Viewfinder coverage 100% versus 95%
A nice improvement, though there is little disadvantage to having slightly less than full coverage. All this means is that one gets a bit more of the scene than expected, which can actually be a nice safety net. Someday I would like to see a camera with 110% coverage, which would certainly help composition, especially for moving objects entering the frame.

Viewfinder magnification 92%, down from 95%
Oh dear. This will hamper visibility, especially for manual focusing (MF). As a workaround I have tried magnifier add-ons but as these restrict reading the full viewfinder I have abandoned them.

3" LCD
A nice improvement over the 2.7" screen, with four times the previous resolution! While this is not to be sneezed at, one should still never make image decisions based on the back panel.

New battery and grip
These accessories are no longer compatible with the K20D and K10D, which is a pain if using different bodies in the field. The battery has been changed to get a few percent more shots out of it. I would have preferred maintaining compatibility, especially as the K20D battery has excellent life. The grip has improved features like the ability to use AA batteries. As I never use a grip, this is irrelevant to me. But the AF button will be a welcome enhancement for those who do.

Natural-Bright-Matte III focusing screen
Apparently this will improve the ability to manually focus. I do hope so!

Improved SR
Wonderful if true. I find this to be a killer feature for natural light photography (which is 99% of what I do). In-body SR is one way in which Pentax trounces the competition; every lens ever made for k-mount is stabilised! (To be fair, Sony and Olympus also make cameras this way. But they do not have the same inexpensive quality lenses available.)

14.6 MP sensor
As before. Though the K-7 sensor now has four-channel output and has been rebuilt "from the ground up" we'll have to wait and see if there is any improved IQ. I am skeptical it can be significantly enhanced over the K20D, which has the best APS-C sensor images in the business. I am glad, however, that there is no arbitrary increase in megapixels just to pump the numbers.

Multi-pattern metering in 77 zones
Up from 16 zones. Will this improve metering? Maybe a little, but the camera can never guess the photographers intention, so manually overriding (with exposure compensation or otherwise) is always going to be a necessity.

Exposure compensation +/-5 EV
I've never needed more than +/-2 but I guess there's no harm in having more.

ISO 100-3200
The same range as before, with 6400 available only when using the "extended" feature. I would have liked ISO 50 for ultimate clarity and further depth of field (DOF) control.

Shutter rate up to 5.2 frame per second (fps)
Good for up to 15 frames in RAW mode. Improved from 3.0fps. This will certainly suit those who need to "machine gun" their shots. Though I perhaps use this term disparagingly, I understand the need to capture as many shots as possible when action is too fast for the eye.

Shutter speed to 1/8000s
One stop faster. Great!

Flash sync speed remains at 1/180s
A lot of people are crying out for 1/250s. It means nothing to me, and I can't see how a third of a stop is a big deal, but others say it is.

Improved Live View (LV)
Continuous shooting is now possible in live view, and there are improved focus modes. It's nice to see this feature getting better, but I'll keep using the viewfinder, thanks. If there was an articulated screen LV would be handy for macros and such, but there isn't.

Face recognition
Why not happy mood recognition?

Built-in AF assist light
This should improve auto-focus (AF) ability and is certainly a welcome feature. But I never expect my camera to work miracles and often manually focus for ease, precision or simply because it's more fun.

Improved AF
The SAFOX VIII processing engine has been upgraded to SAFOX VIII+. Er, great, I guess. [EDIT: Sorry for being obtuse. What I mean is that it is impossible to judge this on the basis of a spec sheet.]

Lens distortion and chromatic aberration (CA) corrections
Since this only works in JPG mode it is useless to a serious photographer. It also will not work with any M, K, A, or even FA lenses -- most of what I use. [EDIT: Some have stated that serious photographers do sometimes need JPG. While this may be true, to my way of thinking not shooting RAW is like burning your negatives.]

Electronic level adjustment: Keeping the camera level is not one of my problems. In any case, fine adjustments will be almost impossible in the field, unless using a tripod. Post-correction will remain necessary in many cases.

Copyright embedding
Enter your personal info and it will be stamped into the EXIF of each image file. Handy.

720p HD video
Various 30fps modes are available with AF and SR operational. There's a built-in microphone and stereo mini plug. This is a great feature for those who need it, but let's not be distracted -- it's strictly a frill on a still camera.

KAF2 "crippled" lens mount
This has not changed. The green button allows us to stop down manual lenses, but there is no physical aperture coupler. I must say that this is still better than all the competition (except perhaps Fuji).

No permanent ISO display
This has not changed. One must choose between displaying shots remaining and ISO. This really bothers some people and I must admit it is a rather silly limitation.

Cannot set back dial to ISO in M mode
This is a personal gripe. I have the back dial set to control ISO, but the firmware will not let me do so in Manual mode, where I spend at least half of my time. This means I must shift control use depending on the mode I am in, which totally sucks.

Two new white balance modes and new image processing options
Whatever. I shoot RAW. This is certainly a lot easier than fussing with WB in the field.

HDR mode
Enables extended dynamic range capture in-camera. This is best handled with computer software that can control dozens of different parameters, not the simple three settings one gets here.

Composition adjustment
This cute new feature allows minute adjustment of the image framing using the same mechanism that controls SR. This is handy to avoid repositioning a tripod.

Dynamic range adjustment
Previously one could switch this feature on and off, now there are also separate menu options for shadow and highlight correction, giving us more control.

Quieter shutter action
I have not heard this yet, except on video footage, but reports state the shutter is about half as loud as before. Fantastic! This is my number one favourite feature of the K-7.

In my next article I will look at the physical layout of the body, including changes to the controls. I will do this from a usability design perspective.

For full details on the camera see the USA Pentax site or the preview at Digital Photography Review.

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In my capacity as webmaster I get all too much spam. But I've actually learned to enjoy the stuff, at least for the several milliseconds it takes before it hits the bit bucket. In fact, I've even begun collecting spam messages, as part of an as-yet unrevealed devious plot. Who knows, it may even be valuable to future cultural researchers as an indicator of this society's hangups and obsessions. Though probably not.

Here, for your perusal, is a small cross-section, annotated for whatever small amusement it may provide. This is from some time ago, in fact. So please enjoy the antique spam.

> 142 MILLION EMAIL ADDRESSES FOR ONLY $149
> You want to make some money?
> I can put you in touch with over 140 million people
> at virtually no cost.
> Can you make one cent from each of theses names?
> If you can you have a profit of over $1,400,000.00

Hmmm, let me guess, you'll sell me a mailing list, right? The same one that you are using, right? Which obviously has not yet made you $1.4 megabucks, right? So your claim is false, right? So maybe you should follow your own advice and try to make a mere penny off each name, rather than $149, you stupid greedy bastard.

> WOULD YOU LIKE TO MAKE $4380.00 OVER AND OVER AGAIN?
> WITHOUT RECRUITING OR SPONSORING ANYONE!
>
> This is not MLM. I will Completely Manage Your Account
> Provide Your Lead List, Do Your Telemarketing
> Place People For You ALL YOU DO IS GO TO THE MAIL BOX
> AND COLLECT YOUR CHECK.

This scheme does not perchance involve little bags of white powder?

> Guys, Add 4 Inches To Your Penis!!!
> Our Program Works Guaranteed!!!
> CLICK HERE TO SEE!!!

I'm not sure about you, but I prefer an HTML specification which does not permit such actions as a result of clicking a link tag.

> How would you like to quit your job, become your own boss,
> and build up enough residual income to support yourself for
> the rest of your life?

How would I like to quit my job; instantly add my boss' work load to my own; spend all my time hunting for clients; constantly have to convince people I'm to be taken seriously; spend money on advertising, marketing, office functions, and all the other overhead of a real business; forgoe a fixed pay cheque; never know where the next dollar is coming from; give up all health benefits; double my work hours; and erode any savings I may have had -- all in order to please you, you annoying spambot? Let me think...

> If you are experiencing IRS challenges we likely have
> the solutions you've been searching for.
> How would you like to get out of the
> income tax system legally, lawfully and ethically?

Let me guess. Emigration? Suicide? Mental breakdown? Give me a few minutes and I'll get back to you on that.

> THIS IS ABSOLUTELY INCREDIBLE!!!
> PIANO OWNERS- we offer a patented device that sits on your
> piano keyboard and allows you to play the piano immediately!!

Got one. It's called a cat.

> Do you have all the sales you can handle? If you have
> answered NO to that Question, then...
> ACCEPT CREDIT CARDS AND EXPLODE YOUR SALES.

Unless I'm a vendor of firecrackers or ammunition I doubt I want my sales "exploded". Where do spammers come up with this lingo?

> THIS PRODUCT WILL CREATE MILLIONAIRES
>
> This phenomenal product would best be described
> As a "viagra for women"
>
> It’s a new topical product made for women that WORKS
> Instantly, and it’s about to Sweep the nation.

I'm not sure I'm ready for this, but at least you've piqued my interest.

> We have good news for snorers and people who have to listen
> to them. SNORENZ helps reduce snoring noise - simply,
> naturally and effectively.

A feather pillow?

> NOTE: THIS IS AN ADVERTISEMENT FOR LEGAL TV
> DE-SCRAMBLER. IF YOU HAVE NO INTEREST IN THIS
> INFORMATION PLEASE CLICK DELETE NOW. THANK YOU--

Spammers even tell us to delete their messages -- how helpful. As if I wouldn't have thought of that on my own.

> Are you trying to sell ice to Eskimos? NO? Are you sure?

Let me check. Let's see -- no inventory of ice. No client list among native folk of the north. No refrigeration devices. Yup, I'm definitely *not* trying to sell ice to eskimos.

> Forget everything you ever heard or seen before about
> making money on the Net!
>
> A newly developed cash generating system can pay you
> $338,628.00 a year, and you don't have to do ANY
> work whatsoever!

Oh yeah! Well, this *other* guy says I can have a profit of over $1,400,000. So why should I spend time on your penny ante scheme? Huh?

> FREE Satellite T.V. System and FREE Installation
>
> Enjoy over 500 Channels of crystal clear digital picture and
> cd stereo sound on your FREE Satellite TV System. Why pay
> for these items in a retail store, when we're giving you the
> same satellite package for free.

When am I supposed to watch 500 channels when I spend all my time deleting spam?

> This letter is about an opportunity to make an incredible
> amount of Money (CASH!!!) in a very short time.

Money. Cash. It's all clear to me now.

> CASH in on the most
> LUCRATIVE HOMEBASED OPPORTUNITY of the Millennium
> with an INTERNET company already #1 in the WORLD.
>
> No Meetings
> No Inventory
> No Paperwork
> No Stagnant Downlines
> No Flushing of ANY Volume
> No Monthly Qualifying
> Forced Spillover
> Pays to Infinity

Stagnant Downlines? Flushing of Volumes? Forced Spillover? Some sort of waste disposal opportunity, then?

> Do you accept suitcases full of cash?

No. Please send all cash in garbage bags.

> I have just come across an opportunity that is like finding
> a Huge Pot of Gold at the end of a Rainbow and quite
> frankly.....I wanted to share this with as many people as I can.

This opportunity is no doubt also like leprechauns laughing under trees, talking rabbits wearing waistcoats and flying pigs.

> Start a proven home business within 72 hours using Microsoft's
> foolproof sales recipe for Internet success.

Develop an inferior copy of an existing operating system. Get in bed with hardware manufacturers to lock out competition. Devise an ever-expanding array of "standards" that you force developers to adopt. Release bug-ridden products in order to beat others to market. Lock-in clients through forced upgrades. You mean *that* recipe for success?

> Obtain a prosperous future, money earning power,
> and the admiration of all.
>
> Diplomas from prestigious non-accredited
> universities based on your present knowledge
> and life experience.
>
> Bachelors, masters, MBA, and doctorate (PhD)
> diplomas available in the field of your choice.

Funny, a diploma never got me "the admiration of all". It is a great way to break into retail, though. Oh, and thanks for being honest, but exactly what is a "non-accredited university"? (And I wonder: who buys a bachelor when they can have a doctorate?)

> With Fat Absorb you are on your way to losing those unwanted,
> unhealthy pounds, naturally, safely, and fast. Each capsule
> can stop 3 full grams of fat from entering your blood stream.
> Excess fat is naturally eliminated undigested. Fat Absorb
> is a natural fiber, chitin, from the sea that is attracted to
> fat...just like a magnet, especially saturated fat.

Chitin, from the sea. That would be crab shells maybe. Yummy.

> FED UP WITH:
> Being shut down by your ISP's
> People screaming,
> People sending you FLAMES
> Being bombarded with COUNTER OFFERS

Um, no. But I can certainly see how *you* would be!

P.S. Your use of apostrophes is terrible!

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