Pentax Photo Software

[Billi Plancarte]

Higherbuild quality than expected. Really sharp lens - prints up to at least A4 with a good scan of the negatives. Have put three rolls through the camera so far. Some flare in the viewfinder and also a bit hard to see the frame lines with glasses. Overall a great camera that will see a lot of use!

Linus Sedlacek kerlind

I love the overall experience. The Pentax 16 is proven photography technology in a smart designed package. Shutter and diafragm functionality are cleverly designed to get very good results. Flash delivers nice fill in. The images are very good and in combination with a good landing to develop and scan ideal for social media and more.

Ivo Bogaerts

A new and very well thought out camera that does not require charging, memory cards and computers is so very welcome and enjoyable. It arrived quickly and it is 9 my regular carry when traveling ?. As a lover of the portrait orientation the format is a breath of fresh air to me. Looking forward to more products like this.

carsten scherr

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How are the exposure times for it? Say, if you can shoot 400 speed film at f/2.8 or so, with 1/125 second, you should be in pretty good shape. If it's darker than that, it will take some work to get decent pictures.

If the focal length is about right, the 50mm would be the way to go. If lighting is limited, use the 50 f/1.4. If you're too close for it, then most of your lens choices will drop to f/2.8 speed. If you're too far way to use it, then your lenses will either drop to f/2.8 or slower, or get expensive.

If it will help, holding the camera in a normal horizontal position, to photograph a standing man, you'd need to be about 15' away with a 50mm lens, and can more or less scale that to other focal lengths. Turning the camera for vertical format, that would be about 10' away.

If you can't swing a monopod, I'd recommend not getting any long lenses (longer than 100mm or so..maybe 135), since you won't be able to get any good shots with them. Use your 50, or get something in the vicinity of a 100/2.8 (I got a K-mount 90/2.8 macro lens for $55, so I'm sure you can get a non-macro for half that if you're patient). Then just take the shots you can get when the players are close enough.

If something great happens on the other side of the rink, you're out of luck, but you would've been out of luck if you had been handholding a 300mm lens at f6.7 too. (I have a Pentax 200 f4, and they're cheap and nice, but I don't think I could handhold one at a hockey game and get any decent pictures - maybe someone can correct this impression).

Put a 400ISO film in the camera and this is it. I recommend you the Konica Centuria 400, that will give you both saturated colors and beautifully skin tones for both white and black skins. This film is made only in Japan, and was EISA awarded last year for its quality. Just that's difficult to find it in the US. Still B&H has it and this is not the only seller for Konica films. Anyway, don't expect to find it in Wall Mart.

Finally, instead of a monopod (if still needed) I would use other systems, based on shoulder or left arm resting, or even on neck hanging, etc. I use such an alternative system with a 300mm zoom, for wildlife shoots, and it works just perfectly and is very quick to use too.

i haven't dealt with the ME's much, but in the Olympus OM1 and OM2, the wind lever ratchet consists of a set of little pointed levers on springs, which move to engage a sawtoothed gear thingie as you begin to move the wind lever. When things get dirty, one of these will stick and fail to engage, and a full stroke of the lever just gives you half a wind... and then finally they all stick and it won't wind at all. it's a simple cleaning job, but disabling when it happens. it could be that the pentax is having a similar problem.

Last year I had a Spotmatic CLA here in Toronto. Today I'm not sure I'd do it. While the cost to get something like a CLA seems cheaper this side of the border the price of good used cameras isn't much higher. OTOH trying to do it yourself might cost zero.

My ME Super died last year. The rewind lever had started with problems you describe & progressed to not working at all, and the associated electronic exposure system became non-operative. I am the original owner, and while I loved this unit as my first SLR, would not make the type of investment to repair it. You can get a brand new Pentax, use whatever lenses you have for an equal or lesser cost.

I'm actually a Nikon kinda guy, but fell somewhat in love with the mechanical feel and compactness of the ME Super when a friend presented me with his particular specimen which - you guessed it - was requiring multiple strokes of the wind lever to cock. Playing with it, I could also get the mirror to lock up on occasion (something which I was able to resolve by removing only the bottom plate from the body).

I've overhauled a number of cameras, having many of the specialized tools required (and only as a hobby - I'm not a pro repair person, only a guy with a passion and deep pockets), and had enough experience with the symptoms to guess that I was seeing the result of lubricants which had dried out.

I didn't want to dig right into this particularly immaculate body, though, without some technical documentation (my collection of service manuals is almost entirely devoted to Nikon gear). It was hard to come by decent docs, but I found some and also picked up a couple of jammed bodies on eBay to play with.

Notwithstanding the decomposition of their light trap foam, ALL of the cameras (including the one I really wanted to restore to its pristine state) exhibited the same behaviour and ultimately proved to have the same problem. The manufacturer seems to have made a poor choice of grease for the heavier components of the mirror box. When you cock the shutter, you are actually cocking both the shutter mechanism itself, as well as arming the mirror. Pressing the shutter buttom actually releases the mirror which, once it has travelled far enough out of the way, ultimately trips the shutter itself. It is the cocking of the mirror box that is not happening, because the lubricant on some of the parts that actually interlock with the more massive arms of the mirror cage has dried to the point where the springs that activate them aren't strong enough to move 'em through the "tar". This is why, after you operate the shutter a number of times, the thing appears to work ok. The viscosity of the lubricant is probably (temporarily) lowered by the repeated action, but winds up stiff again after the camera has been at rest.

Doing a CLA yourself (properly) will require a huge investment of your time, money, patience, and study. I really thought I might enjoy doing this sort of thing in my retirement (about 10 years from now) as I have what others tell me is a terrific amount of patience, mechanical aptitude, and hand-eye co-ordination. Plus, you can't use just any old grease to fix this problem without doing more harm than good. I'm using a synthetic lubricant which has a comparatively stable viscosity over a wide temperature range, and which doesn't "creep". Using household or automotive lubricants on a camera can make a real mess if the camera is subjected even temporarily to the heat of a summer day.

Yeah - there are people (and I know one who is a professional repairer) who will suspend a bit of dry lubricant such as molybdenum in naptha (lighter fluid) and blast it into a sticky mechanism and actually free it up without apparent consequence, but I'm not comfortable with this kinda thing. The naptha completely evaporates, but...

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