I have a small grin on my face. My digital journey started with a K-x, K-7 and a K-5. The K-x & K-7 have been sold, but I did hang on to my K-5 and an assortment of FF compatible Pentax lenses.
I also migrated to FF with a Nikon D-600. When the D750 was announced, I got fairly excited, but decided to give it a long wait to see if any issues might become apparent. My D600 and K-5 are very capable cameras in their own right, so upgrading to the D750 gradually became less of an "itch".
By the time the Pentax FF is out, I might be ripe for an upgrade. One thing I know for certain; I will probably have two options to choose from by the time 2016 arrives. Either a superb FF from Pentax, or after having skipped a generation of Nikon FF, the next model.
But Nikon has managed to alienate me somewhat with the D600 sensor contamination and sloppy QC in regard to the D750. Deep down I'm a Pentaxian and am looking forward to the release of a Pentax FF.
Now I have a big grin, LOL.
Pretty hard to come up with something interesting or even worth getting excited about when just about every genre has been covered and exploited. This must be one of the most boring results within the the last decade. Tough to be a judge, especially a young one without any experience and a memory.
Summit_pg: This will look great with my skinny jeans!
But I hope you have greying hair and stubble on your chin and cheeks as well. One has to fit the image...
Very entertaining commentary. I'm sure that this camera will hit the sweet spot with quite a few folks, the only issue being the price. I don't try to speculate too much about features, but if this body turns out to produce excellent "image quality", I might consider it.And just to be cheeky, I want to plug the D600. It is still one of the best cameras in regards to image quality. :-)
Two Hands: @ freedomLover. Creating several accounts? Cheating? sandbagging? You are very wrong. I have only one account on this site and that is: Two hands. Cool down and take a look at my challenge entries just for fun. I did have a look at yours and I have to say that I am impressed. You have contributed zero pictures and lots of comments so far! Anyhow, it doesn't give you the right to accuse me of sandbagging and cheating without any prove!Contact the moderator of this site and ask him if he will see into my voting history. He will prove you are wrong. If you want to be hostile, talk with pictures. You know, a picture is worth a thousand words. Try to compete me in another challenge. Maybe next time you win! Peace man.
@freedomlover: looking at your posting history leaves me with the impression that you'd rather come out with two guns blazing and asking questions later. It would be nice to see some of "your" work.Please go out and take some snaps, it might help you to get rid of that chip on your shoulder. You are very critical, which is OK, but maybe you are afraid of reaping what you've sown.
The Sigma 35mm F1.4 is a DG lens. The link text above describes it as a DC lens...
Jeez, I used exposure compensation back in the old days by selecting a different value on the ASA dial. You knew the film speed value and adjusted the ASA value up or down. In this manner, the needle in the viewfinder would be "zeroed". You would just have to remember to set the correct ASA on the next shot or roll of film. But what is really happening with modern DSLR's, is that the EV compensation settings don't work in manual mode. Yes, you can still do "EV compensation", but it would have to be done by adjusting the value of either shutter speed, aperture or ISO and watching the bars of the exposure indicator.
Well, there it is. No need to get exited about the near future anymore. Thank you Pentax, for helping me make the decision to move to a system with a clear upgrade path. Weather sealing and ergonomics can only take you so far.
I really love the setting. I have not voted on any image in this comp, but I like this one a lot. Maybe one thing you could have done to improve the overall feel of the image, is to wet the stone blocks on the left. The dry gray tones tend to disrupt the general flow of the red tones and clash with the green.