Pentax FAQ
maintained by Bo-Ming Tong
Version 1.22
Aug 6, 1995


PREFACE

This is a list of frequently asked questions and answers mainly about
Pentax K mount 35mm photographic equipment.  Comments, submissions and
corrections are directed to Bo-Ming Tong (bmtong@cs.arizona.edu).
Contributions which specifically address single issues and those which
could be directly incorporated into the FAQ by simple cut and paste are
most appreciated (you now have an idea of how lazy I am).  Furthermore,
there are quite a few question marks (?) in the tables which need to be
filled out.  I occasionally add my own comments to contributions and I
mark such as [BMT].  The same camera may have the different names
inside and outside of the US market.  I designate this as either
<international model>/<US model> (e.g. Z-1p/PZ-1p), or put the US model
in parenthesis, such as SF-X (SF-1).

I am sorry that I have disappointed Pentax 67, 645, screw mount and 110
users by including too little material about them in this FAQ.
Actually, it is always my intention to cover them as well, but as it
now is, I myself am pretty ignorant about these systems and I have not
received any contributions about them yet.  I especially need your
contributions in these areas !

This FAQ may be copied and distributed freely except for direct
commercial advantage.  The maintainer prefers this FAQ to be
distributed in its entirety, and requests acknowledgement for quoting,
copying and distributing its parts.

The maintainer and all contributors made their best efforts to ensure
the accuracy of the information in this FAQ.  However, neither the
maintainer nor any contributors assume any responsibility for losses
and damages resulting from the use of the information in this FAQ.  Use
the information at your own risk.


ACKNOWLEDGEMENTS

The Pentax FAQ would not have been possible without a large number of
generous contributors, including but not limited to the following:

Axel Belinfante                 William Bell
Ulrich Beutner                  David Bryant
Frederick Ciocciola             X. Fia  
Eddie Foronda                   David Friedlander
Terry Graham                    Ken Hauck
David Jacobson                  Olivier Jadot   
Derek Kirkland                  Chun-To Lee
Arne Lie                        Ken McNair
David Poon                      David Rosen
Mike Rosenlof                   Rui Pedro Mendes Salgueiro
Bo-Ming Tong                    Ed Wagner
Chung-Fai Yu                    Wayne

Let me know if I have left you out so that I will make amends !  Also,
I am sorry that I am too busy to send thank you letters to each of
you.  This FAQ also contains Popular Photography tests, and most of the
third party lens tests are copied from the Canon EOS FAQ maintained by
Bob Atkins (rma@clockwise.att.com).


HISTORY

04/14/95 1.0b1  Pentax Lens Tests 2.01 gets expanded to Pentax FAQ
04/19/95 1.0b2  added:  list of Pentax lenses and K-mount bodies
                        SQF of Tokina 400/5.6 and Sigma 24-70
                        data of ME and ME super
                        what is ME-F ?
                        section on accessories
                        lots of others
05/05/95 1.0b8  updated info on manual focusing F* lenses
05/06/95 1.0    added Derek Kirkland's List of Pentax 35mm, 645 and 67
                Equipment and release of Z-70.  Release version.
05/12/95 1.1    added info on Program A and Super A
07/02/95 1.2    compatability problem of SCA 374/2 on PZ-1p
                information returned by FA lenses and F lenses
                updated information on Z-70
                feature comparison of Z series cameras
08/06/95 1.22   added FA 20/2.8 to list of lenses, appendix B


CONTENTS

1  Introduction
1.1    Where could I get this FAQ ?
1.2    How to find Pentax in the US
1.3    Other sources of information
1.4    History of Asahi Optical

2  Bodies (K-mount)
2.1    Z/PZ series
2.1.1    Tell me all about the latest Z-1p/PZ-1p !
2.1.2    How does the AF of Pentax compare against others ?
2.1.3    Pentax: Z20 + Z50 = Z70 ? NOT
2.1.4    Feature comparison
2.2    K series - K2, KX, KM, K1000
2.3    M series - MX, ME, ME super
2.3.1    What is ME-F ?
2.3.2    A half-frame Pentax SLR !?
2.3.3    How to do depth-of-field preview on MX ?
2.4    LX
2.4.1    Metering
2.4.2    Shutter
2.4.3    Ruggedness
2.4.4    Multiple Exposure
2.4.5    Controls
2.5    A-Series - Super A (Super Program), Program A (Program
         Plus), A3 (A3000).
2.5.1    Notes on "A-Series" cameras
2.5.2    Differences between Super A and Program A.
2.6    What are the current production manual focus cameras by Pentax ?
2.7    Which cameras have mirror lockup ?

3  Lenses (K-mount)
3.1    Could you tell me what all those lens designations mean ?
3.2    Teleconverters
3.2.1    AF teleconverters
3.2.2    What is a Pentax 1.7x AF converter ?
3.2.3    Manual focus teleconverters
3.2.4    Are the third party converters any good ?
3.3    What is SMC (super multi-coating) ?
3.4    Why are there so few lenses for Pentax AF ?
3.5    What about the 40mm pancake ?

4  Flashes (K-mount, 645)
4.1    Classification of flash units
4.2    Are third party flashes any good ?
4.2.1    Achiever 630 AF
4.2.2    Metz 40 MZ-2
4.2.3    Cullmann CX 40 Data Zoom
4.3    Flash feature comparison
4.4    Compatibility problem of SCA system flashes on PZ-1p

5  Accessories (K-mount)
5.1    Mount adapters
5.2    Close-up accessories
5.2.1    Extension tubes
5.2.2    Bellows and others
5.3    A home-made PZ-1 battery pack

6  Point-n-shoots
6.1    How do Pentax point-n-shoots compare against others ?
6.2    The weather-proof 90WR

APPENDIX A  List of K-mount cameras
APPENDIX B  List of Pentax K-mount lenses
APPENDIX C  Derek Kirkland's List of Pentax 35mm, 645 and 67 Equipment
APPENDIX D  C.T.Lee's subjective lens evaluations
APPENDIX E  Chasseur d'Images tests
APPENDIX F  Popular Photography tests


1  INTRODUCTION

1.1  Where could I get this FAQ ?

This file is obtainable through world-wide web, at URL address:

        http://www.cs.arizona.edu/people/bmtong/photo/pentax-faq

It is also obtainable by ftp, at ftp.cs.arizona.edu, file
people/bmtong/photo/pentax-faq


1.2  How to find Pentax in the US

If you are in the US, you may phone Pentax at 1-800-877-0155.


1.3  Other Sources of Information

The other FAQs associated with rec.photo.* are in the following two ftp
sites.

ftp://moink.nmsu.edu/rec.photo
ftp://relay.cs.toronto.edu/pub/acs/rec.photo

There you'll find rec.photo.FAQ, Canon EOS FAQ, Camera Feature List,
Mail Order Survey, Zuiko (Olympus) Lens Tests, etc, far too numerous to
be listed here.

The Pentax WWW page is at http://www.pentax.com/PENTAX/Home.html.
You can also join the Pentax announcement and discussion mailing
lists there.


1.4  History of Asahi Optical

1919    Asahi Optical Joint Stock Co. was founded
1938    Asahi Optical Co., Ltd. was founded
1952    Asahi Optical's first SLR Asahiflex I
1957    Pentaprism employed on Asahi Pentax.  The name "Pentax"
        comes from "Pentaprism" and "Reflex" and it persist to nowadays
1966    1 million SLR's sold
1971    SMC (super multi-coating) Takumar lenses
1979    NASA uses the Pentax Auto 110 camera.  SLR sales exceeded
        8 million
1980    flagship camera Pentax LX
1981    first TTL autofocus camera ME-F
1983    Pentax Super-A received the European Camera of the Year
        award
1984    Pentax 645
1986    world's first zoom lens compact camera Zoom 70
1987    world's first SLR camara with TTL built-in flash SF-X (SF-1
        in the US).
1988    SF-7, SF-XN (SF-1N)
1991    P30T, Z-10 (PZ-10), Z-1 (PZ-1)
1992    Z-1 (PZ-1) received Japan Camera Grand Prix 1992.
        Weather-proof compact camera Zoom 90 WR
1993    Z-20P, Z-50P, Espio 115
1994    Z-5, Z-1p (PZ-1p), Z-5P
1995    Z-70
        

2  BODIES (K-MOUNT)

2.1  Z/PZ series

2.1.1  Tell me all about the latest Z-1p/PZ-1p !

From Terry.Graham@x400ux.sasktel.sk.ca Tue Feb 14 21:35:19 MST 1995
From: Terry.Graham@x400ux.sasktel.sk.ca
Subject: Pentax Z-1p & PZ-1 differences
Date: 14 Feb 95 11:22:00 -0600

 To Everyone Concerned;
 
 I was fortunate enough to be able to use a Z-1p for 4 days of shooting
 a couple of weeks ago. I really enjoyed the camera and it performed
 very well.  Here are some of the differences between the 2 cameras
 according to a Pentax document that my dealer photocopied for me.
 
 1)   the Z-1p instead of having a green zone when it is turned on now
      has a user preferred mode. This is where you can set you own
      preferences.
 2)   the Z-1p has brighter viewing screen
 3)   the Z-1p has a film advance rate of 4.5 fps as opposed to 3.3 for
      the PZ-1
 4)   unfortunately the Z-1p doesn't have the interval shooting
 5)   Z-1p has built in flashwith rear curtain sync.
 6)   the PZ-1 has that full length and waist up preset image size program
 7)   Z-1p's built in flash covers the 28 mm range as opposed to the 35 mm
      of PZ-1
 8)   Flash compensation in all modes
 9)   The viewfinder has more info regarding degree of under/over exposure
      compensation
 10)  Pentax's Panarama mode
 11)  Rewind speed is down to 10 seconds from 15 secs. for a roll of 24
      exposure
 12)  Red Eye Reduction in the flash
 13)  Less Pentax functions (15 vs 18)
 14)  Viewfinder display has the following idications added:
     a)Bar Graph information
     b)Metering Mode Mark
     c)Flash Level Control
 15)  New UV coating on the camera to protect it
 
 Terry Graham
 terry.graham@sasktel.sk.ca

From eforonda@igc.apc.org Fri Mar 10 13:28:53 MST 1995
From: Eddie Foronda <eforonda@igc.apc.org>
Newsgroups: rec.photo.misc
Subject: PZ-1p: in my hands
Date: Thu, 09 Mar 1995 19:31:08 -0800 (PST)

I guess this is it. An avid Pentax user, I started with the K1000, 
MX, PZ-10, PZ-20 and now, the PZ-1p.

My experience with the PZ-20 enabled me to skip the first third of the 
130 page PZ-1p manual because I am already familiar with Pentax 
terminology and basic functions. PZ-1 users can more easily make the 
transition.

So far, just sitting in my office/studio fiddling with the controls, 
here is my analysis:

1) The motor drive is killer. I never had a PZ-1, so the PZ-1p's 4fps 
smokes, especially compared to the PZ-20.

2) The metering choices are great: multi-pattern, center-weighted and 
spot. Unlike the PZ-20, which enables spot only in manual, I can assign 
any of these metering modes on the PZ-1p in any exposure mode.

[multi-pattern metering works with SMC Pentax A, F and FA lenses only.
They do not work with the original SMC Pentax and SMC Pentax M lenses -
BMT]

3) The User position will be helpful in the field. Although the On 
position holds the settings at the time the unit was turned off, the 
User position retains specific settings which otherwise could require 
reprogramming. For example, I set the User position to spot metering, 
autobracketing, shutter priority and continuous drive. 

4) Trailing (rear)-curtain sync possible with the built-in flash alone 
and in conjunction with an external Pentax dedicated flash and possibly 
with external dedicated flash by itself. I must experiment with this 
because the manual is unclear on this point.

5) I only recently got a Power Zoom for the PZ-20, so I don't know all 
the tricks. I will experiment further.

6) The multiple self-timer can essentially replace the Cable F if you
use the 2-second mode. I've seem people use 2-second mode on Nikons and
they never had to fumble with a cable. But the Cable F still has its
place.

7) The PZ-1p has the Panoramic mode, made popular by the Z-50. This is 
merely a built-in masking technique. I don't think I will use this for 
serious work.

8) If you have the PZ-1p brochure, you can analyze the 15 Pentax
functions before you get the body. That's what I did and changed the
defaults quickly and easily. For example, 1/2EV shutter speed
increment, 1/2EV exposure compensation, exposure and AF locked in ML,
manual  rewind, etc. (Thank you Jetphoto for sending me that invaluable
brochure).

9) The Memory Lock is retained for 10 seconds, unless you hit ML again. 
LEDs in the viewfinder indicate ML is engaged.

10) I never liked the simple +/o/- manual metering scale in the PZ-1 
viewfinder. The PZ-20 has an expanded metering scale, now incorporated 
into the PZ-1p.

11) The PZ-1p dwarfs the PZ-20. It's also heavier, but feels very
sturdy.  It has a gripable, textured feel to it and is quite
ergonomic.

12) Horizontal AF detection? Still, apparently not. A major omission 
against the competition. Look for vertical lines to assure quick AF, 
or learn how to switch to manual focus rapidly. Pentax is known to hunt 
fiercely, and the PZ-1p continues in that vein.

13) No external battery pack is listed for the PZ-1p under accessories. 
A total of seven screens are available.

I did not shoot this camera yet, so I cannot comment on its
performance.  Questions?

From eforonda@igc.apc.org Fri Mar 10 23:38:57 MST 1995
From: Eddie Foronda <eforonda@igc.apc.org>
Newsgroups: rec.photo.misc
Subject: Re: PZ-1p: in my hands
Date: Fri, 10 Mar 1995 13:58:27 -0800 (PST)

>- Does it have Mirror Lock Up?
No, but I think it locks up in one of the self-timer modes right before
releasing the shutter.  Unsure on this.

>- What about noise and vibrations?
Because it is heavy, vibrations are absorbed.  This is not the quietest
camera on the market.

>- I know that there is exposure compensation for flash but does it
>- work only with integrated flash or is it available also for external
>- flash ?
The manual says yes, although I have not experimented with this yet.

>- You talked about many focusing screens available, which are they?
1. Standard: matte field with panorama and spot metering frame
2. Matte field with AF frame
3. Matte field with cross hairs
4. Matte field with golden section lines
5. Matte field with spot metering circle
6. Matte field with scales
7. Matte field with panorama frame

>- The time-out for exposure-lock was 5 seconds with PZ-1, but you
>- talked about 10 sec. Is it exactly 10 sec or approximately 10 sec
>- (which may be in fact 5 sec) (anyway it doesn't matter very much)
It is +/-10 seconds. I did not time it, but it seems that long.  One
can easily forget to turn it off and continue firing a different
scene.

>- I understand that when you press the lock button, it locks
>- exposure.  But if you depress this button: How do you manage to keep
>- the exposure level in memory longer than 10 seconds depress the
>- shutter halfway and hold it ?  How do you manage to put another
>- exposure level in memory before 10 seconds if you change your mind ??
Depress the ML button again to cancel, then depress it again to
re-activate with the new settings

>- What about the brightness of the viewfinder comparing to other
>- Pentax bodies?
It's brighter, but compared to my PZ-20 nothing that noticeable unless
you study it.

As I toyed with the PZ-1p more last night, I have further analysis:

1. The omission of  horizontal detection is major, especially after
several years of AF development.

2. The manual could be better written. A couple times I could not
distinguish between a typo (many) and an actual mistake.

3. As long as the aperture is on A, the exposure modes are easy to
understand. Once off A, some complications begin. I commend Pentax for
being able to design a 1995 camera that can still use 1960s lenses.

4. You will still need a trailing-curtain sync switch on your external
dedicated flash. The internal trailing-curtain sync functions only on
the RTF or an external dedicated flash with RTF.  The trailing-curtain
sync does not engage for the external dedicated flash alone using the
body switch.

5. The metering selection, from what I read about the PZ-1, is
improved.  Whereas the PZ-1 offered two choices on-the-fly, the PZ-1p
offers all three on-the-fly.

6. The number of Pentax functions were decreased. The metering
selection is no longer a Pentax function. The other deleted functions
were Power Zoom related.

7. The User position is much more useful than the PZ-1 Green position.

8. Although the PZ-1p offers a lot of settings and can be complicated
at times, for the avid technoid who likes the excitement of TAKING
pictures and not merely capturing an image, you'd better get the
top-line EOS.

2.1.2  How does the AF of Pentax compare against others ?

From rps@mat.uc.pt Sat Feb 25 14:19:41 MST 1995
From: rps@gnu.mat.uc.pt (Rui Pedro Mendes Salgueiro)
Newsgroups: rec.photo.advanced
Subject: G1 focus accuracy, SLR AF speeds, Color temp and studio illumination (Chasseur d'Images March)
Date: 25 Feb 1995 14:29:55 +0100

On December 15 Reponses Photo published a test on autofocus (AF) speed
between the new F90x and the Canon EOS 1n (with Booster).  The writers
at Chasseur d'Images didn't like the methodology of that test (or so
they say. The impression I got from their writing is "The lady doth
protests too much") and on this issue (appeared February 15), they test
a large number of cameras.  (Maybe now, someone will argue that they
have spyed Reponses Photo, and the article was really writen 3 months
ago :-).

The results were without much surprise, with the EOS 1n + Booster as
the fastest/better. They say that the EOS 1n without Booster is
uninteresting as it is slower than the EOS 5 (2nd place).

        1 - EOS 1n + Booster
        2 - EOS 5
        3 - F90x 
        4 - EOS 1n
        5 - Minolta Dynax 700si
        6 - F70 
        7 - Pentax Z-1p
        8 - Sigma SA-300n
        9 - Minolta 7000 (old model, 1985)
        10 - Canon EOS 500
        11 - Minolta Dynax 500si

BTW, the EOS 1N RS (pellicle mirror) can get to 10fps, but only in
manual focus.

BTW2, the test was not how many picture the camera took. Their metric
was the sum of the points in each image, so it took into account both
the number and quality of the photos.

The result of the Minolta 7000 shows that this criteria is not perfect,
since the pictures it got are worst than the 2 last cameras, and it
only gets a better classification, because it can take more.

Maybe they should have used another criteria like 1 point for each
perfect image + 1/2 point for each almost perfect image. This would not
have changed nothing in the first 7 positions, but would be a little
different afterwards.

From BSOSComputerLab@bss1.umd.edu Mon Feb 13 19:18:35 MST 1995
From: BSOSComputerLab@bss1.umd.edu (William Bell)
Newsgroups: rec.photo.advanced
Subject: Re: Canon vs Nikon focusing accuracy
Date: 13 Feb 1995 15:28:59 GMT

I have done some actual field tests with the four AF systems (Canon,
Nikon, Minolta and Pentax) and found the following to be true.  Your
mileage may vary.

The Canon system with focus motors in the lenses locks focus more
quickly, even with the mid-range cameras than all the other systems.
The top end cameras from the three other companies come very close, but
focus speed is more camera body sensitive than the Canon system.

The top end Minolta bodys do a very good job of focussing on moving
objects; not as good a job in low light without focus assist beam.
Minolta optics not the equal of some of the others.

Nikon, except for the newest top-end systems, can do a bit of hunting
for focus.  I find this very annoying.

When Nikons do lock on focus, it seems to be the most accurate of the
systems.  It is a subtle difference, but is easy to see with an 8x
loupe with a slide.

Pentax system doesn't want away with top honors anywhere, but performs
without any serious flaws.  AF lenses focus very nicely on MF.

There is no clear winner!  Ideally a system would offer MF lens
compatability like Pentax and Nikon, focus tracking like Minolta,
speedy quiet focus like Canon and manual focusing like Pentax.

Just for disclosure, I use the EOS system, but am not a "loyal" Canon
user as I use Pentax manual focus and Leica rangefinder as the need
suits.

2.1.3  Pentax: Z20 + Z50 = Z70 ? NOT

From: rps@gnu.mat.uc.pt (Rui Pedro Mendes Salgueiro)
Newsgroups: rec.photo.misc
Subject: Pentax: Z20 + Z50 = Z70 ? NOT
Date: 29 May 1995 13:20:18 +0200
Organization: Dep. de Matematica da Univ. de Coimbra

If you read Chasseur d'Images you should have recognised the title.

Their point (or more exactly Pentax Marketing point) is that an
entry-level reflex needs to have icons programs (action, landscape,
portrait, macro) like the Z-20 and to be simple and have a low price
like the Z-50p.

So, Pentax made the Z-70 to compete with the Minolta 500si (400si
in the USA ?) and the Canon EOS 500 (USA name ?). It can be more
easily defined by the things it doesn't have:
        - metal lens mount. Like Canon and Minolta, Pentax has
        adopted a plastic lens mount for the low-end :(
        - in the Z-20 all (except the green) programs were shiftable.
        In the Z-70 only the normal program is shiftable. The icons
        ones are not. I think it was one of the best points in ergonomics.
        - the spot metering in manual mode has also disappeared.
        It is interesting reading how Pentax marketing rationalises this.
        - the power zoom modes have disappeared. I don't think this
        is important, since IMO they are just gadgets. The lens
        mount has still power contacts, so the power zoom can still
        be used (although the lens sold in kit with the Z-70 is
        the 35-80 F which doesn't have power zoom).
        - The panorama mode of the Z-50p has disappeared. Will anyone care ?

Of course there were some evolutions. The AF system works in less
light, and seems to be faster and quieter.
The viewfinder is still very complete, although it doesn't seem to
have the shift scale of the Z-20 and Z-50p. This is the scale in
which appears the shift given to the program, either in the direction
of frozen action/less depth-of-field or on the direction of the
blurred action/more depth-of-field. Now there is only the scale
for the exposure correction.

What is really bad about this camera is that it replaces the Z-20
and the Z50p. The Z-10 seems to still be produced, which I think
is an overlap. And now Pentax doesn't has a medium-level camera.

For instance when Chasseur d'Images tested the Minolta 600si, they
presented as the Pentax competition the Z-1p. Of course the Z1-p
is much more expensive, so it made Pentax look bad. Other magazine
(Reponses Photo) made a comparative review of the 600si against
the Z50p and others. In that case the Pentax was cheaper, but lacked
a lot of features. So Pentax looked bad again.

I think Pentax should make an intermediate camera between the Z-1p
and the Z-20. If I was defining it, I would add to the Z-20 a
depth-of-field preview, an exposure lock button and a continuous
focusing mode (and keep the metal lens mount!).
Asking for a better AF system (horizontal detection, large sensor
or multiple sensor) is probably asking too much.

2.1.4    Feature comparison

From Rui Pedro Mendes Salgueiro

        Europe  USA     Japan
Name:   Z-1p    PZ-1p   Z-1p    (new 1994)
        Z-1     PZ-1    Z-1
        (unavailable)   Z-5p    (if someone has information on)
        (unavailable)   Z-5     ( these 2 please mail me)
        Z-20    PZ-20   Z-20    (discontinued 05/95)
        (unavailable)   Z-20p   (panoramic version of the Z-20.Any other diff?)
        Z-50p   (unav)  Z-50p   (discontinued 05/95)
        Z-70    PZ-70   Z-70    (new    05/95)
        Z-10    PZ-10   Z-10

I really don't have any information on the Z-5 and Z-5p.
Unless I got some, I will remove them from the table.

Corrections/additions welcome.

Common points:
        K-AF2 lens mount (this includes the power contacts for
                        power zoom lenses)
        SAFOX II autofocus system (center tight sensor only. No
                                horizontal detector).
        shutter: vertical travel, metal construction, electronic control.
                the Z1 and Z1p are faster than the others.
        The outside LCD screen is on the top of the viewfinder.
        The flash hot shoe in on the right side on the top of the
        grip. This allows the use of the internal flash at the same
        time than an external flash. But the LCD is on a more
        exposed place than other brands.

-------------------------------------------------------------------------------
Camera          | Z-1p  |  Z-1  |  Z-5p |  Z-5  |  Z-20 | Z-50p |  Z-70 | Z-10
-------------------------------------------------------------------------------
Body            |                       plastic                               |
  weight (g)    |  650  |  650  |  ???  |  ???  |  500  |  500  | <500  |  ???|
 dimensions (mm)
        width   | 152   |       |       |       | 146   | 146   |       |
        height  |  95.5 |       |       |       |  93   |  93   |       |
        thick   |  74   |       |       |       |  66   |  66   |       |
lens mount      |                       Kaf2-metal              |plastic| metal
film guide      |                       metal                   | metal | metal
mirror box      |                       metal?

Autofocus single|   Y   |   Y   |   Y   |   Y   |   Y   |   Y   |   Y   |   Y
Autofocus servo |   Y   |   Y   |   Y   |   Y   |   N   |   N   |   N   |   N
Manual focus    |   Y   |   Y   |   Y   |   Y   |   Y   |   Y   |   Y   |   Y
minimum EV      |  -1   |  -1   |  -1   |  -1   |   1   |   1   |   0   |
maximum EV      |  18   |  18   |  18   |  18   |  18   |  18   |  18   |

Panorama (14x36)|   Y   |   N   |   Y   |   N   |  N*2  |   Y   |   N   |   N

Shutter
        control |  electronic
        material|     metal
        travel  |    vertical
  works without
    batteries   |   N   |   N   |   N   |   N   |   N   |   N   |   N   |   N
flash sync 1/x  |  250  |  250  |  250  |  250  |  100  |  100  |  100  |  100
maximum speed   | 8000  | 8000  | 8000  | 8000  | 2000  | 2000  | 2000  | 2000
minimum speed   |  30"  |  30"  |  30"  |  30"  |  30"  |  30"  |  30"  |  30
Bulb            |   Y   |   Y   |   Y   |   Y   |   Y   |   Y   |   Y   |   Y
T               |   N   |   N   |   N   |   N   |   N   |   N   |   N   |   N
-------------------------------------------------------------------------------
Camera          | Z-1p  |  Z-1  |  Z-5  | Z-5p  |  Z-20 | Z-50p | Z-70 | Z-10
----Metering-------------------------------------------------------------------
 center-weighted|   Y   |   Y   |   Y   |   Y   |   N   |   N   |   N   |   N
 matrix (# segm)|   8   |   8   |   8   |   8   |   6   |   6   |   6   |   6
 spot           |   Y   |   Y   |   Y   |   Y   |   Y   |   Y   |   N   |   Y
 display        |
 exposure lock  |   Y   |   Y   |   Y   |   Y   |   N   |   N   |   N   |   N
 minimum (EV)   |  -1   |       |       |       |   1   |   1   |  -1   |
 maximum (EV)   |  21   |       |       |       |  21   |  21   |  21   |
-----MODES---------------------------------------------------------------------
Hyper Manual    |   Y   |   Y   |   Y   |   Y   |   Y   |   Y   |   Y   |   Y
Aperture priorit|   Y   |   Y   |   Y   |   Y   |   Y   |   Y   |   Y   |   N
Shutter priority|   Y   |   Y   |   Y   |   Y   |   Y   |   Y   |   Y   |   N
Programs
 Green Program  |   N   |   Y   |   ?   |   ?   |   Y   |   Y   |   Y   |   Y
 shift Program  |   Y   |   Y   |   ?   |   ?   |   Y   |   Y   |   Y   |   ?
 Hyper Program  |   Y   |   Y   |   ?   |   ?   |   N   |   N   |   N   |   N
 Depth of field |   Y   |   Y?  |   ?   |   ?   |   N   |   N   |   N   |   N
 optical quality|   Y   |   Y?  |   ?   |   ?   |   N   |   N   |   N   |   N
 Action         |   Y   |   Y?  |   Y?  |   ?   |  Y*1  |   N   |   Y   |   ?
 Portrait       |   N   |   N   |   ?   |   ?   |  Y*1  |   N   |   Y   |   ?
 Landscape      |   N   |   N   |   ?   |   ?   |  Y*1  |   N   |   Y   |   ?
 Macro          |   N   |   N   |   ?   |   ?   |  Y*1  |   N   |   Y   |   ?
 Learn function |       |       |       |       |   Y   |       |       |
-------------------------------------------------------------------------------
Camera          | Z-1p  |  Z-1  |  Z-5  | Z-5p  |  Z-20 | Z-50p | Z-70 | Z-10
-------------------------------------------------------------------------------
control wheels  |   2   |   2   |   2   |   2   |   1   |   1   |   1   |   0
Self-timer (s)  | 2 & 12| 2 & 12|   ?   |   ?   |   12  |   12  |   12  |   12
depth-of-field  |   Y   |   Y   |   Y   |   Y   |   N   |   N   |   N   |   N
DX code reading |25-5000|25-5000|25-5000|25-5000|25-5000|25-5000|25-5000|25-5000
manual ISO sett | 6-6400| 6-6400| 6-6400| 6-6400| 6-6400|   N   |   N   |   N
film advance(fps)   4   |   3   |   ?   |   ?   |   2   |   2   |  1.8  |   N
Exposure compens| +/-4  | +/-4  |       |       | +/-3  | +/-3  | +/-3  |   N
multiple exp.   |  2/9  |  2/9  |       |       |   N   |   N   |   N   |   N
Interval exp.   |   N   |   Y   |       |       |   N   |   N   |   N   |   N
TTL flash       |   Y   |   Y   |   Y   |   Y   |   Y   |   Y   |   Y   |   Y
Built-in Flash
   coverture    |  28   |  35   |       |       |  28   |  28   |  28   |  35
        GN      |  14   |  14   |       |       |  13   |  13   |  13   |  12
Red-eye reduction   Y   |   N   |       |       |   Y   |   Y   |   Y   |   N
AF assist light |   Y   |   Y   |       |       |   N   |   N   |   N   |   N
Pentax functions|  15   |  18   |       |       |   5   |   ?   |   ?   |   N
Power Zoom      |   Y   |   Y   |   Y   |   Y   |   Y   |   Y   |   Y   |   Y
 Focal lenght mem|  Y   |   Y   |       |       |   Y   |   Y   |   N   |   Y
 subject size   |   Y   |   Y   |       |       |   Y   |   Y   |   N   |   Y
 zoom effect    |   Y   |   Y   |       |       |   Y   |   Y   |   N   |   N

*1 In the Z-20 all programs can be shifted.
*2 The Z-20p has the panoramic function.


2.2  K series - K2, KX, KM, K1000

In 1975, Asahi Optical introduced their bayonet mount - the K mount.
The K series was the first Pentax bayonet mount cameras.  They all
look more or less the same, and their features are listed below:

                K2              KX              KM              K1000
meter           match needle    match needle    center needle   center needle
DOF preview     Y               Y               Y               N
mirror lockup   Y*1             Y               N               N
shutter type    electronic      mechanical      mechanical      mechanical
shutter speed   8-1/1000        1-1/1000        1-1/1000        1-1/1000
flash sync      1/125           1/60            1/60            1/60
shutter mater.  metal           rubberized silk rubberized silk rubberized silk
shutter travel  vertical        horizontal      horizontal      horizontal
mech shutter    1/1000,B,X      all speeds      all speeds      all speeds      
exposure modes  A/M             M               M               M
apert. readout  N               Y               N               N
self-timer      Y               Y               Y               N
exposure lock   N*2             N               N               N

*1 - K2 only locks up the mirror but does not stop down the lens until
        an exposure is made.
*2 - K2DMD does have exposure lock

K2DMD is an upgraded K2 with aperture readout in the viewfinder, the
ability to accept a motor drive, a viewfinder blind and out of battery
warning.  K2DMD also allows you to do an exposure lock.

Although K2 and K2DMD are an electronic cameras, 1/125 and 1/1000 are
still available even if you run out of batteries.

KX MOT is an upgraded KX body which accepts a motor drive.


2.3  M series - MX, ME, ME super

The following year (1976), Pentax introduced the M series.  M means
"miniature".  It was one of the smallest cameras of its days.  The MX
is a fully mechanical body, generally regarded as the best of the
series.  The ME is an aperture priority camera.  Beware that there
is no manual mode.  You could take pictures at the 1/100 shutter
speed only (you could use this shutter speed even if you run out
of batteries).  ME super is an upgraded ME with a manual mode.  MV,
MG, etc are more or less simplified versions of previous designs and
as such are not as desirable.

                MX              ME                      ME super
meter           5 LEDs          shutter speed LEDs      shutter speed LEDs
DOF preview     Y               n                       n
mirror lockup   No              n                       n
shutter type    mechanical      electronic              electronic
shutter speed   1-1/1000 + B    8-1/1000 + B + X        4-1/2000 + B + X
flash sync      1/60            1/100                   1/125 (electr/mech)
shutter mater.  rubberized silk metal                   metal
shutter travel  horizontal      vertical                vertical
mech shutter    all speeds      1/100, B                1/125, B
exposure modes  manual          aper. prior. only       aper. prior, manual
apert. readout  optical         n                       n
self-timer      mechanical      mechanical              mechanical
*optical means a window on the viewfinder points to the aperture ring

The M series features the magic needle film loading system which is
really easier than other brands of cameras.  You just insert the film
leader to one of the slots of the white take-up spool, and align the
sprocket holes of film with the film-sprocket spool, drop the cartidge
into the chamber on the left hand side and cover the back.

Many people want to avoid cameras without a manual exposure mode.  If
you are one of them, you may want to avoid ME and MV altogether.

For ME super, in manual mode, there are 2 push buttons to set shutter
speed.  The selected shutter speed will be displayed by the shutter
speed LEDs in the finder.  Two flickering over/under red LEDs will
guide you to set the proper exposure.  They will stop fickering once
you have set the aperture/shutter speed such that exposure is correct.

2.3.1  What is ME-F ?

ME-F is an early attempt of Pentax on autofocusing.  It is claimed to
be the first autofocus SLR employing a TTL autofocus sensor.  It was
introduced in the early 80s with a 35-70 autofocus lens.  The lens has
an internal motor inside just like F3AF and the modern Canon EOS.  At
that time, the internal motor is big and heavy, the autofocusing of the
camera leaves something to be desired (it was tested to be as poor as
F3AF).  As a result, the ME-F had the same fate of Nikon F3AF and Canon
T80 of the same era.

However, the ME-F employs the standard K-mount.  The significance of
ME-F nowadays is that you get an ME-super with a so-so quality
electronic in-focus indicator.  The 35-70 AF lens for ME-F will not
autofocus on the SF/Z/PZ series of bodies.  The current F and FA lenses
will not autofocus on ME-F either.

2.3.2  A half-frame Pentax SLR !?

From graphic@delphi.com Wed Oct 19 13:18:38 CDT 1994
Article: 1203 of rec.photo.marketplace
From: graphic@delphi.com
Subject: 1/2 Frame Pentax K-mount info wanted
Date: Tue, 18 Oct 94 04:11:41 -0500
Organization: Delphi (info@delphi.com email, 800-695-4005 voice)

This may sound a little eccentric, but although its aftaer the fact, I
would like to find out how much a 1/2-frame Pentax K-mount SLR, model
"MF" with an APK55 adapter (with hot contacts for a microscope substage
EF) was worth?  I saw the camera for sale in a pawn shop & found it
bizarre that it wound up in the possession of the owner who thought it
was a "regular" 35mm camera.  Fade forward 3 days and I am attending a
used camera trade show (small) and start asking the 7 or 8 dealers if
they are interested and how much.  The response was to generally pull
out a pricing guide, say they couldn't find it and say "too
specialized".  One dealer said price range $200-300 after called home
store. anyway, I took the camera trade show on "consignment" and was
sold it for $175 because the dealer had "thought other lenses with it"
when said would buy for $200-$300.  I was glad to do the deal because
only 1 person really interested and was in town 1 day only.  BUT, I'm
curious as to true value.  Does anyone have any info on this camera
that appears to be generally unknown by the trade?  Please send e-mail
to graphic@delphi.com

[I saw EXACTLY the same setup advertised in Shutterbug, Febuary 1995
for $249.9 by Midwest Photo Exchange - BMT]

2.3.3  How to do depth-of-field preview on MX ?

I am amazed that lots of MX owners don't even know there is depth-of-
field preview.  Anyway, just push the self-timer lever _the other way_,
i.e.  turn it towards the lens mount.  Every other Pentax camera
either has a separate DOF preview button/lever, or it's coupled with
the self-timer lever (or else it doesn't have DOF preview at all).


2.4  LX

LX is still the top-of-the-line flagship model of Pentax.  It was
introduced in 1980, to commemorate Pentax's 60th anniversary, hence the
roman numerals LX.  It is full of advanced technology: even by today's
standards it is still one of the most feature-laden cameras.

2.4.1  Metering

The Pentax LX features TTL-OTF (through the lens off the film)
metering.  Rather than metering right BEFORE the exposure, Pentax LX
meters DURING the exposure.  When the shutter opens, the metering cell
at the bottom of the mirror chamber begins metering the light being
reflected from the film surface.  When enough light reaches the
metering cell, the shutter closes.  LX could meter at such low light
levels as EV -6.5 with a 50/1.2 lens, from 125 seconds to 1/2000
seconds in aperture priority mode, ISO 100.

The same metering system is used for TTL flash metering.  Together with
the Pentax AF 400 T flash unit and a 50/1.2 lens, a Pentax LX could
yield an accurate exposure for a subject distance of 0.8 feet to 108.2
feet (ISO 100).

2.4.2  Shutter

Pentax LX has a titanium horizontal travel shutter.  It's a hybrid
mechanical/electronic shutter.  Even if it runs out of batteries, you
can still use all shutter speeds from X (1/75) to 1/2000 sec. in manual
mode.  With no batteries in the camera, I tried to use a flash and it
works as usual, without TTL metering of course.  In automatic mode
(batteries required), the shutter is stepless from 125 seconds to
1/2000 seconds.  "Stepless" means the camera may use any intermediate
shutter speed, such as 1/167 sec, in order to give an accurate
exposure.

2.4.3  Ruggedness

Every button and dial, the film back, etc are fully sealed against dust
and moisture.  The shutter blades are designed to operate at such low
temperatures as -30 deg C (-22 deg F).

2.4.4  Multiple Exposure

When you turn the rewind crank, the frame counter will count backwards
(other cameras will not do this).  You may do multiple exposure on any
previous frame using this feature (registration will not be exact within
0.2mm).  Rewind one frame more (you will hear a click noise for each
frame) and advance once.  Now you are ready to multiple expose on the
frame you want.

2.4.5  Controls

To use an LX effectively, you need to learn how to use the multi-
purpose lever, right above the lens release button.  You turn it
towards the lens, it's a DOF preview.  You push the lock button and
turn it towards the lens, it becomes the mirror lock.  To activate the
self timer, push the lock button and turn it away from the lens.

The dot between the finder and the shutter speed dial shows whether the
shutter is cocked.  If it's red, the shutter is cocked.  If not, you
have to advance film first.

Beside the film speed dial, there is another multi-function lever.
Push the button to unlock the exposure compensation dial.  If you both
push the button and turn the lever, the finder can be removed.

Pentax LX has a couple of optional hand grips.  Mine is a wooden one
crafted to fit the shape of the hand nicely.  Unlike some other
cameras, the grip is directly attached to the front of the camera.
This way, the tripod socket needs not be used for attaching the hand
grip.


2.5  "A-Series" - Super A (Super Program), Program A (Program
        Plus), A3 (A3000).

I am not sure whether the camera models listed above (U.S. models in
brackets) are part of a series or not, but I have grouped them all
together because they seem to be the next models on from the "M-Series"
cameras.  I have called them "A-Series" because they have "A" in the
name, and because they accept A-lenses.

These cameras came out in the 1980's (I have a Super A manual dated
5/84, and a Program A manual dated 3/85).  All of the cameras are
manual focus, with KA mount.  The A3 is exceptional in that it has a
built-in motor-winder.  The other models are manual film advance, but
can accept a motor winder (Winder ME II), or a motor drive (Motor Drive
A).

"A Series" cameras Features Table.

                  Super A             Program A          A3
                  (Super Program)     (Program Plus)     (A3000)
meter display     LCD                 LCD                LED
DOF preview       Y                   Y                  n
mirror lockup     n                   n                  n
shutter type      *                   *                  *
shutter speed     15-1/2000 + B       15-1/1000 + B      2-1/1000 + B
flash sync        1/125               1/100              1/60
exposure modes    M,AP,SP,P           M,AP,P             AP,P
apert. readout    LCD                 LCD                n
self-timer        electronic          electronic         electronic
   indicator      LED,sound           LED                LED,sound
exposure comp.    +/-2                +/-2               +1.5
TTL flash         Y                   n                  n
PC socket         Y                   Y                  n
film speed        manual              manual             DX, manual

*  All have a vertical-run, electronically controlled shutter.  Without
   batteries the shutter will not operate.

Exposure modes: M = Manual, AP = Aperture Priority, SP = Shutter Priority, 
                P = Program

Exposure compensation: This refers to specific exposure compensation
control of auto exposure modes rather than changing the film speed
setting (which can be done on all three models).  The A3 has a +1.5
stop backlight compensation, while the other models can change the
exposure in 1 stop increments (1/2 stop if you are careful).

2.5.1  Notes on "A-Series" cameras

The Super A is the most advanced of these three cameras and is notable
for having TTL flash with "T" and "C" type Pentax flashes and compatible
3rd party flashes.  The Program A is a similar (size and shape) model to
the Super A, but is slightly lesser in features (e.g. slower flash
synch, no Shutter Priority, no TTL flash).  Both of these models have
Depth-of-Field preview, and a PC socket for off-camera flash.  There is
an outline of the differences between these two cameras below.

The A3 can be regarded as a beginners camera largely because there is no
manual exposure mode.  Some manual control (presumeably without
metering) can be obtained by operating at 1/60 (flash synch speed) or
using Bulb mode. Shutter speed can also be set using Aperture priority.
However, the viewfinder only displays speeds down to 1/30 sec.  Anything
below 1/60 sec is considered a "slow" shutter speed, presumably to aid
beginners in avoiding camera shake during hand-held photography.  I
regard the A3 as a "focus-and-shoot" camera with Program exposure and
motor-wind.

The Super A and Program A, like the M series cameras, have the magic
needle film loading system.  I am unsure about the A3, but a catalogue
specifies that the film-loading is "motor-assisted".  The Super A and
Program A (like the ME Super) use 2 push buttons to select shutter
speed.  The chosen speed is indicated in the viewfinder LCD and in the
external LCD (Super A only).  During manual metering, the LCD shows
over/under exposure in one stop increments.  The A3 does not have manual
metering.

2.5.2  Differences between Super A and Program A.

The Super A and Program A are similar in many ways.  They are the same size,
shape and weight.  Both have depth-of-field preview, a PC socket, have nearly
identical controls and viewfinder display, and accept the same accessories.
There are, however, some important differences.  The main differences are:

o   Flash synch speed is higher on the Super A, 1/125 vs 1/100 sec.

o   Maximum shutter speed is higher on the Super A, 1/2000 vs 1/1000 sec.
    [Both have minimum shutter speed of 15 sec, and Bulb.]

o   Super A has Shutter Priority exposure (Program does not)
    [Both have Program, Aperture Priority, and Manual exposure.]

o   Super A has an external LCD that displays shutter speed and indicates
    whether the film has been wound on.

o   Super A has a mechanical indicator to verify that the film is actually
    advancing when the crank is operated.

o   Super A has a light for the viewfinder LCD.

o   Super A viewfinder LCD shows when exposure compensation has been set.

o   Super A has TTL flash control with compatible flashes.

o   Super A self-timer has an audible warning as well as visual (LED).

Written by Andrew McLachlan <mclachla@tui.lincoln.ac.nz> for the Pentax FAQ,
14 May 1995.

Andrew McLachlan                internet: MCLACHLA@tui.lincoln.ac.nz
Dept of Entomology & Animal Ecology, Lincoln University, New Zealand


2.6  What are the current production manual focus cameras by Pentax ?

From Rui Pedro Mendes Salgueiro

The 3 manual focus Pentaxs in production are:

        Europe  USA     Japan
Name:   K-1000  K-1000  K-1000?
        P30T    P-30T   P-30T?
        LX      LX      LX?

The LX is described in the Pentax FAQ in detail and is in another
price range, so this table compares only the P30t and the K1000.
Note that there are other options (K-mount cameras) from other
manufacturers (Cosina, Ricoh, Vivitar to name a few).

                |      P30T     |     K1000     |
Body            |    plastic    |     metal?    |
lens mount      |  Ka-metal     |   K-metal     |
film guide      |     metal     |     metal     |
mirror box      |     metal?    |     metal?    |

Shutter
        control |  electronic   |   mechanical  |
        material|     metal     |rubberized silk|
        travel  |    vertical   |  horizontal   |
  works without
    batteries   |       N       |       Y       |
flash sync      |     1/100     |     1/60      |
speed range     |   1-1/1000+B  |   1-1/1000+B  |

Metering
 center-weighted|       Y       |       Y       |
 display        | numeric LEDs  | center needle |
Manual mode     |       Y       |       Y       |
Program mode    |       Y       |       N       |
Aperture priorit|       Y       |       N       |
Shutter priority|       N*1     |       N       |
exposure memory |       Y       |       N*2     |

Self-timer      |       Y       |       N       |
depth-of-field  |       Y       |       N       |
on-off switch   |       Y       |       N       |
DX code reading |    25-1600    |       N       |
manual ISO sett |       N       |    20-3200    |
film advance    |    manual     |    manual     |
TTL flash       |       N       |       N       |
split-image     |
     45 degrees |       Y       |       N*3     |
microprism      |       Y       |       Y       |

*1 When the lens is set to automatic, the camera is in Program
mode. The setting on the shutter dial is ignored.

*2 this would not make sense in a manual-only camera.

*3 K1000 versus K1000 SE (is this one still available ?)
In article <3onofeINNsg8@oasys.dt.navy.mil>, cioccio@oasys.dt.navy.mil
(Frederick Ciocciola) writes:
> With the SE they give you a split image rangefinder inside a microprism ring.


2.7  Which cameras have mirror lockup ?

Vibration induced by mirror movement has been reported to cause
blurredness at a few shutter speeds around 1/15 sec.  If a camera has
mirror lockup capability, you can flip up the mirror well before the
exposure so that the vibration has already long died out when you take
the picture.  Of course, as soon as you flip up the mirror the
viewfinder will go dark completely.

The only Pentax models with true mirror lockup (i.e. allow you to flip
up and flip down the mirror at will) are LX, K2 and KX, the late model
Pentax 67 (Pentax 67 is not a 35mm camera, it's a medium format !), and
probably some screw-mount models.  The K2 flips up the mirror only but
stops down the lens at the last moment, which was reported to less
effective than KX in reducing vibration.

Some cameras have "pseudo mirror lockup", or "mirror prefire".  When
you use the self timer, the mirror flips up as soon as you activate the
timer.  Although it is in everyway as effective as cutting
mirror-induced vibration, some people complain that one cannot take the
picture at the "precise moment".  For example, when you are shooting
wildlife and you need to use the 1/15 shutter speed.  On a camera with
true mirror lockup, you can lock up the mirror and watch the animal
with a binocular.  When something happens you trip off the shutter with
a cable release.  This eliminates mirror-induced vibration while
allowing you to take the picture at exactly the moment you want.  On a
camera with psuedo-mirror lockup, the shutter will trip off 10 seconds
(or 2 seconds on many cameras) after the mirror has been flipped up.
It is possible that you see something interesting is happening through
your binocular while the camera is still waiting for 10 seconds.

The Z-1p has pseudo mirror lockup in the 2 second timer mode.
Basically, all Ricoh and Chinon manual focus cameras with a mechanical
self-timer (that is, the self-timer does not need batteries to operate)
have pseudo mirror lockup.  Any other camera in the Z/PZ series, SF
series, M series, P series, KM, K1000, etc, as well as the medium
format Pentax 645 and the old version of Pentax 67, do NOT have any
mirror lockup, true or pseudo.

As a side note, the only cameras with both autofocus and true mirror
lockup are Canon EOS-1N, Nikon F4 and Sigma SA-300/300N/500.  The only
cameras with both autofocus and pseudo mirror lockup are Pentax Z-1p,
Canon EOS 100 (Elan), EOS 5 (A2/A2E) and EOS 10 (10s).


3  LENSES (K-MOUNT)

3.1  Could you tell me what all those lens designations mean ?

Since the classification of Pentax lenses is extremely complicated, I
will try my best to put them in 4 categories in decreasing order of
automation.  Notice that any Pentax lenses with a bayonet mount are
fully compatible with any Pentax body accepting bayonet mount lenses.
There is absolutely no need to worry whether an autofocus lens will fit
a manual body or a manual lens will fit an autofocus body.

FA lenses - These lenses are intended to be used with the 'Z' series of
        cameras ('PZ' in the US).  They transmit the MTF (modulation
        transfer function) characteristics to the camera body.  All FA
        zoom lenses support the power zoom function.  FA* lenses have a
        clutch mechanism for their manual focusing rings.  You push the
        manual ring towards yourself and you may manually focus the
        lens.  You may leave the AF/MF switch of the camera at the AF
        position.  For an FA* lens, AF/MF selection is done on the
        lens, not the body.  The focusing ring is very well-damped and
        has the same feel as a manual focus lens.  Push the ring away
        from you and the lens switches to autofocus, and the ring does
        not turn during autofocusing.  FA* lenses are coated with a
        silvery material which mimics the look of titanium.
        Unfortunately, the coating is not durable and gets scratched
        rather easily.  A picture of the lens construction is engraved
        on an aluminum plate on the side of each FA* lens' barrel.

F lenses - These are the first generation autofocus lenses introduced
        with the SF-1/SF-X and SF-10 series of camera bodies.  Usually,
        they have a very thin plastic focusing ring instead of the
        slightly thicker rubberized focusing ring of FA lenses.
        However, F* lenses have very wide focusing rings, but you have
        to set *both* the camera and the lens to manual focus in order
        to use it.  F* lenses have a white finish which might be more
        durable than the titanium-coloured finish of FA* lenses.

A lenses - These are the manual focus lenses with an 'A' symbol on
        their aperture rings.  They can be used on autofocus bodies in
        any metering mode and in any exposure mode.  A* lenses have low
        dispersion glass element(s) in them (just low, not _extra_
        low).

SMC Pentax and SMC Pentax M - SMC Pentax lenses are the first
        generation K-mount manual focus lenses introduced with the K
        series of camera bodies.  SMC Pentax M lenses are the miniature
        series which comes afterwards together with the M series of
        camera bodies.  They do not support the program and shutter
        priority modes of the late Pentax bodies with these
        functionalities.  There are also SMC Pentax M* lenses, like
        300/4 M*, which employ low dispersion glass elements.

As usual, the suffix 'ED' means extra-low dispersion glass, and 'AL'
means aspherical element.

The K mount refers to the original mount designed for M lenses.  The KA
mount refers to the ability of program mode when an A lens is used.
The KAF mount has the ability to autofocus with F lenses.  The latest
KAF2 mount refers to the ability to power zoom and grab MTF
characteristics of an FA lens.  However, as mentioned before, they are
compatible in both directions.  Only the features available might
vary.

Obviously, the old 'SF' series of Pentax autofocus cameras don't quite
know about the clutch mechanism of the current series of FA* lenses.
Thanks to Rui Pedro Mendes Salgueiro for the following information.

From rps@mat.uc.pt Thu Apr  6 07:05 MST 1995
From: rps@mat.uc.pt (Rui Pedro Mendes Salgueiro)
Subject: Re: Pentax FAQ
To: bmtong@cs.arizona.edu (Bo-Ming Tong)
Date: Thu, 6 Apr 95 15:55:59 MET DST

In my lens manual it says about FA* lenses:
"When used on the Kaf-mount camera, set the same focus mode on the
camera and lens. When the camera is set to the autofocus mode (AF
single) and the lens to the manual mode, the shutter cannot be released
unless the focus indication appears in the viewfinder."

On the other hand, "When used on the Kaf2-mount camera, the manual
focus mode is set by setting the manual mode on the lens even if the
autofocus mode is set on the camera."

[On the contrary, if you use an F* lens, no matter on a KAF mount or
KAF2 mount body, you need to set both the camera and the lens to manual
focus to manual focus the lens, and you need to set both to autofocus
mode for autofocus operation - BMT]

+-----------------------------------------------------------------------+
| Kaf2-mount (Z-1/PZ-1, Z-1p/PZ-1p, Z-10/PZ-10, Z-20/PZ-20, Z-50/PZ-50) |
|       is equipped with:                                               |
|               power contacts            (power zoom)                  |
|               AF coupler                (autofocus)                   |
|               Lens information contacts (including MF/AF setting ?)   |
| +---------------------------------------------------------------------+
| | Kaf-mount (SFXn/SF1n, SF7/SF10                                      |
| |     is equipped with:                                               |
| |             AF coupler                (autofocus)                   |
| |             Lens information contacts (not including MF/AF setting?)|
| | +-------------------------------------------------------------------+
| | | Ka-mount (P30n/P3n/P30t)                                          |
| | |   is equipped with:                                               |
| | |           Lens information contacts (what ?)                      |
| | |           automatic aperture                                      |
| | | +-----------------------------------------------------------------+
| | | | K-mount (LX, K1000)                                             |
| | | |         all-manual                                              |
+-+-+-+-----------------------------------------------------------------+

Note: I have a Kenlock lens, which only "information contact" is a pin
that is pushed outside (by a spring) when the A on the aperture is
selected. It works ok on my Z-20, including showing the aperture
selected by the body.

[I observe the same contact on the lens mount, too.  On an FA lens, the
same contact is always pushed outside irrespective of whether 'A' is
selected on the lens.  My guess is that it is an electrical contact,
and all you may find connected to the contact might be a single
resistor (just a guess, I have never opened up the lens).  The contact
must be able to tell the camera body what the maximum aperture of the
lens is.  A very clever design IMO, because a resistor is cheap and
reliable - BMT]

From David.Poon@miramax.yonet.org Thu Jun 29 21:05:08 1995
From: David.Poon@miramax.yonet.org (David Poon)
Date: 29 Jun 95 05:52:28 -0700
Subject: Pentax FAQ
Organization: Miramax GATEWAY & Merchant services, Van BC. (1-604-323-9698)
To: bmtong@cs.cuhk.hk

Hello Bo-Ming Tong,

First of all, let me introduce myself...  I work for Pentax Canada, Inc
and am responsible for sales and service support, though not real sales
(selling and product exhibition thing)..  However, I just got your FAQ
file the other day from your web page..

Looks interesting..  However, I might want to add a few things to it,
in order to clarify some stuff..  Though I admit I haven't read the
whole faq yet, I will comment on what I've read so far..

In your FAQ, you have described the FA lens are intended to be used
with PZ series of cameras of Z series in some countries..  Although
this might be true, the FA lens are really intended to be used with the
PZ-1 series..  Why??

It is because, starting with the FA series of lens, Pentax has
installed a chip which contains MTF (Modulation Transfer Function), D
Encoder and F Encoder information and new future functions for the next
generation of Pentax SLRs (can't discuss this).  Modulation Transfer
Function is really bench tested information entered by our factories of
each individual lens' optical optimum performance  at a specific
aperture.  This information will then be relayed to a specific camera
body so as to take advantage of the best optical quality of that
particular FA lens at a predefined aperature..  This MTF information
can only be retrieved by the Pentax PZ-1 or Z-1 series of cameras
(Z-1,1p,1se).  Other PZ series can not take advantage of the MTF
function, however, the affordable PZ series like the 20, 50P and 70 can
take advantage of the lens' built-in D encoder and F encoder
information.. The D encoder is actually information programmed on the
chip to relay focusing distance information to the PZ body, so the
camera body will use this focusing distance information to dynamically
adjust the multi-metering system to meter at that focusing distance and
not at infinity..  The F encoder information (Focal Length) is used to
transmit focal length information to the camera body and in turn, this
information will be used by the AF-500FTZ or AF-300FTZ to adjust to the
correct focal length for proper flash photography..

The F lenses, however, are really intended to be used for the PZ series
of cameras and not the SF series only..

Why??

It's because, Pentax built lens way ahead of their camera body..  They
do this so that, the new generation of camera bodies will readily take
advantage of the existing stock of old lenses and will work with the
new features seamlessly..

F lenses is our first real autofocus lens.  However, Pentax embedded D
encoder and F encoder information as well as some undocumented MTF
functions on the chip..  These information are useless with the SF
series of cameras since SF cameras don't have metering system that can
adjust dynamically like the PZ and the AF-400FTZ flash for the SF
series doesn't do automatic focal length adjustment, thus making the F
encoder information rather useless..

But once it is connected to a PZ-1,1p,1se or affordable PZ series of
cameras, that old F lens can then really shine!!

Ofcourse, a FA lens is better than a comparable F lens since it
supports full MTF function as well as the other goodies like 3 mode
power zoom, zoom clip button as well as D encoder and F encoder
information plus new functions for the next generation of SLRs..
           
Pentax Canada Inc, Pentax Online (Vancouver Sales and Tech Support)
 
|Fidonet:  David Poon 1:153/7091
|Internet: David.Poon@miramax.yonet.org
| Standard disclaimer: The views of this user are strictly his own.


3.2  Teleconverters

A teleconverter is something which is fitted between the lens and the
camera body.  A teleconverter is parameterized by its multiplication
factor.  Most common teleconverters are either 1.4x or 2x, but there
are also 1.5x, 1.6x, 1.7x and 3x teleconverters.

When a teleconverter is used, both the focal length and the maximum
aperture of the lens is multiplied by a constant factor.  For example,
a 200/4 lens fitted to a 1.4x teleconverter becomes a 280/5.6.

A very good account of teleconverters in general can be found in the
rec.photo FAQ.  The following, of course, is specific to Pentax.

3.2.1  AF teleconverters

To date (4/95), there are no teleconverters for autofocus lenses from
Pentax.  Only third party teleconverters from Sigma, Kenko, etc are
available.  If you want to use a teleconverter for your autofocus
lenses, either: a, stick with Pentax teleconverters and use manual
focus, or b, get a third party teleconverter.

IMPORTANT: the autofocus system is not designed to work with lenses
dimmer than f/5.6.  Therefore, if your lens + teleconverter combination
is dimmer than f/5.6 (i.e. a larger numerical value), AF WILL NOT WORK.
You will experience excessive hunting and in many cases the camera will
not even lock into focus.  For example, if you have a 70-210/3.5-4.5
zoom lens and you attach a 1.4x converter to it so that it effectively
becomes a 98-294/4.9-6.3 zoom lens, autofocusing may work at the wide
end (98) but it will not work at the tele-end (294) because f/6.3 is
dimmer than f/5.6.

I conclude this section with a warning: don't even *think* about using
a 2x teleconverter with a 75-300/4-5.6 zoom or the like.  I have to use
such strong wording to prevent beginners from wasting money even though
such may be inappropiate in a FAQ document.  When the aperture becomes
f/11 as a result of the teleconverter, it is so dim that you will see
almost nothing in the viewfinder.  If your camera has depth-of-field
preview, try previewing at f/11 to see what I mean.  In fact, anything
which is f/8 or dimmer (i.e. larger numerical value) is totally
unacceptable to the majority of people.  At 600mm, camera shake is a
very serious problem.  There is nothing particularly special about
these ultra-long focal lengths.  300mm is the longest most people will
ever need.  A few people (including me) feel that 300mm is already too
long and never use it.

3.2.2  What is a Pentax 1.7x AF converter ?

The function of the Pentax 1.7x AF converter is to convert a manual
focus lens to an autofocus one.  This is achieved by moving the glass
elements of the converter itself, not the lens'.  So we have what we
call 'rear element focusing' which is very fast, and the front element
never rotates no matter what lens you are using.  AF lenses will fit,
but still the focusing is done by the converter, not the lens itself.
The AF converter also acts as a 1.7x teleconverter.  Both the focal
length and the aperture of the lens will be multiplied by 1.7.

Normally you focus the manual lens at infinity and let the converter do
the focusing.  However, it will not focus very close.  Sometimes you
may want to focus the manual lens closer so that AF converter will
focus at close ranges.  In a sense, you 'preset' a coarse focusing
range and let the teleconverter do the precise adjustment.

With regard to quality, do not expect it to be as good as ordinary 1.7x
converters.  I was told by Chun-To Lee that you may get lower than
usual contrast with a 135/1.8 lens.

3.2.3  Manual focus teleconverters

Pentax makes a number of manual focus teleconverters of high quality.
These include the 1.4XS, 1.4XL, 2.0XS and 2.0XL.  Use the 1.4XL and
2.0XL only on prime lenses whose focal length is 300mm or above.  Other
lenses might not even fit onto the teleconverter.

3.2.4  Are the third party converters any good ?

From dr8192@albnyvms.bitnet Sat Aug 13 14:48:26 MST 1994
Newsgroups: rec.photo.advanced
Subject: Re: 1.7X extender for a Zoom Lense?
Date: 9 Aug 1994 04:06:53 GMT

JUST LAST WEEK we took some shots with a 1.7x brand-x af tc.  we tc'd a
sigma 75-200:3.8 zoom to 340mm and had to shoot wide open and one stop
down.  the subject was an "aerial" view of garden about 50m distant.
from the tmx negs the 8x10s were quite good with plenty of crisp
texture to the plants and trees all across the format.  we also took
some wider views from the same vantage using the same lens without the
tc, thereby allowing a smaller aperture.  the shots wide open with the
tc and the shots stopped down with no tc both printed at the same
contrast on our vc paper.

i think there is much less difficulty making a decent 1.4x or 1.6x tc
than involved with making a 2x tc.  i have met plenty of cheap 2x tc's
that gave noticably compromised images.  i have used three brand-x
1.4's and one 1.55 and the results are all excellent.  btw, it appears
that all the 1.7x and 1.6x tc's of various labels are just alike.  i
have tested two 1.7x and found them to be 1.55x.  this is good for
quality, because 1.7x [were it for real] gets perilously close to 2.0x,
where many independent name tc's fail to please the critical eye.  i
bought two promaster 1.7x tc's, one for business and one for pleasure.

               - dr    dr8192@albnyvms


3.3  What is SMC (super multi-coating) ?

Pentax is renowned for its exquisite coating process called SMC.  Each
glass surface is coated 7 layers and it is claimed to cut reflection
ratio down to a mere 0.2% per lens surface.  The net effect on picture
quality is that contrast increases and flare/ghosting are largely
reduced.

Pentax patented multicoating between 1972 and 1974 and they offered to
sell parts of their multicoating process to other manufacturers like
Nikon, Minolta and Zeiss.  Nowadays, the base patent of multicoating
has expired but the full, optimal SMC process still remains exclusive
to Pentax and SMC is one of the greatest strengths of Pentax lenses.
For more details, consult the article "EOS lens contrast, multicoating,
optical quality" by Gregory Krasichynski.  He is an internationally
published professional photographer who used Pentax 645 and 35mm
systems extensively.  To obtain it, ftp from

        ftp://ftp.cs.arizona.edu/people/bmtong/photo/multicoating

The first Pentax lenses to employ SMC were screw mount lenses.  They
were called SMC Takumars, as "Takumar" was the name of Pentax optics at
that time, just like "Nikkor" is the name of Nikon optics.  Later, the
SMC process naturally moved onto the bayonet mount lenses, known as SMC
Pentax lenses.  The coating of SMC Takumars and SMC Pentaxes are
different.  For the latter, even the surfaces to be cemented together
are coated 7 layers.  As a side note, Pentax reused the Takumar name for
its budget line K-mount lenses which are not SMC coated.  This added
considerably to the confusion of Pentax lens nomenclature.  A Takumar
lens may either mean an old screw mount Pentax lens or a K-mount budget
line lens.

Pentax uses the SMC process for virtually every glass surface.  For
example, you will find that the viewfinder eyepiece, the convex lens
above the focusing screen, etc, are all coated with the same 7
layers/surface optimal SMC process like the lens elements.

Personally, I inspected many major brands of lenses on the quality of
their coating, under a strong light source and see how many/how bright
the reflections of the glass surfaces are (as unscientific as this may
sound).  None come even close to Pentax SMC.  In practice, however, the
flare control of a lens does not depend on coating alone.  The finish
of the inner parts of the lens barrel and the design of the lens itself
also play very crucial roles.  For example, reducing the number of
glass elements in a lens design is also a very effective way to control
flare.  In any case, SMC is not a license not to use a lens hood.  You
still have to exercise care when taking backlit pictures and use depth-
of-field preview to see if there should be any flare problems.  On the
other hand, SMC is definitely a great help.


3.4  Why are there so few lenses for Pentax AF ?

This is one of the most frequent complaints about the Pentax system.
However, if you include the discontinued F series autofocus lenses,
which can be founded in the used market at very reasonable prices, the
situation is not as bad as it seems.  These include the F 24-50/4, F
35-105/4-5.6, F 35-135/3.5-4.5, etc.  In fact, if you take a look at
Appendix B, you will find Pentax's autofocus lineup is fairly
complete.  The most serious omissions are:

1,  a 35mm prime lens,
2,  400mm/500mm telephotos, and
3,  teleconverters for autofocus lenses.

You may have to resort to manual focus lenses and/or third party
products if you need the above items.  In fact, the manual focus lens
line-up of Pentax is complete and it is far more extensive than many
other autofocus lens systems you will find nowadays.  Further, the
manual focus lenses are abundant on the used market at very good
prices.

On the other hand, Pentax has quite a few unique autofocus lenses.  The
FA* 24/2 AL(IF) is the fastest autofocus 24mm on the market and it is
reasonably affordable.  The FA* 250-600/5.6 ED(IF) is a professional
quality autofocus zoom lens which can be extremely useful for wildlife
work.  I was informed by Rui Pedro Mendes Salgueiro that Pentax has
announced the world's first 17-28/3.5-4.5 fisheye zoom lens.  It is
NOT a power zoom, hence it is not an FA lens.  It's a manual zoom lens
bearing in the F series.

Another complaint is that third party manufacturers do not make all
their lenses in Pentax AF mount.  That's true to some extent.  Tamron
does not have the habit of introducing lenses in the Pentax AF mount,
but the 28-200 and the 35-90 are available.  Further, their 90/2.5 macro
and 300/2.8 were once available in Pentax AF mount but they are now
discontinued.  They are rare in the used market but not completely
impossible to find.  Tokina has quite a few lenses available in Pentax
AF mount but unfortunately their latest telephotos like ATX 300/4 and
ATX 100-300/4 are not.  Sigma has begun to introduce all of its new
lenses in Pentax AF mount in addition to Canon/Minolta/Nikon/Sigma
mounts.

Even if the manufacturer makes the lens in Pentax AF mount, your local
distributor may not distribute it because the Pentax market is smaller
and as a result not as profitable as the other brands.  Furthermore,
the manufacturer may release the lens in Canon/Minolta/Nikon mounts
first and leave Pentax AF mount later.  For example, Sigma 300/4 APO
Macro, Sigma 70-300/4-5.6 APO Macro and the new version of Sigma 28/1.8
aspherical are not available for Pentax AF in the US right now but
Sigma has announced that Pentax AF mount versions exist.


3.5    What about the 40mm pancake ?

From CTLEE@hkucc.hku.hkWed Apr 26 00:59:53 1995
Date: Tue, 25 Apr 1995 17:25:15 +0700
From: CTLEE@hkucc.hku.hk
To: rhombus@freenet.edmonton.ab.ca
Subject: Re: Advice re Pentax 40mm pancake

The world one of the best pancake. One of the sharpest M-series lens, 
excellent details on my Kodachrome 25 and this is corner to corner
sharpness. Color/contrast iis the original Pentax. The only
disadvantage I never find is the too thin focussing ring and close
focussing is not as good as standard lens. Minor complain is the
relatively high price in 2nd hand market. I got it a year ago in
Hong Kong at $1000, about US$130. The price is going as high as
US$200 if a good condition one. At that pric you can already
getting a Pentax A35/2 in 2nd hand market. But still, people like
me (a hiker) must take it in pocket and never forget its just 170g.
And this would also be the best backup (2nd system) lens whenever large
event come.


4  FLASH (K-MOUNT, 645)

4.1  Classification of flash units

From: Rui Pedro Mendes Salgueiro

The Z-20 manual includes this table (minus the references to Metz
flashes):

+-----------------------+--------+--------+--------+--------+--------+
| Camera functions      | Type A | Type B | Type C | Type D | Type E |
+-----------------------+--------+--------+--------+--------+--------+
|body selects flash sync|        |        |        |        |        |
|speed after flash is   |    x   |    x   |    x   |    x   |   *1   |
|ready                  |        |        |        |        |        |
+-----------------------+--------+--------+--------+--------+--------+
| automatic aperture    |    x   |    x   |    x   |    x   |   *2   |
| setting               |        |        |        |        |        |
+-----------------------+--------+--------+--------+--------+--------+
| flash confirm in the  |        |    x   |    x   |        |        |
|  viewfinder           |        |        |        |        |        |
+-----------------------+--------+--------+--------+--------+--------+
| automatic TTL Flash   |    x   |    x   |    x   |    x   |        |
+-----------------------+--------+--------+--------+--------+--------+
| AF spotbeam           |    x   |    x   |    x   |        |        |
+-----------------------+--------+--------+--------+--------+--------+
| second curtain sync *3|   *4   |   x*5  |    x   |        |        |
+-----------------------+--------+--------+--------+--------+--------+
| sync flash with    *3 |        |   x*5  |        |        |        |
| contrast control      |        |        |        |        |        |
+-----------------------+--------+--------+--------+--------+--------+

Type A: built-in flash
Type B: AF500FTZ, AF330FTZ, (Metz 32 MZ-3 ?), Metz 40 MZ-2, Metz 50 MZ-5
Type C: AF400FTZ, AF240FTZ
Type D: AF400T, AF280T, AF200T, AF080C, AF140C
Type E: AF260SA, AF240Z, AF200SA, AF200S, AF160SA, AF160, AF140

*3 shutter speed <= 1/60
*4 if used with a type B or type C flash
*5 for the Metzs, via switch on the SCA 3701 adapter


4.2  Are third party flashes any good ?

This section is written by Rui Pedro Mendes Salgueiro and Eddie
Foronda, with my (BMT) heavy editing.  Therefore, credits should go to
them, but mistakes may be mine.

4.2.1  Achiever 630 AF

Stay away from Achiever flashs. I bought one :( 630 AF) and the Af
illuminator don't work with my camera.  The box of the flash says it is
intended for a Z-10 and I have a Z-20. I couldn't find anyone who uses
a Z-10 to test if it would work correctly with it.

I also saw on Usenet (after I bought it :( ) that other people had the
same problem. This is not an isolated case.

4.2.2  Metz 40 MZ-2

The Metz 40 MZ-2 has over Pentax AF 500 FTZ three obvious advantages:

1) The open system. If I, or other Pentax users, want to switch to
Nikon or Canon in the future, the Metz also switches over via a new
module. I heard some third party manufacturers have models not totally
compatible with the bodies for which it is made. My Metz 32 MZ-3 works
in total sync with my PZ-20 and PZ-1p, with no flaws whatsoever.

2) Remote TTL operation. Although perhaps out of reach for common
users, if one transcends into professional photography, this feature is
available. Imagine, in theory, being able to put in a camera bag a
compact wireless TTL flash system that emulates studio lights, albeit
on a smaller scale.

3) Power grip capability. Again, maybe not currently financially
feasible or practical, but can be added later. Think of the advantages
of running off 4 C nicads. Unfortunately, there is no provision for
Quantum connections, but I don't know if Pentax offers any power supply
option to the internal 4 AAs.  Although not a big deal but could be
useful in an emergency, the Metz will operate off a 2CR5 lithium cell.

Metz claims GN 131 (feet), Pentax shows GN 50 (meters) at 85mm
(calculated at GN 170 (feet)), but Popular Photography states the
Pentax 500 FTZ is GN 98 (feet). These ratings are often ambiguous. But
according to a press photographer I spoke with last night, there is
such a thing as too much flash.  She said Canon, for example, produces
so much flash, taking a portrait still casts a shadow on the wall 20'
behind. I have a TTL Sunpak with a GN of up to 170 (feet), but I
reserve 170 almost exclusively for deep telephoto images.

Metz 40 MZ-2 has a second light for fill-in. But with the Pentax I can
use the built-in flash for that anyway. The only advantage seems to be
that the built-in flash can produce red-eyes or be blocked by the
lens.

Concerning contrast control vs fill-in flash, these have two different
effects, especially if the Metz is off-camera and the RTF is not used.

The Metz has the winder and motor drive modes, 2fps and 5fps
respectively, although these are in manual mode and at close range to
keep from burning out the tube. Metz also has a dedicated flash
bouncer. Some say this gimmick is virtually useless, but I use it and
it is effective. Then there's the LEDs, for those who like LEDs.

The Metz 40 MZ-2 can be used in manual mode with partial output power.
I think the minimum power is 1/256 of the maximum power (8 stops) by
increments of 1/3 stop.

4.2.3  Cullmann CX 40 Data Zoom

So do you want to know what the maintainer of this FAQ (BMT) uses ?
About 10 years ago (it's 1995 when I am writing this), Cullmann
introduced a flagship model called Cullmann CX 40 data zoom.  At a
recent camera show, a dealer was selling a large Mamiya C330 package
and I persuaded him to sell me the flash alone at US$70.

It uses the old SCA 300 interchangeable module system.  That was a
standard shared by virtually all German flash manufacturers including
Metz, Cullmann, Braun, Osram, etc.  They make SCA 300 system flash
units and adapter modules, so you could buy a Metz module for Pentax
and fit it to a Cullmann flash and vice versa.  I have not got the
Pentax module yet but I surely will.  Since SCA 300 was the old system
10 years ago, it does not support new features like contrast ratio
control and rear curtain sync.

The flash has two flash heads, the large one can be zoomed, bounced and
tilted, the small one cannot and is for filling-in shadows below the
eye sockets (of human beings !) when you use bounce flash at close
distances.  The zoom positions are 24mm, 35mm, 50mm, 70mm and 100mm.
Bounce angles -10 (for close-up work), 0, 60, 75, 90.  Swivel left or
right 90 degrees.  The small flash head does not fire if (alkaline)
battery level is too low although such a problem probably does not
exist if you use NiCad batteries.

The guide numbers, in ISO 100 meters (1 meter = 3.3 ft), are 28 (24mm),
35 (35mm), 40 (50mm), 45 (70mm) and 50 (100mm).  I never trust guide
numbers supplied by the manufacturer, but I zoom it to 35mm and tested
it against a Vivitar 283 which is rated at 37 meters (35mm).  I found
the Cullmann to be slightly more powerful.  When bouncing, I found that
the flash is much more efficient at the wide-end in a 100 sq. ft. room
with an approx 8 ft. high ceiling.

My flash's auto sensor is tested by a spot flashmeter to be 2/3 stop
under, so test yours first carefully before using it.  Obviously, some
"bounce exposure compensation" circuit is at work because the exposure
is within 1/3 stop accuracy when the flash head is not tilted.  Of
course, you won't be using the auto sensor at all if your Pentax has TTL
flash and you have got a Metz module for Pentax.  Actually, I am pleased
that the flash underexposes.  I set film speed to 200 when I use EI 400
films and the auto apertures are f/5.6, f/8, f/11 and f/16.  If the
flash were accurate I would have to really set film speed to 400 and get
these auto apertures: f/8, f/11, f/16 and f/22, which are too small for
bounce flash.

Exposure modes include 4 auto modes, manual mode, manual mode with 1/4
output power, winder mode and TTL.  The user interface is built upon an
LCD display and a computer computes the flash range from the zoom
position, film speed and aperture.  I certainly find that the
computer's calculations to be useful but some people have LCD and push
button phobia.

The flash uses 4 AA alkaline or NiCad batteries (but not a mix of them
!) and weights 510g (1000g = 2.2 lb).  This is an excellent flash whose
secondary flash tube is extremely handy and its output power is closely
approaching a handle-mount flash such as Metz 45 (because the guide
number of this Cullmann is far more honestly rated than that of Metz
45).  The real problem is that this flash is _extremely_ difficult to
find and virtually nobody knows who Cullmann is nowadays.  If you see
one, just buy it.  You won't go wrong.


4.3  Flash feature comparison

From rps@mat.uc.pt Thu Apr  6 07:05 MST 1995
From: rps@mat.uc.pt (Rui Pedro Mendes Salgueiro)
Subject: Re: Pentax FAQ
To: bmtong@cs.arizona.edu (Bo-Ming Tong)
Date: Thu, 6 Apr 95 15:55:59 MET DST

I have already gathered this table (from another Pentax user (Axel
Belinfante <Axel.Belinfante@cs.utwente.nl>) and from the Nikon FAQ ).

----------------+---------+---------+
                |   GN    |# A A S W|
                |50     85|A Z F T R|
----------------+---------+---------+
Pentax AF330FTZ |       33|0 Y Y N N|
Pentax AF500FTZ |       50|2 Y Y Y Y|
----------------+---------+---------+
Metz 32 MZ-2    |32     37|2 Y Y N N|
Metz 40 MZ-2    |40     46|2 Y Y Y T|
Metz 50 MZ-5    |50       |2 Y Y Y T|
----------------+---------+---------+

#A - number of head axles
AZ - auto zoom head
AF - AutoFocus spotbeam
ST - Stroboscopic flash
WR - wireless remote (T - TTL)


4.4    Compatibility problem of SCA system flashes on PZ-1p

From arne.lie@delab.sintef.no Tue Jul  4 16:13:48 1995
Date: Tue, 04 Jul 1995 10:01:39 +0200
To: bmtong@cs.cuhk.hk (Tong Bo Ming)
From: arne.lie@delab.sintef.no (Arne Lie)
Subject: Re[3]: Metz adapter for Pentax Z-1p

I just got my Pentax Z-1p. Oh, it's very nice! Everything is as good or
better than expected. Except... I can't get my Metz 32 CT3 flash unit
with SCA 374/2 AF adapter to work 100%. This SCA adapter was build for
the SFX, SFXn, SF7 Pentax series. But Pentax says that the new Z- (PZ-)
series can use e.g. the old AF400FTZ falsh unit build for the
SF-series. The problem on my Z-1p is:  1. the camera don't change the
shutter speed nor aperture when in full automatic mode (HyP) and the
flash is on and ready.  2. it doesn't signalize the flash icon in the
view finder when the flash is ready (it only blinks the flash icon for
"need flash" when in the dark).  3. However, the TTL flash metering
system is working and the flash exposure *is* correct.  The flash unit
works per today with my old SFXn Pentax.

My Metz dealer tells me that the SCA 374/2 adapter is qualified to work
with Z-1 (PZ-1). Pentax Norway, however, tells me that they know that
the electronics has changed from Z-1 (PZ-1) to Z-1p (PZ-1p) (but they
weren't sure if this should affect the flash electronics).

My Metz dealer have now confirmed that a 374/2 adapter is made to fix the
"problems" with the Z-1p. It is named "374/2 M2", and he is expecting it
late August. My adapter is named "374/2 M", and it's one of the first made
for the Pentax AF cameras. If you get hand on "374/2 M1" you might succeed
better than me, but get hand on M2 for 100% functionality.

Best regards

Arnie
Arne Lie          | Tlf: +47 73 59 27, Fax: +47 73 59 26 36
SINTEF DELAB      |                arne.lie@delab.sintef.no
N-7034 Trondheim, | NORWAY http://www.delab.sintef.no/~alie


5  ACCESSORIES (K-MOUNT)

5.1  Mount adapters

The Pentax K mount is the closest thing to a universal bayonet mount.
It is being shared by Pentax, Chinon, Ricoh, Vivitar and Sigma.  They
all employ the same mount and their lenses can be used on each other's
camera bodies.

The M42 universal screw mount was a standard mount where lenses are
screwed onto the camera body (about 2 1/2 turns).  Pentax camera bodies
were so popular that this mount became known as the "Pentax universal
screw mount".  You could use these screw mount lenses on a K mount body
with a screw mount adapter.  First, screw the lens on the adapter and
mount the lens/adapter combination to the camera body as usual.  To
remove the lens, unscrew it.  Then, take off the adapter by pushing the
release lever on the adapter (NOT the camera's).  You need to use stop
down metering: turn the lens' aperture ring to maximum (brightest) to
focus, and turn the lens' aperture ring to whatever you want before you
meter and trip the shutter release.  The camera will NOT close down the
aperture iris automatically when you trip the shutter release.

Pentax's tradition and dedication to mount adaptability does not end
here.  You may use Pentax 67 lenses on Pentax 645 cameras while
maintaining fully automatic aperture.  There are also adapters to use
Pentax 67 lens or Pentax 645 lenses on K-mount camera bodies (Pentax or
other brands) but stopped-down metering has to be used.  You may be able
to save a lot of money if you use both their medium format cameras and
the same lenses on their 35mm cameras by mount-adapting.  The Pentax 67
to K-mount adapter has a tripod socket on it.


5.2  Close-up accessories

5.2.1  Extension tubes

The Auto Extension Tube Set consists of three different tubes (12mm,
19mm, 26mm) which can be used individually or combined.  They retain
automatic diaphragm operation and open-aperture metering.

The Manual Extension Tube Set consists of three tubes (9.5mm, 19mm and
28.5mm) but they require stopped-down metering.

The Helicoid Extension Tube provides stepless adjustment from 26.5mm to
46.5mm.  You change the length of the tube by turning a ring just like
focusing a lens.  This tube also requires stopped-down metering.

The Life-Size Auto Extension Tube (B) 50mm is an extension tube which
gives 1:1 magnification with a standard lens.  With a 50mm macro, it
gives 2.02X and with a 100mm macro, 1.7X.  The Life-Size Auto Extension
Tube (B) 100mm gives 2.4X magnification with a 100mm macro and 3.07X
with a 50mm macro.  Both tubes preserve automatic diaphragm operation.
Personally, I could imagine that these ultra-long tubes can also be
immensely useful for wildlife work with super-telephotos like a 500mm.

5.2.2  Bellows and others

The Auto Bellows A-Set can be extended from 38mm to 170mm and permits
automatic aperture diaphragm operation.  An optional slide copier is
available.

The Microscope Lens Adapter (B) allows you to adapt special purpose
objective lenses (Olympus M plan 1.3X, 2.5X, 5X, 10X, 20X) or special
purpose macro lenses (Zuiko Macro 20/3.5, 38/3.5) to the Pentax bayonet
mount.  When used with the Auto Bellows A-Set or Bellows Unit II this
adapter permits varied macro magnifications from 2X to 10X.

The Microscope Adapter is designed to fit a camera body directly to a
microscope having a 25mm outer diameter tube.

The reverse mount adapter allows you to mount a lens with a 49mm or
52mm lens in the reverse position on a K-mount camera.  The advantage
of this is that you will get better optical performance for
greater-than-life-size magnifications (i.e. greater than 1:1) when you
use a long extension tube or a bellows.  This is because any optical
path is reversible: the optical quality of a lens at say 1:3
magnification and the same lens reversed at 3:1 magnification should be
the same.


5.3  A home-made PZ-1 battery pack

From erker@fermi.trlabs.ca Mon Apr  3 08:28 MST 1995
Date: Mon, 3 Apr 1995 09:28:39 -0600
To: Bo-Ming Tong <bmtong@cs.arizona.edu>
From: erker@fermi.trlabs.ca (Greg Erker)
Subject: PZ-1 battery pack instructions

Instructions for building an external battery pack for the Pentax PZ-1
----------------------------------------------------------------------

  This is how I built a pack for my PZ-1.  I may be a little hazy on some
of the details but that is because all my camera gear was stolen last
week and I don't have the pack to refer to anymore.

----------
Step 1:  First we need a way to make contact with the electrical contacts
inside the camera.  For this I used an old (dead) 2CR5 battery pack. You
need to break open the pack and remove the dead cells.

  You might want to have two dead packs (from the same manufacturer). Use
the first for practice to find out how it is welded shut. Then you can
break open the second one with minimal damage and use it for the contact
end of your ext. pack.

  I used Sanyo 2CR5's which have a top and a bottom cap that can be broken
off, but I think the Duracell ones will work although they look like they
would break into two halves. Use a type which has a full hard plastic shell,
not the kind that is just a holder for the two cells (i.e. where you can see
the cylindrical cells).

  As I recall, I was able to break open the top of the battery and remove
the cells.

----------
Step 2: Now we need some electrical contacts for our shell.

  In the 2CR5 I used the shell has some groves molded into it that held
the tabs welded onto the lithium cells.  We are going to get some thin
metal to make our contacts that will fit in these grooves.

  Go to a hobby shop and buy some sheet tin. I think it comes in a
thickness of about 15 or 20 thou which should fit into the grooves of
the plastic shell.  I think the tabs on the lithium cells are finished
with tin so the sheet tin should work well from an electrical contact
point of view. (It is also easy to solder.)

----------
Step 3: Next we need a wire to connect to the external battery. I used
some 22 Ga speaker wire. This is fairly thin stranded, two conductor
wire that you might get with some cheap speakers.

  There is a trade off here between having thick wires for low
resistance and the size of notch you need to make in the PZ-1 battery
door. (I didn't warn you that you needed to carve up your PZ-1 but
then how else did you think we were going to connect to it? :)  )

  If you use wire of the type I did the notch in the battery door
will be about 0.2 by 0.1 inches or less.

  I made my wire about 3 feet long which allows you to hold the camera
up to your eye while having the battery pack in your pants' pocket.
The resistance of this length and gauge of wire is negligible
especially because we are going to put a capacitor inside the plastic
shell to provide the surge current the camera needs.

----------
Step 4: Look at the bottom of your camera and decide which of the two
rounded ends on the battery door that you want the wires to come out.

  Drill a hole thru that same corner on the bottom of the plastic
battery shell. You want the wires to come out the rounded end at the
bottom of the battery shell as close to the edge as possible. This
reduces the amount of carving that you need to do on the PZ-1 battey
door.

  Drill the hole a bit small then carve with an Xacto knive to make
the hole oval for the shape of the speaker wire. Make it just big
enought to fit thru the hole with a lot of friction.  Put the wire
thru the hole so that you have 3 feet hanging out the bottom of the
battery shell and 10 inches out the top.  Tie a knot in the wire
at the top then pull it down using the bottom wire until the knot
is snug at the bottom of the shell. You should have enough wire
sticking out of the top to wire things up, but not so much that
you can't jam it into the shell when you glue the top of the shell
back on.

  Jam the extra wire into the shell and fit the shell into your
camera.  By partially closing the battery door you can see where
you need to carve to allow the door to close. Carve the notch bit
by bit until the door will close without excessive pressure on the
latch or excessive pinching of the wires.

WARNING: Carving on your battery door may void your warranty!

----------
Step 5: We are now going to wire up the battery shell end and
glue it closed.

  Inside the battery shell we are going to put an electrolytic
capacitor and a diode in parallel to (try) to protect the camera
if you ever connect the external battery backwards.

  I can't remember the size cap I used but it was probably 220 uF
or a 470 uF.  Make sure the voltage rating is more than 6 volts dc.
Use at least a 3 amp diode since it will be shorting out your
battery if you ever connect it up backwards. You can probably get
all the parts for this project at Radio Shack if you don't already
have them.

WARNING 2: I can't guarantee that the diode will save your camera
from damage but it's better than nothing. Using a schottky diode
with a good current rating will work better than a silicon diode
because it will limit the reverse voltage to 0.3 rather than 0.6.
In any case you build this project at your own risk.

  If you used speaker wire like I did, then one of the two
conductors has a stripe or ridge on it. Decide if this is going to
be your 6 volt wire or your ground wire.  Solder the 6 volt wire
to the positive lead of the capacitor and to the cathode of diode
(end with ring painted on, or the tapered end if it is bullet
shaped).

  Solder the ground wire to the negative lead of the capacitor and
the anode of the diode.

  Next you want to solder a couple of short wires to the positive
and minus leads of the capacitor. These will go to the tabs you
made that are the contacts to the camera.  Jam the capacitor and
diode into the battery shell so that the top will close once
you have soldered to the tabs.

  This next part is fairly difficult to describe and you will have
to figure it out on you own.

  You want to cut the two tabs so that they can be bent to go
around the corner like the original ones did, as well as fit into
the groves the originals did. The part that goes againt the top of
the battery shell should be made large enough to solder to and
to glue in place.

  I am kind of hazy on this part without my pack and camera to
refer to.  It will also depend somewhat on the manufacturer of the
battery shell you are using.

  Once every think looks like it will fit you should solder the
wires to the tabs (plus to plus and gnd to gnd). Then glue the
top shut (or you may want to temporarily tape it shut until you
are sure the pack is going to work). I used 5 minute epoxy.

----------
Step 6: The external batteries.  I used 4 AA cells in a square
holder (2 cells by 2 cells) that I got from Radio Shack. It had a
9 Volt type of battery connector so I bought the appropriate 9V
battery connectors.

  Solder the 9V connector to the end of your wires and use heat
shrink tubing or electrical tape to insulate the wires.

  I used a Johnson & Johnson dental floss container to hold my
battery pack.  I removed the sticker and the metal cutter on the
lid.  I enlarged the notch were the floss comes through to allow
the speaker wire to fit snuggly. The four AA holder slides into
the floss contained and the speaker wire exits through the notch.

----------
Step 7: Final check before (not) blowing up your camera.

  Put 4 AA cells in your holder.  With a volt meter check that
the plus lead on the 2CR5 shell is plus and the minus is minus.
The + and - should be molded into the battery shell. If it is
not look at another brand of battery to make sure you have it
right.

Warning 3: I guarantee that if you have the + and - wrong at
the battery shell you will destroy your camera. So double and
triple check this before installing it into your camera.

----------
Step 8: Try it. You may want to have the camera empty of film
so that when you fool around with the camera and pack you do
not waste a bunch of film.

  If there was voltage at the battery shell your camera should
work normally. If it doesn't work your tabs may not be in the
right place to press against the contacts in the camera. Look
in your camera and see where the contacts are. Make sure your
tabs are correct.

----------
Step 9: You are done. But one last word. It works with nicads!
Even though the pack is only 4.8 volts it will work. The reason
is, I think, that when the camera draws 2 amps the voltage from
the lithium drops 1 or 2 volts. The nicads have very low ouput
resistance so they still put out 4.8 volts even when supplying
2 amps.

Warning 4: Some flash units can be damaged from using nicads
because they count on the resistance of the alkaline battery
to limit the current. The flash inside the PZ-1 may or may not
be like this. My camera did not get damaged from nicads but
this does not guarantee that yours won't. I don't use my built
in flash much but did shoot it off a few times while testing
the pack.

  If you are afraid to use nicads then alkalines will
probably work okay. The higher voltage and higher resistance
makes them more like the 2CR5 lithium.

----------
That's it. I hope this is enough detail for you to figure out
what I did. Good luck and double check everything before
plugging it into your camera.

  Sorry for all the lawyer type weasel words but I don't
want someone to slap together and wreck their camera. Also,
being Canadian I have never been sued so I am a little
shy about it :) .

  Good luck and if you have any questions, or I haven't
made something clear, email me.

------
Greg Erker,  Research Engineer
Telecommunications Research Laboratories (TRLabs)
#108, 15 Innovation Blvd.,  Saskatoon, SK, CANADA
Ph: 306-668-8209  Fax: 306-668-1944


6  POINT-N-SHOOTS

6.1  How do Pentax point-n-shoots compare against others ?

From ubeutner@isrec-sun1.unil.ch Mon Jan 23 10:19:45 MST 1995
From: ubeutner@isrec-sun1.unil.ch (Ulrich Beutner)
Newsgroups: rec.photo.advanced
Subject: Re: LENS TESTS
Date: 23 Jan 1995 14:23:09 GMT

The German "foto magazin" tested the lens quality of a number of point
and shoots recently (6/94 and 8/94). The ratings for the lenses go from
1-10 with 10 being the absolutely best. Here are the ratings (keep in
mind they are for the optical quality, not for the camera as a whole).

Canon 
Prima Juniors     7.4
Prima Mini        8.4
Prima Zoom Mini   8.6
Prima Super 115   8.2

Contax 
T2                9.4OB
TVS               8.4

Fuji DL-1000      7.8

Kodak
575               6.6
Cameo             7.4
Star 1075z        7.2

Konica
Big Mini (BM-20) jr.  7.6
Big Mini BM-302       7.6
Dr. Finder (ESP30)    7.0
Hexar                 8.8
Jump Shot             6.8
Big Mini Zoom 510     8.0

Leica 
Mini II               9.2
Mini Zoom             9.0

Minolta
Riva 35               7.2
Riva Mini             8.8
Riva Zoom 70EX        9.0
Riva Zoom 105EX       7.8

Nikon 
35 TI                 9.2
AF 40                 8.4
EF 100                8.6 (this is not a typo)
TW Zoom 105           9.0
Zoom 300 AF           8.6

Olympus
AF-1 mini             8.2
mju-1 (US: stylus)    9.0
Trip 100              7.2
mju-zoom (Stylus zoom)9.0
Superzoom 80W         8.4
Superzoom 110         8.0

Panasonic 
Super Mini            7.6
C2200ZM               7.2

Pentax
Espio 115             7.4
Zoom 90WR             9.0

Ricoh AF-77           6.8

Rollei 
Prego 35 AF data      8.6
Prego Zoom AF         8.6

Samsung 
AF-Slim-R             8.6
AF-Slim Zoom          7.2

Yashica
Minitec AF            7.0
T4                    9.6
Zoomtec 70            8.6

Hope this will help a little. I have nothing to do with the magazine,
I do not even subscribe to it. If you have further questions, you 
can send me e-mail.

Ulrich
Lausanne, Switzerland


6.2  The weather-proof 90WR

I was told by Ulrich Beutner that, the 90WR actually works underwater
(maybe just only 1 or 2 meters but for snorkeling this should be fine),
but of course there is no warranty on this.  Some people have actually
tested it (maybe you should not zoom underwater, that might be asking
for leaks).  This might be interesting for people who want to use a
camera once on vacation for snorkeling.


APPENDIX A  LIST OF K-MOUNT CAMERAS

This list is prepared by David Bryant.

                     *** K-mount, Manual Focus Cameras ***
      Exposure Modes                                                          D
       M P P P A S  D    ISO   Metering  Meter E  Flash  M   Shutter     Exp  O
           S D P P  X   Range    C S M   Range L  Sync   D    Speeds     Comp F
-----+-------------+-+---------+-------+------+-+-------+-+-------------+----+-
Ricoh
XR-X3pf* *     * * |y| 12-6400 | * *   | 0-18 |y| 1/100|1.5|30-1/3000,B |+/-4|y 
XRM  | * * * * * * |y| 12-6400 | * *   | 0-18 |y| 1/125 |3| 30-1/2000,B |+/-4|y
XRP  | * * * * * * |n| 25-3200 | *     | 0-18 |y| 1/125 |o| 16-1/2000,B |+/-2|n
XR10 | *       *   |n| 12-3200 | *     | 0-18 |y| 1/125 |n| 16-1/1000,B |+/-2|n
XR-S | *       *   |n|    ?    | *     |  ?   |y|   ?   |o| 16-1/1000,B |+/-2|y
XR-F |         *   |?| 12-3200 | *     |-4-18 |n| 1/100 |?|  1-1/1000,B |+/-2|?
XR-10| *       *   |n| 12-3200 | *     | 0-18 |y| 1/125 |o| 16-1/1000,B |+/-2|?
XR-7 | *       *   |n|    ?    | *     |  ?   |y|   ?   |o| 16-1/1000,B |+/-2|y
XR-6 | *       *   |n| 12-3200 | *     | 4-18 |n| 1/100 |?|  1-1/1000,B |  n |?
XR-2 | *       *   |n| 12-3200 | *     |  ?   |n|   ?   |?|  8-1/1000,B |  n |?
XR-1 | *           |n| 12-3200 | *     |  ?   |n|   ?   |?|  1-1/1000,B |  n |?
KR10M| *       *   |y| 25-5000 | *     | 0-18 |y|   ?   |3| 36-1/2000,B |+/-4|y
KR10S| *       *   |n| 12-3200 | *     | 0-18 |n| 1/125 |o| 16-1/1000,B |+/-2|?
KR5S2| *           |y| 25-1600 | *     | 5-19 |n| 1/125 |n|  1-1/2000,B |  n |n
KR5S | *           |n| 12-3200 | *     | 4-18 |n| 1/125 |n|1/8-1/2000,B |  n |n
-----+-------------+-+---------+-------+------+-+-------+-+-------------+----+-
Pentax
P30T | * *     *   |y| 25-1600 | *     | 1-18 |y| 1/100 |n|  1-1/1000,B |  n |y
P3n  | * *     *   |y| 25-1600 | *     | 1-18 |y| 1/100 |n|  1-1/1000,B |  n |y
P3   | * *         |y| 25-1600 | *     | 1-18 |y| 1/100 |n|  1-1/1000,B |  n |y
A3000| *       *   |y| 25-1600 | *     | 1-18 |n|  1/60 |2|  2-1/1000,B |+1.5|n
SProg| * *     * * |n|  6-3200 | *     | 1-19 |n| 1/125 |o| 15-1/2000,B |+/-2|y
Prog+| * *     *   |n|  6-3200 | *     | 1-18 |n| 1/100 |o| 15-1/2000,B |+/-2|y
SuprA| * *     * * |n|    ?    | ? ? ? | 1-19 |?|   ?   |o|     ?       |+/-2|?
ME-F | *       *   |n| 12-1600 | *     | 1-19 |n| 1/125 |o|  4-1/2000,B |+/-2|n
MESup| *       *   |n| 12-1600 | *     | 1-19 |n| 1/125 |o|  4-1/2000,B |+/-2|n
MV-1 |         *   |n| 25-1600 | *     | 3-19 |n| 1/100 |o|  1-1/1000,B |  n |n
MV   |         *   |n| 25-1600 | *     | 3-19 |n| 1/100 |n|  1-1/1000,B |  n |n
MG   |         *   |?| 25-1600 | *     | 1-19 |n| 1/100 |o|  1-1/1000,B |  ? |?
ME   |         *   |n| 12-1600 | *     | 1-19 |n| 1/100 |o|  1-1/1000,B |+/-2|n
MX   | *           |n| 25-1600 | *     | 1-19 |n| 1/60  |o|  1-1/1000,B |  n |y
LX   | *       *   |n|  6-3200 | *     |-6-20 |n| 1/75  |o|125-1/2000,B |+/-2|y
K2DMD| *       *   |n|  8-6400 | *     | 1-18 |y| 1/125 |o|  8-1/1000,B |+/-2|y
K1000| *           |n| 20-3200 | F     | 3-18 |n| 1/60  |n|  1-1/1000,B |  n |n
K2   | *       *   |n|  8-6400 | *     | 1-18 |n| 1/125 |n|  8-1/1000,B |+/-2|y
KX   | *           |n|  8-6400 | *     | 1-18 |n| 1/60  |n|  1-1/1000,B |  n |y
KM   | *           |n| 20-3200 | F     | 3-18 |n| 1/60  |n|  1-1/1000,B |  n |y
-----+-------------+-+---------+-------+------+-+-------+-+-------------+----+-
Vivitar
V2000| *           |?| 25-1600 | *     | 3-19 |n| 1/125 |n|  1-1/2000,B |  n |n
V3000| *           |?|       ? | *     |   ?  |n| 1/125 |n|  1-1/2000,B |  n |n
V635 | *       *   |?| 25-1600 | *     |   ?  |?| 1/125 |?|  8-1/1000,B |  ? |?
-----+-------------+-+---------+-------+------+-+-------+-+-------------+----+-
Chinon
CP-7m| * * * * *   |y| 25-5000 | *     | 1-20 |y| 1/100 |2| 15-1/2000,B |+/-4|n
CP-6 | *   * * *   |y| 25-5000 | * *   | 1-19 |y| 1/100 |o|  8-1/1000,B |+/-2|n
CP-5 | *   * * *   |n| 25-3200 | *     | 1-19 |y| 1/100 |o|  8-1/1000,B |+/-1|n
CP-5s| *   * * *   |n| 25-3200 | * *   | 1-19 |y| 1/100 |o|  8-1/1000,B |+/-1|n
CP-X |         *   |?|   ?     | ? ? ? |  ?   |?|   ?   |?|  1-1/1000,B |  ? |?
CE-5 | *       *   |n| 25-3200 | *     |-1-20 |y| 1/60  |o|  4-1/2000,B |+/-2|n
CE-4 | *       *   |n| 25-3200 | *     |-2-19 |y| 1/60  |o|  4-1/2000,B |+/-1|y
CE-4s| *       *   |n| 25-3200 | *     |-1-20 |y| 1/60  |o|  4-1/2000,B |+/-1|?
CM-7 | *           |?| 25-1600 | *     |  ?   |?| 1/125 |?|  1-1/2000,B |  ? |?
CM-5 | *           |?| 25-1600 | *     | 2-18 |n| 1/60  |o|  4-1/1000,B |  n |?
CM-4s| *           |?|   ?     | *     |  ?   |?| 1/60  |o|  1-1/1000,B |  ? |?
CG-5 | *       *   |?| 25-3200 | *     |-1-19 |?| 1/60  |o|  1-1/1000,B |+/-1|?
-----+-------------+-+---------+-------+------+-+-------+-+-------------+----+-
Cosina
CT-9 | *       *   |n| 25-3200 | *     |-1-20 |y| 1/60  |?|  8-1/1000,B |  ? |?
CT-7 | *       *   |?| 25-1600 | *     |-2-19 |y| 1/125 |o|  8-1/2000,B |  ? |?
CT-4 | *       *   |?| 25-3200 | *     |-2-19 |n| 1/100 |o|  4-1/1000,B |+/-2|?
CT-3 | *       *   |?| 25-1600 | *     |-2-19 |n| 1/125 |o|  8-1/1000,B |  ? |?
CT-20|         *   |?| 25-1600 | *     | 2-19 |n| 1/60  |n|  4-1/1000,B |+1.5|?
CT-10|         *   |?| 25-1600 | *     | 2-19 |n| 1/60  |n|  4-1/1000,B |  n |?
CT-1S| *           |?| 25-1600 | *     | 3-18 |n| 1/125 |n|  1-1/2000,B |  n |?
CT-1A| *           |?| 25-1600 | *     | 3-18 |n| 1/125 |n|  1-1/1000,B |  n |?
CT-1 | *           |?| 25-1600 | *     | 3-18 |n| 1/125 |n|  1-1/1000,B |  n |?
-----+-------------+-+---------+-------+------+-+-------+-+-------------+----+-
Sigma
SA-1 | *       *   |?| 12-3200 | *     |   ?  |y|   ?   |o| 16-1/1000,B |+/-2|y
-----+-------------+-+---------+-------+------+-+-------+-+-------------+----+-

KEY:
  Exposure Modes:            Metering:                 MD (Motor Drive):
    M  = manual                C = center-weighted       o = optional
    P  = program                   (F = full-field)      # -> frames/sec (for
    PS = program (speed)       S = spot                      built-in drive)
    PD = program (depth)       M = multiple spot       
    AP = aperture priority
    SP = shutter priority     EL = exposure lock, DOF = depth-of-field preview

  Units: Meter Range and Exposure Compensation (Exp Comp) in EV
SEND UPDATES, CORRECTIONS, COMMENTS TO: David Bryant (David.Bryant@Eng.Sun.COM)


APPENDIX B  LIST OF PENTAX K-MOUNT LENSES

The following list of manual focus lenses is maintained by David Bryant.

                  *** PENTAX SMC K-mount Manual Focus Lenses ***
                        
        LENS             MIN  FOV  GROUPS- AP   MIN    DIAxLEN    WT     FILTER
                         AP        ELEMTS      FOCUS    (mm)      (g)     SIZE
------------------------+---+-----+-------+--+-------+----------+------+-------
Fish Eye 17mm f/4       |22 | 180 | 7-11  |FA| 0.2   |  65x34   | 234  | BI
Fish Eye 16mm f/2.8 (A) |22 | 180 | ?     |? | 0.2   |  65x56   | 330  | BI
15mm f/3.5              |22 | 111 | 12-13 |FA| 0.3   |  80x82   | 550  | BI
15mm f/3.5 (A)          |22 | 111 | 12-13 |FA| 0.3   |  80x82   | 600  | BI
18mm f/3.5              |22 | 100 | 11-12 |FA| 0.25  |  63x62   | 328  | BI
20mm f/2.8 (A)          |22 | 93  | 9-10  |FA| 0.25  |  70x44   | 235  | 67
20mm f/4 (M)            |22 | 94  | 8-8   |FA| 0.25  |  63x30   | 150  | 49
24mm f/2.8              |22 | 84  | 8-9   |FA| 0.25  |  63x42   | 194  | 52
24mm f/2.8 (A)          |22 | 84  | 8-9   |FA| 0.25  |  63x42   | 205  | 52
28mm f/2                |22 | 75  | 8-9   |FA| 0.3   |  63x69   | 423  | 52
28mm f/2 (A)            |22 | 75  | 7-8   |FA| 0.3   |  63x42   | 215  | 49
28mm f/2.8 (M)          |22 | 75  | 7-7   |FA| 0.3   |  63x31   | 156  | 49
28mm f/2.8 (A)          |22 | 75  | ?     |? | 0.3   |  63x37   | 170  | 49
28mm f/3.5 (M)          |22 | 75  | 6-6   |FA| 0.3   |  63x32   | 180  | 49
30mm f/2.8              |22 | 72  | 7-7   |FA| 0.3   |  63x40   | 215  | 52
35mm f/2 (M)            |22 | 62  | 7-7   |FA| 0.3   |  62x42   | 205  | 49
35mm f/2 (A)            |22 | 63  | 7-7   |FA| 0.3   |  63x42   | 205  | 49
35mm f/2.8 (M)          |22 | 62  | 6-6   |FA| 0.3   |  63x36   | 175  | 49
35mm f/2.8 (A)          |22 | 63  | ?     |? | 0.3   |  63x37   | 170  | 49
40mm f/2.8 (M)          |22 | 56  | 4-5   |FA| 0.6   |  63x18   | 110  | 49
50mm f/1.2              |22 | 46  | 6-7   |FA| 0.45  |  65x49   | 385  | 52
50mm f/1.2 (A)          |22 | 47  | 6-7   |FA| 0.45  |  65x48   | 345  | 52
50mm f/1.4 (M)          |22 | 46  | 6-7   |FA| 0.45  |  63x37   | 238  | 49
50mm f/1.4 (A)          |22 | 47  | ?     |? | 0.45  |  63x37   | 235  | 49
50mm f/1.7 (M)          |22 | 46  | 5-6   |FA| 0.45  |  63x31   | 185  | 49
50mm f/1.7 (A)          |22 | 47  | ?     |? | 0.45  |  63x31   | 165  | 49
50mm f/2 (M)            |22 | 46  | 5-5   |FA| 0.45  |  63x31   | 170  | 49
50mm f/2 (A)            |22 | 47  | 5-5   |FA| 0.45  |  63x31   | 160  | 49
85mm f/2                |22 | 29  | 4-5   |FA| 0.85  |  63x46   | 250  | 49
85mm f/1.4 (A*)         |22 | 29  | 6-7   |FA| 0.85  |  74x66   | 560  | 67
100mm f/2.8 (M)         |22 | 25  | 5-5   |FA| 1     |  63x56   | 225  | 49
100mm f/2.8 (A)         |22 | 25  | ?     |? | 1     |  63x56   | 260  | 49
120mm f/2.8             |32 | 21  | 4-5   |FA| 1.2   |  63x75   | 275  | 52
135mm f/1.8 (A*)        |22 | 18  | 6-7   |FA| 1.2   |  80x98   | 865  | 77
135mm f/2.5             |32 | 18  | 6-6   |FA| 1.5   |  68x86   | 470  | 58
135mm f/2.8 (A)         |32 | 18  | ?     |? | 1.2   |  65x77   | 340  | 52
135mm f/3.5 (M)         |32 | 18  | 5-5   |FA| 1.5   |  63x66   | 276  | 49
150mm f/3.5 (M)         |32 | 17  | 5-5   |FA| 1.8   |  63x75   | 290  | 49
200mm f/2.5             |32 | 12  | 6-6   |FA| 2.0   |  89x145  | 1019 | 77
200mm f/2.8 ED (A*)     |32 |12.5 | 6-6   |FA| 1.8   |  91x138  | 850  | 77
200mm f/4 (M)           |32 | 12  | 5-6   |FA| 2.0   |  64x111  | 405  | 52
200mm f/4 (A)           |32 | 12  | ?     |? | 1.9   |  63x??   | 410  | 52
300mm f/2.8 EDIF (A*)   |32 | 8.3 | 8-8   |FA| 3     | 133x236  | 2970 | 49
300mm f/4               |32 |  8  | 5-7   |FA| 4     |  85x188  | 942  | 77
300mm f/4 (A*)          |32 |  8  | ?     |? | 4     |  84x132  | 850  | 77
400mm f/2.8 EDIF (A*)   |32 |  6  | 8-8   |FA| 4     | 164x325  | 6200 | 49
400mm f/5.6             |45 |  6  | 5-5   |FA| 8     |  83x277  | 1227 | 77
400mm f/5.6 (A)         |45 |  6  | 6-7   |FA| 2.8   |  85x277  | 1280 | 77
500mm f/4.5             |45 |  5  | 4-4   |MO| 10    | 127x440  | 3330 | 52
600mm f/5.6 EDIF (A*)   |45 | 4.1 | ?     |? | 5.5   | 133x386  | 3280 | 49
1000mm f/8              |45 | 2.5 | 5-5   |MO| 30    | 143x738  | 5250 | 52
1200mm f/8 EDIF (A*)    |45 | 2.1 | 8-9   |FA| 8     | 170x684  | 8800 | 49
1000mm f/11 R           | - | 2.5 | 4-6   |ND| 8     | 119x248  | 2300 | BI/52
2000mm f/13.5 R         | - | 1.2 | 4-6   |ND| 20    | 180x533  | 8000 | 52
24-35mm f/3.5 (M)       |22 |83-65| 9-9   |FA| 0.5   |  64x48   | 290  | 58
24-50mm f/4 (A)         |22 |84-47| ?     |? | 0.4   |  64x68   | 375  | 58
28-50mm f/3.5-4.5 (M)   |22 |75-46| 10-10 |FA| 0.6   |  65x52   | 315  | 52
28-80mm f/3.5 (A)       |22 |75-31| ?     |? | 0.8   |  63x94   | 355  | 58
28-135mm f/4 (A)        |22 |75-18| ?     |? | 1.7   |  80x112  | 820  | 77
35-70mm f/2.8-3.5 (M)   |22 |62-34| 7-7   |FA| 1     |  67x76   | 470  | 67
35-70mm f/3.5-4.5 (A)   |22 |63-35| ?     |? | 0.32  |  66x50   | 265  | 49
35-105mm f/.3.5 (A)     |22 |63-24| ?     |? | 1.5   |  70x98   | 615  | 67
35-135mm f/3.5-4.5 (A)  |22 |63-18| ?     |? | 0.75  |  63x92   | 465  | 58
35-210mm f/3.5-4.5 (A)  |22 |63-12| ?     |? | 1.1   |  71x127  | 775  | 67
40-80mm f/2.8-4         |22 |57-31| 7-7   |FA| 1.2   |  64x76   | 389  | 49
45-125mm f/4            |22 |51-20| 11-14 |FA| 1.5   |  69x127  | 612  | 67
70-210mm f/4 (A)        |32 |35-12| ?     |? | 1.2   |  72x149  | 680  | 58
75-150mm f/4 (M)        |22 |32-17| 9-12  |FA| 1.1   |  64x111  | 456  | 49
80-200mm f/4.5 (M)      |32 |30-12| 12-15 |FA| 1.6   |  65x142  | 555  | 52
135-600mm f/6.7         |45 |18-4 | 12-15 |MO| 6     | 105x582  | 4070 | 52
400-600mm f/8-12 R (A)  | - | 6-4 | 7-12  |ND| 3     |  82x108  | 730  | 67/40.5
Macro 50mm f/4 (M)      |32 | 46  | 3-4   |FA| 0.234 |  63x43   | 160  | 49
Macro 50mm f/2.8 (A)    |22 | 47  | ?     |? | 0.24  |  63x50   | 220  | 49
Macro 100mm f/2.8 (A)   |22 | 25  | ?     |? | 0.31  |  74x93   | 505  | 58
Macro 100mm f/4 (M)     |32 | 25  | 3-5   |FA| 0.45  |  65x78   | 355  | 49
Macro 100mm f/4 (A)     |32 | 25  | ?     |? | 0.45  |  65x78   | 340  | 49
Macro 200mm f/4 ED (A)  |32 | 13  | 9-10  |FA| 0.55  |  72x145  | 895  | 58
Shift 28mm f/3.5        |22 | 75  | 11-12 |MO| 0.3   |  80x93   | 611  | BI
------------------------+---+-----+-------+--+-------+----------+------+-------

LENS:
   (M)  - Compact (Pentax-M) lens design
   (A)  - Auto (Pentax-A) lens design
   (A*) - Auto (Pentax-A) lens with low dispersion glass
   ED   - Extra-low dispersion glass
   IF   - Internal focusing
   R    - Reflex (mirror) design

MIN AP: Minimum aperture (f/stop)

FOV: Field Of View (degrees)

AP: Type of Aperture
   FA - Fully automatic diaphragm
   MO - Manually operated diaphragm
   ND - Using ND filters 

FILTER SIZE: in mm, except for BI (built-in)

NOTE: This list includes *only* SMC Pentax lenses, not Pentax Takumar lenses

                        *               *               *

I (BMT) added the following list of autofocus lenses:

               *** PENTAX SMC KAF/KAF2-mount autofocus Lenses ***
                        
        LENS             MIN   FOV GROUPS- HOOD  MIN    DIAxLEN   WT   FILTER
                         AP        ELEMTS       FOCUS     (mm)    (g)  SIZE
------------------------+-----+-----+-----+--+--------+----------+----+-------
FA  20mm f/2.8          |       ?       ?       ?       ?       ?     | 67
FA* 24mm f/2.0 AL (IF)  |22   | 84  | 9-11|I |0.3     |72.5x65.5 | 405| 67
FA  28mm f/2.8 AL       |22   | 75  | 5-5 |  |0.3     |  65x40.5 | 185| 49
F   28mm f/2.8          |22   | 75  | 7-7 |  |0.3     |  64x37   | 180| 49
FA  50mm f/1.4          |22   | 46  | 6-7 |  |0.45    |  65x37   | 220| 49
F   50mm f/1.4          |22   | 46  | 6-7 |  |0.45    |  65x37   | 230| 49
FA  50mm f/1.7          |22   | 46  | 5-6 |  |0.45    |  65x37   | 170| 49
F   50mm f/1.7          |22   | 46  | 5-6 |  |0.45    |  65x37   | 200| 49
FA  Macro 50mm f/2.8    |32   | 47  | 7-8 |  |0.195   |  68x70   | 385| 52
F   Macro 50mm f/2.8    |32   | 47  | 7-8 |  |0.195   |  68x70   | 385| 52
FA* 85mm f/1.4          |22   | 28.5| 7-8 |I |0.85    |78.9x70   | 550| 67
F   85mm f/2.8 soft     |32   | 28.5| 4-5 |  |0.5     |  66x60   | 300| 52
FA  Macro 100mm f/2.8   |32   | 24.5| 8-9 |N |0.306   |  74x103.5| 600| 58
F   Macro 100mm f/2.8   |32   | 24.5| 8-9 |N |0.306   |  74x103.5| 590| 58
FA  135mm f/2.8 (IF)    |32   | 18  | 7-8 |BI|0.7     |  65x80   | 375| 52
F   135mm f/2.8 (IF)    |32   | 18  | 7-8 |  |0.7     |  68x80   | 400| 52
FA* 200mm f/2.8 ED (IF) |32   | 12.5| 8-9 |I |1.2     |  83x134  | 785| 77
FA* 300mm f/2.8 ED (IF) |32   |  8.2| 7-10|? |2.0     | 123x256  |2680| 43/112
FA* 300mm f/4.5 ED (IF) |32   |  8.2| 7-9 |I |2.0     |72.5x160  | 935| 67
F*  300mm f/4.5 ED (IF) |32   |  8.2| 7-9 |BI|2.0     |  84x160  | 880| 67
FA* 600mm f/4 ED (IF)   |32   |  4.1| 7-9 |BI|5.0     | 176x456.5|6800| 43/150
F*  600mm f/4 ED (IF)   |32   |  4.1| 7-9 |BI|5.0     | 181x457  |6830| 67
F   17-28mm f/3.5-4.5   |22-32|180-90|7-9 |  |0.45    | 65x61    | 225|
F   24-50mm f/4         |22   |84-47|10-11|  |0.4     |69.5x67   | 380| 58
FA* 28-70mm f/2.8 AL    |22   |75-35|11-14|  |0.43    |84.5x104  | 800| 67
FA  28-80mm f/3.5-4.7   |22-32|75-31| 8-8 |  |0.4     |  71x83.5 | 380| 58
F   28-80mm f/3.5-4.5   |22-32|75-31| 9-12|  |0.8/0.4 |69.5x75   | 395| 58
FA  28-105mm f/4-5.6    |22-32|75-24|11-13|  |0.43    |72.5x95.5 | 445| 58
F   35-70mm f/3.5-4.5   |22-32|63-35| 8-8 |  |0.7/0.32|  67x50   | 235| 49
F   35-80mm f/4-5.6     |22-32|63-31| 6-7 |  |0.4     |  65x58   | 185| 49
F   35-105mm f/4-5.6    |22   |63-24|12-14|  |1.4/0.42|  72x71   | 345| 58
F   35-135mm f/3.5-4.5  |22-32|63-18|12-16|  |1.6/0.75|  71x91.5 | 485| 58
FA  70-210mm f/4-5.6    |32-45|35-13| 8-10|  |1.1     |  73x116.5| 465| 49
F   70-210mm f/4-5.6    |32-45|35-13| 9-13|  |1.1     |  71x98.5 | 555| 49
FA* 80-200mm f/2.8 AL   |32   |31-13|13-16|  |1.4     |87.5x191.5|1510| 77
F   80-200mm f/4.7-5.6  |32   |31-13| 7-11|  |1.1     |  65x99.4 | 295| 49
FA  100-300mm f/4.5-5.6 |32-38|25-8 | 8-12|  |1.5     |  73x154.5| 605| 58
FA* 250-600mm f/5.6 EDIF|32   |10-4 |16-18|BI|3.5     | 134x442  |5400| 43/112
F*  250-600mm f/5.6 EDIF|32   |10-4 |15-17|BI|3.5     | 149x439  |5400| 43
AF adapter 1.7x         |     |     | 4-6 |  |        |  64x26   | 135|   
------------------------+-----+-----+-----+--+--------+----------+----+-------

HOOD - I = included, BI = built-in, N = no hood, blank = optional hood
MIN FOCUS in meters.  1 meter ~= 3.3 ft.  If there are two figures, the
        lens has a macro mode and the min focusing distance is shown by
        the second figure.


APPENDIX C  DEREK KIRKLAND'S LIST OF PENTAX 35MM, 645 AND 67 EQUIPMENT

[Although this appendix seems like an unnecessary repetition of the
previous two, it's not.  The lens list gives weight and min. focusing
distance in the imperial system and also the maximum magnification and
compatible teleconverters - BMT]

Newsgroups: rec.photo
From: dp10@mc4adm.UWaterloo.ca (Derek Kirkland)
Subject: Pentax Lenses, Cameras and Acc.  - equipment list  *****Very Long
Organization: University of Waterloo
Date: Tue, 8 Dec 1992 15:06:21 GMT

Catalogue List  of Pentax equipment for those who might be interested
in the wide range of Pentax K Mount compatible lenses and cameras -
derived mostly from Pentax Catalogues.

Shows that Pentax has a broad range of equipment and can compete with
the other camera brands.

Please note that older equipment, although no longer kept in their
catalogues, is still often stocked at Pentax (at least here in Canada).
Get your dealer to check. The used market is a great way to buy older
lenses and cameras. I have had great luck with this.


SMC Pentax Lenses

       #  = lens hood / tripod socket built in
       ## = lens hood built in
       AL = aspheric lens
       ED = Extra low dispersion glass
       IF = Internal forcus

       FA = Kaf2 mount for PZ series
       F  = Kaf  mount for SF series
       A  = KA   mount for program series
       M  = K    mount for M compact series
          = K    mount for K series

Specifications = minimum focus, weight - oz, magnification, converters
--------------------------------------------------------------------------------
Wide Angle

Ser.   Lens                               min.   wt.   magn.  converters
   
A      15 mm f3.5                         1ft    21oz  .08x
       15 mm f3.5                         1ft    19oz  .08x

A      16 mm f2.8           Fish Eye      .7ft   11oz         1.4x-s,2x-s

       17 mm f4             Fish Eye      .7ft   8oz

       18 mm f3.5                         .8ft   11oz

A      20 mm f2.8                         .8ft   9oz   .12x   1.4x-s,2x-s
M      20 mm f4                           .9ft   5oz

FA*    24 mm f2             AL IF         1ft    14oz  .12x
A      24 mm f2.8                         .8ft   7oz
       24 mm f2.8                         .8ft   7oz

       28 mm f2                           1ft    15oz  .16x
M      28 mm f2.8                         1ft    6oz   .16x
FA     28 mm f2.8           AL            1ft    7oz   .13x
F      28 mm f2.8                         1ft    6oz   .13x   1.4x-s,2x-s
       28 mm f3.5           Shift,manual  1ft    21oz  .16x   1.4x-s,2x-s
       28 mm f3.5                         1ft    6oz   .16x

       30 mm f2.8                         1ft    8oz   .16x

M      35 mm f2                           1ft    7oz   .16x
M      35 mm f2                           1ft    7oz   .16x
M      35 mm f2.8                         1ft    6oz   .16x
--------------------------------------------------------------------------------
Standard

Ser.   Lens                               min    wt.   magn.  converters

M      40 mm f2.8                         2 ft   4oz

       50 mm f1.2                         1.5ft  14oz  .15x   1.4x-s,2x-s
A      50 mm f1.2                         1.5ft  12oz  .15x   1.4x-s,2x-s
FA     50 mm f1.4                         1.5ft  8oz   .15x   1.4x-s,2x-s
F      50 mm f1.4                         1.5ft  8oz   .15x   1.4x-s,2x-s
M      50 mm f1.4                         1.5ft  8oz   .15x   1.4x-s,2x-s
M      50 mm f1.7                         1.5ft  7oz   .15x   1.4x-s,2x-s
F      50 mm f1.7                         1.5ft  7oz   .15x   1.4x-s,2x-s
FA     50 mm f1.7                         1.5ft  6oz   .15x   1.4x-s,2x-s
A      50 mm f2                           1.5ft  5oz   .15x   1.4x-s,2x-s
M      50 mm f2                           1.5ft  6oz   .15x   1.4x-s,2x-s

--------------------------------------------------------------------------------
Telephoto

Ser.   Lens                               min.   wt.   magn.  converters
 
A*     85 mm f1.4                         2.8ft  19oz  .13x   1.4x-s,2x-s
M      85 mm f2                           2.8ft  9oz   .13x
       85 mm f2.2           Soft,manual   1.9ft  8oz   .23x
F      85mm f2.8            Soft,manual   1.6ft  11oz  .25x   all converters

M      100 mm f2.8                        3.3ft  8oz

       120 mm f2.8                        4ft    13oz

A*     135 mm f1.8                        3.9ft  30oz  .15x   1.4x-s,2x-s
       135 mm f2.5                        5ft    17oz
FA     135 mm f2.8          IF #          2.3ft  13oz  .25x
F      135 mm f2.8          IF            2.3ft  14oz  .25x   1.4x-s,2x-s
M      135 mm f3.5                        5ft    10oz

M      150 mm f3.5                        6ft    10oz

       200 mm f2.5                        6.5ft  36oz
A*     200 mm f2.8          ED            5.9ft  30oz  .14x
FA     200 mm f2.8          ED IF # new          
M      200 mm f4                          6.5ft  14oz

A*     300 mm f2.8          ED IF #       9.8ft  104oz .11x   all converters
       300 mm f4                          13ft   33oz
M*     300 mm f4                          6.5ft  32oz  .18x   1.4x-s,2x-s
FA*    300 mm f4.5          ED IF         6.6ft  33oz  .17x
F*     300 mm f4.5          ED IF #       6.6ft  31oz  .17x   1.4x-s,2x-s

A*     400 mm f2.8          ED IF #       13ft   210   .11x   2x-s,1.4x-l,2x-l
A      400 mm f5.6          FREE #        9.2ft  43oz  .18x   2x-s,1.4x-l,2x-l
       400 mm f5.6          manual        27ft   43oz

       500 mm f4.5          #,manual      35ft   117   .06x   2x-s,1.4x-l,2x-l

FA*    600 mm f4            ED IF #       16ft   228   .13x
F*     600 mm f4            ED IF #       16ft   239   .13x
A      600 mm f5.6          ED IF #       18ft   116

       1000 mm f8           #,manual      98ft   185   .04x   2x-s,1.4x-l,2x-l
       1000 mm f11          Reflex #      26ft   81oz  .13x   2x-s

A*     1200 mm f8           ED IF #       26ft   300   .16x   1.4x-l,2x-l

M      2000 mm f13.5        Reflex #      66ft   280   .13x   2x-s

--------------------------------------------------------------------------------
Zoom

Ser.   Lens                               min.   wt.   magn.  converters

M      24 mm - 35 mm f3.5                 

A      24 mm - 50 mm f4                   1.3ft  13oz  .15x   2x-s
F      24 mm - 50 mm f4                   1.3ft  13oz  .15x   2x-s

M      28 mm f3.5 - 50 mm f4.5            2ft    11oz
       28 mm f3.5 - 50 mm f4.5            2ft    11oz
F      28 mm f3.5 - 80 mm f4.5            1.3ft  14oz  .25x   1.4x-s,2x-s
FA     28 mm f3.5 - 80 mm f4.7     ##     1.3ft  13oz  .25x
FA     28 mm f4 - 105 mm f5.6             1.4ft  16oz  .35x
A      28 mm - 135 mm f4

A      35 mm f3.5 - 70 mm f4.5            1ft    8oz   .25x   1.4x-s,2x-s
F      35 mm f3.5 - 70 mm f4.5            1ft    8oz   .25x   1.4x-s,2x-s
M      35 mm f2.8 - 70 mm f3.5
A      35 mm f4 - 105 mm f5.6             1.4ft  12oz  .25x   1.4x-s,2x-s
F      35 mm f4 - 105 mm f5.6             1.4ft  12oz  .25x   1.4x-s,2x-s
A      35 mm f3.5 - 135 mm f4.5           2.5ft  17oz  .25x   1.4x-s,2x-s
F      35 mm f3.5 - 135 mm f4.5           2.5ft  17oz  .25x   1.4x-s,2x-s

M      40 mm f2.8 - 80 mm f4              

       45 mm - 125 mm f4                  5ft    22oz

FA     70 mm f4 - 200 mm f5.6             3.6ft  16oz  .25x
F      70 mm f4 - 210 mm f5.6             3.6ft  19oz  .25x   1.4x-s,2x-s
A      70 mm - 210 mm f4                  3.9ft  24oz

M      75 mm - 150 mm f4

M      80 mm - 200 mm f4.5                5.5ft  20oz
       80 mm - 200 mm f4.5                5.5ft  20oz

FA     100 mm f4.5 - 300 mm f5.6          5ft    21oz  .25x

       135 mm - 600 mm f6.7        #,man  20ft   143   .12x   1.4x-s,2x-s

FA*    250 mm - 600 mm f5.6     ED IF #   12ft   178   .2x
F*     250 mm - 600 mm f5.6     ED IF #   12ft   189   .2x    1.4x-s,2x-s

       400 mm f8 - 600 mm f12   Reflex    10ft   26oz         2x-s,1.4x-l

--------------------------------------------------------------------------------
Macro

Ser.   Lens                               min.   wt.   magn.  converters

FA     50 mm f2.8                         .6ft   14oz  1x
F      50 mm f2.8                         .6ft   14oz  1x     1.4x-s,2x-s
A      50 mm f2.8                         .6ft   8oz   1x
M      50 mm f4                           .77ft  6oz   .5x

FA     100 mm f2.8                        1ft    21oz  1x
F      100 mm f2.8                        1ft    21oz  1x     1.4x-s,2x-s 
A      100 mm f2.8          Free          1ft    17oz  1x     1.4x-s,2x-s
M      100 mm f4                          1.5ft  13oz  .5x

       100 mm f4            Bellows              7oz          1.4x-s,2x-s

A*     200 mm f4            Free ED #     1.8ft  31oz  1x     2x-s,1.4x-l,2x-l

[The 100/2.8 and 200/4 Macros are not "free", monetarily :-)  FREE
stands for fixed rear element extension, Pentax's marketing jargon of
what is more commonly referred to as "floating elements" - BMT]

--------------------------------------------------------------------------------
Converters

Ser.   Converter                                 wt.

F      AF Adaptor 1.7X                           5oz

A      1.4X-S                                    5oz

A      2X-S                                      7oz

A      1.4X-L                                    6oz

A      2X-L                                      9oz

       T6-2X   

--------------------------------------------------------------------------------
Pentax Cameras

K Mount Compatible Cameras

Pentax        P30T, P3n, P3, A3000, Super Program, Program Plus, 
              Super A, ME-F, ME Super, MV-1, MV, MG, ME (1977),
              MX (1977), LX (1980), K2DMD(1977), K1000 (1976),
              K2 (1973), KX (1973), KM (1973)

              SF1, SF1n, SF10, PZ1, PZ10

Ricoh         XRM, XRP, XR10, XR-S, XR-F, XR-10, XR-7, XR-6, XR-2,
              XR-1, KR10M, KR10S, KR5S2, KR5S

Vivitar       V2000, V635

Chinon        CP-7m, CP-6, CP-5, CP-5s, CP-X, CE-5, CE-4, CE-4s,
              CM-7, CM-5, CM-4x, CG-5

Cosina        CT-9, CT-7, CT-4, CT-3, CT-20, CT-10, CT-1S, CT-1A, CT-1

Sigma         SA-1

--------------------------------------------------------------------------------
SF Series Accessories

Battery Grip AA
Remote Battery Pack F & Terminal Grip F
Hotshoe Adaptor F
Cable Switch F
Magnifier Fb
Screens: Standard, Grid/Mat, Crosshair/Mat
 
--------------------------------------------------------------------------------
SMC Pentax 67 Lenses compatible for 645

Takumar 67 35mm f4.5        Fish Eye      1.5ft  32oz
45 mm f4                                  1.2ft  17oz
55 mm f4                                  1.3ft  22oz
Takumar 75 mm f4.5                        2.3ft  25oz
90 mm f2.8                                2.1ft  17oz
Takumar 105 mm f2.4                       3.3ft  22oz
Takumar 135mm f4     (70mm) Macro         2.5ft  23oz
165 mm f2.8                               5.2ft  24oz
Takumar 200 mm f4                         8.2ft  32oz
Takumar 300 mm f4                         16.4ft 50oz
Takumar 400 mm f4 (200 mm equiv)          26.2ft 90oz  manual
Takumar 600 mm f4    (300mm)              39.4ft 210   manual
M* 800 mm f6.7       (400mm) IF ED        26.2ft 210
--------------------------------------------------------------------------------
Pentax 645 System

645 Camera           () = 35mm equivalent        LS = leaf shutter

A645 35 mm f3.5      (20mm)        1ft    17oz   2x
A645 45 mm f2.8      (28mm)        1.5ft  14oz   2x
A645 55 mm f2.8      (35mm)        1.5ft  14oz   2x
A645 75 mm f2.8      (45mm)        2ft    8oz    2x
A645 75 mm f2.8 LS   (45mm)        2.5ft  13oz   2x
A645 120 mm f4       (70mm) Macro  1.3ft  24oz   2x    full life size
A645 135 mm f4 LS    (80mm)        6.6ft  20oz   2x
A645 150 mm f3.5     (90mm)        4.6ft  15oz   2x
A645 200 mm f4       (120mm)       6.6ft  20oz   1.4x,2x
A645* 300 mm f4 ED IF (180mm)      9.8ft  48oz   1.4x,2x
A645 600 mm f5.6 ED IF (360mm)     16ft   175    2x
A645 80mm - 160 mm f4.5 (50-100mm) 3.3ft  35oz   2x
A645 1.4x
A645 2x

Focus Screens UC21 split/micro/mat, UA21 micro/mat, UB21 split/mat,
              UE20 matte, UG20 grid/matte
Film Holders 120, 220, 70mm + finder eyepiece
AF400T Bracket for 645
Auto Ext. Tube 645-A 1-2-3
Helicoid Ext. Tube 645-A
Reverse attachment 645
58mm Reverse Adaptor 645
Adaptor 645 for 67 lenses
Adaptor K for 645 lenses
Reconverter 645
Magnifier 645
Close Up Lens (58mm)  S33, S56
Auto Bellows 645
Remote Battery Pack 645
Power Cord 645
Cable Switch

--------------------------------------------------------------------------------
35 mm Accessories

Digital Spotmeter
Spotmeter V

Extension Tubes - auto 50 mm
Extension Tubes - auto 100 mm
Extension Tubes - auto set of 3
Extension Tubes - manual set of 3
Extension Tubes - helicoid
Reverse Adaptor
Auto Bellows / Slide Copier
Bellows Unit
Slide Holder 1x
Focusing Rail
Macro Stand / Lighting Table
Extension Column

Copy Stand
Cable Releases
Microscope Adaptor
Microscope Lens Adaptor
Screw Mount Adaptor
6x7 lens mount adaptor
645 lens mount adaptor
body and lens caps

Motor Drive A (Super A, Super Program, Program A, Program Plus)
Battery Pack A
Power Cord A

--------------------------------------------------------------------------------
Flashes

AF200S Auto Flash
AF200T Auto TTL Flash
Flash Adaptors AFT1, AFW1
AF080C Ring Light TTL
AF160 Flash
AF280T Auto TTL Flash
AF400T Auto TTL Flash
AF400T Bracket
4P Synch Cord A, Cord B
AF400T WA Adaptor, Tele Adaptor
TR Power Pack
Power Pack 510 V
AF400T Grip Battery Pack
AF400T AC Adaptor

[TTL flashes have the "T" suffix.  The TTL works fine on both 35mm
bodies with TTL flash capability (e.g. Pentax LX, all AF cameras) and
Pentax 645, too - BMT]

--------------------------------------------------------------------------------
LX Accessories

Viewfinders
   FB1 / FC1 - FD1 - FD2 action sets
   FA1 regular
   FA1W
   FA2 regular - no hot shoe
   FE1 waist level - magnifier
   FF1 waist level

LX Screens  - use on LX only
   SC21 split / micro / mat
   SC26 split / micro / mat - bright for telephoto
   SA21 micro / mat
   SA23 micro / mat - for f2.8 - f1.2
   SA26 micro / mat - telephoto 300 mm +
   SA37 all micro - for small aperature telephoto and high magnification macro
   SA32 all micro
   SB21 split / mat
   SD21 mat / crosshairs
   SD11 clear glass / crosshairs - astro
   SE20 matte
   SE25 matte - telephoto 300 mm +
   SI20 scales / mat
   SG20 grid / mat

Motor Drive LX
MD Remote Control Cord
Nicad Battery Pack LX
Winder LX
Remote Control Cord - Winder LX or MEII
Remote Battery Pack - Winder LX or MEII

Battery Cord LX/A - for S76
Grip A, Grip B

--------------------------------------------------------------------------------
MX Accessories

Magnifier M
Eyecup M
Reconverter M

MX Screens - can be used on LX too
   SA1 micro / mat
   SA3 micro / mat - for f2.8 - f1.2
   SB1 split / mat
   SC1 split / micro / mat
   SD1 mat / crosshairs - astro
   SE mat - for slow lenses
   SG mat / grid
   SI mat / scales

Motor Drive MX
Nicad Battery Pack M
Charge Pack M
Battery Grip M
Power Pack M
Trigger Cord M
Power Cord M
Winder MX

--------------------------------------------------------------------------------


APPENDIX D  C.T.LEE'S SUBJECTIVE LENS EVALUATIONS

C. T. Lee is a professional photographer who uses Pentax equipment.
The following are his subjective ratings of lenses he uses.

From ctlee@hkucc.hku.hk Mon Feb  6 11:36:00 MST 1995
Newsgroups: rec.photo.help
From: ctlee@hkucc.hku.hk
Subject: Pentax lens
Date: Mon, 6 Feb 1995 13:28:18 GMT

Lens:                   (Performance/Mechanical/Price Ratio)
SMC-A15/3.5             Top+ Top+ Top+ (Why need 230%+ to buy Nikkor??)
SMC-A24/2.8             Top  Top  Top  (Pentax knows what is wide angle)
SMC-A35/2               Top  Top  Top  (My standard lens)
SMC-M35/2               Mid+ Top  Top  (My old day partner, miss it)
SMC-M40/2.8             Top  Top  Mid+ (Too high 2nd hand price)
SMC-A50/1.4             Top  Top  Top+ (What a big joke? HK$750 NEW!)
SMC-M55/1.8             Top  Mid+ Top  (Bring me into Pentax world..)
SMC-M85/2               Top+ Top  Top  (Perfect Portrait lens)
SMC-A85/1.4             Top- Top  Top- (Who care what is dark with it?)
SMC-135/2.5             Top- Top  Mid+ (Higher than usual contrast)
SMC-A135/1.8            Top+ Top  Top  (Too useful to street snap)
SMC-A300/4              Mid  Top- Mid  (Lack of contrast, but quite pictorial)
SMC-500/4.5             Top  Top  Top+ (Why such low price??)
SMC-A24-50/4            Top- Top- Top- (Pentax hardly made good Zoom)
SMC-A35-105/3.5         Top  Top  Top  (A real working horse)
SMC-F35-135/3.5-4.5     Mid+ Mid- Mid  (Pentax AF, oh poor plastic outer)
SMC-A70-210/4           Top- Top- Top- (Good Partner with 24-50/4)
SMC-FA100-300/4-5.6     Mid  Mid- Mid  (Why no ED and APO!!)
SMC-400-600/8-12        Top- Top  Top  (Crazy Pentax made Reflex Zoom)
SMC-AF1.7x              Mid+ Top- Mid+ (Extremely good in portrait with 85/2)


APPENDIX E  CHASSEUR D'IMAGES TESTS

The Chasseur d'Images Test data are supplied by Rui Pedro Mendes
Salgueiro and Olivier Jadot.  Information on the empty entries are
solicited.  Cote d'Amour is the "love factor" or in other words how the
reviewer like the lens.  The numbers on "perf" and "wide-open" are from
the May 95 issue which has the summary of 46 telephoto lenses they
tested presented in form of bar graphs.

                                optical quality cote    perf.   wide
                                quality /price  d'Amour         open
Pentax SMC FA* 28-70/2.8        ****
Pentax SMC FA* 80-200/2.8       ****    **      ***
Pentax SMC FA  80-200/4.7-5.6   **      **      **
Pentax SMC FA* 24/2 AL-IF       ***
Pentax SMC F   28/2.8           ****
Pentax SMC F   50/2.8 Macro     *****
Pentax SMC FA  50/2.8 Macro     *****
Pentax SMC FA* 85/1.4 IF        *****
Pentax SMC FA  100/2.8 Macro    ****
Pentax SMC F   135/2.8          ****
Pentax SMC FA  135/2.8          ****
Pentax SMC A   200/4 ED Macro   ****
Pentax SMC FA* 200/2.8 ED-IF    ****
Pentax SMC A*  300/4                            *       8       6
Pentax SMC F*  300/4.5 ED-IF                    *****   16      14
Pentax SMC FA* 300/4.5 ED-IF    ***             ***     13      11

Canon EF 300/4 L USM            ****    *****   *****   17      14
Contax Zeiss 300/4 Tele-Tessar  ***     **      **      12      10

From: Rui Pedro Mendes Salgueiro <rps@gnu.mat.uc.pt>
To: bmtong@cs.arizona.edu

CHASSEUR d'IMAGES TESTS

Notes:
        res.  == resolution     (Border Center)
        F - Faible      == Poor
        M - Moyen       == Middle
        B - Bon         == Good
        T - Tres Bon    == Very Good
        E - Excellent   == Excellent
        vign. == vignetting (f/stops)
        coussinet == the inverse of barrel (pincushion ?)

------------------------------------------------------------------------
Pentax SMC FA* 80-200 mm f/2.8 ED
        Performances    ****
        Quality/Price   **
        Cote D'Amour    ***

f               f/2.8   f/4     f/5.6   f/8     distorsion
--------------------------------------------
80      res.    M+ B-   B- B+   B++ T-  T E-
        vign.   0.5     ~0.3    ~0.0    ~0.0    ~0.0    (barrel)
135     res.    B- B    B+ T-   T- T+   T E-
        vign.   0.6     0.3     ~0.0    ~0.0    0.4%    (coussinet)
200     res.    B+ B    B++ T-  B++ T   B T--
        vign.   0.7     0.4     ~0.0    ~0.0    0.5%    (coussinet)

Colour - a little warm

Notes: Heavy and expensive

------------------------------------------------------------------------
Pentax SMC F 80-200 mm f/4.7-5.6
        Performances    **
        Quality/Price   **
        Cote D'Amour    **

f               f/4.7   f/5.6   f/8     f/11    distorsion
--------------------------------------------
80      res.    M- B-   M+ B+   B- B+
        vign.   0.4     ~0.0    ~0.0            ~0.0    (barrel)
135     res.            M  B    M B     M B
        vign.           0.5     0.3     ~0.0    0.5%    (coussinet)
200     res.            F+ M+   M-- B-- M- M
        vign.           0.5     0.3     ~0.0    0.7%    (coussinet)

Colour - neutral


APPENDIX F  POPULAR PHOTOGRAPHY TESTS

The following are Popular Photography SQF tests of lenses available in
Pentax AF mount.  Much of it is copied from Canon EOS FAQ without
permission.  The lenses include:

Pentax F series: 50/1.7, 24-50/4
Pentax FA series: 24/2, 28/2.8, FA 85/1.4, FA 28-80, FA 28-105, FA 70-200
Sigma 18-35/3.5-4.5, 24-50/4-5.6, 24-70/3.5-5.6 aspherical,
        28-70/3.5-4.5UC, 28-200/3.8-5.6, 70-210/4-5.6UC
Tamron 28-200/3.8-5.6
Tokina 400/5.6 ATX, 20-35/3.5-4.5, 28-70/2.6-2.8 AT-X Pro, 28-70/2.8 AT-X
______________________________________________________________________________

PENTAX FA 24mm f/2: (POP: March,1993 ?)
        Focal lenght:           23.99mm
        Maximum aperture:       2.04
        Maximum magnification:  1:7.8 (0.17m/6.75")
        Minimum aperture:       22
        Number of blades:       8
        Focusing:               90 deg. clockwise
        Construction:           11/9
        Filter size:            67mm
        Weight:                 0.400kg (14 1/8 oz)


        24mm: (1.1% barrel distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        2.0     | A+  | A+  | A   | A   | B   | C   | D   |
                -------------------------------------------
        2.8     | A+  | A+  | A+  | A   | B   | C+  | D   |
                -------------------------------------------
        4.0     | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A   | A   | B   |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------

        Lateral colour: slight
        Field curvature: slightly worse than average
        Flare: well controlled
        Ghosting: f/11-f/16
        Light fall-off: disappeared by f/4
______________________________________________________________________________

PENTAX FA 28mm f/2.8: (POP: November, 1994)
        Focal lenght:           30.14mm
        Maximum aperture:       3.02
        Maximum magnification:  1:9.4 (0.20m/7.875")
        Minimum aperture:       22
        Number of blades:       6
        Focusing:               80 deg. clockwise
        Construction:           5/5
        Filter size:            49mm
        Weight:                 0.103kg (3 5/8 oz)


        28mm: (0.9% barrel distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        2.8     | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        4.0     | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A+  | A   | A   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A+  | A   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | A   |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------

        Lateral colour: moderate
        Field curvature: little
        Flare: very well controlled
        Light fall-off: disappeared by f/4
______________________________________________________________________________

PENTAX F 50mm f/1.7: (POP: May, 1991)
        Focal lenght:           50.94mm
        Maximum aperture:       1.68
        Maximum magnification:  1:6.5 (0.35m/1'1.75")
        Minimum aperture:       22
        Number of blades:       6
        Focusing:               145 deg. clockwise
        Construction:           6/5
        Filter size:            49mm
        Weight:                 0.194g (6 13/16 oz)


        50mm: (normal distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        1.7     | A+  | A+  | A+  | A   | B   | C+  | C   |
                -------------------------------------------
        2.8     | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        4.0     | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A   | B   | B   |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A   | A   | B   | C+  |
                -------------------------------------------

        Lateral colour: moderate @ midfield, slight @ corners
        Field curvature: normal
        Flare: well controlled and gone by f/4
        Light fall-off: disappeared by f/4
______________________________________________________________________________

PENTAX FA 85mm f/1.4: (POP: November, 1994)
        Focal lenght:           81.39mm
        Maximum aperture:       1.38
        Maximum magnification:  1:8.4 (0.71/2'4")
        Minimum aperture:       22
        Number of blades:       9
        Focusing:               90 deg. clockwise
        Construction:           9/8
        Filter size:            67mm
        Weight:                 0.551kg (1 lb 3 7/16 oz)


        85mm: (nominal distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        1.4     | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        2.8     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        4.0     | A+  | A+  | A+  | A+  | A+  | A   | A   |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A+  | A+  | A   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A+  | A   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A+  | B+  | B   |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------

        Lateral colour: very slight
        Field curvature: commendably low
        Light fall-off: gone by f/2.8
______________________________________________________________________________

TOKINA ATX 400/5.6 AF: (POP: May, 1995)
        Focal lenght:           408.79mm
        Maximum aperture:       cannot measure
        Maximum magnification:  1:5.8 (2.26m/7'5")
        Minimum aperture:       32
        Number of blades:       8
        Focusing:               180 deg. counterclockwise
        Construction:           10/8
        Filter size:            72mm
        Weight:                 1.021kg (2 lb 5 5/16 oz)


        400mm: (0.9$ pincushion distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        5.6     | A+  | A+  | A   | B+  | C+  | C   | D   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------
        32.0    | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------

        Lateral colour: slight to moderate, may affect picture quality
        Light fall-off: gone by f/8
        Flare: very well controlled
______________________________________________________________________________

SIGMA 18-35mm f/3.5-4.5: (POP: Febuary, 1995)
        Focal lenght:           19.37mm         to      34.57mm
        Maximum aperture:       3.71            to      4.90
        Maximum magnification:  1:8.1 (0.41m/1'4")      1:20.4 (0.36m/1'2")
        Minimum aperture:       22              to      32
        Number of blades:       6
        Zooming:                50 deg. clockwise
        Focusing:               50 deg. counterclockwise
        Construction:           11/10
        Filter size:            82mm
        Weight:                 0.156 kg (5 1/2 oz) !


        18mm: (1.7% barrel distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        3.5     | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        4.0     | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------


        28mm: (0.9% barrel distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        4.2     | A+  | A+  | A   | B+  | C+  | C   | F   |
                -------------------------------------------
        5.6     | A+  | A+  | A   | B+  | C+  | C   | F   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------
        32.0    | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------


        35mm: (< 0.5% pincushion distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        4.5     | A+  | A+  | A+  | A   | B   | C+  | D   |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A   | B   | C+  | D   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        27.0    | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------

        Lateral colour: moderate at all focal lengths
        Field curvature: high throughout
        Flare: very slight at maximum aperture
        Light fall-off: gone by f/5.6 @ 18, f/8 @ 28 & 35
______________________________________________________________________________

TOKINA 20-35mm f/3.5-4.5: (POP: May,1992)
        Focal lenght:           19.45mm         to      32.75mm
        Maximum aperture:       3.52            to      4.49
        Maximum magnification:  1:15 (0.27m/10.625")    1:9 (0.27m/10.625")
        Minimum aperture:       22              to      27
        Number of blades:       6
        Zooming:                60 deg. counterclockwise
        Focusing:               65 deg. counterclockwise
        Construction:           13/11
        Filter size:            72mm
        Weight:                 0.447 kg (15 3/4 oz)


        20mm: (2.6% barrel distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        3.5     | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------
        4.0     | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A   | A   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------


        28mm: (2.1% barrel distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        4.0     | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A   | A   | B   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------


        35mm: (1.4% barrel distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        4.5     | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        27.0    | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------
______________________________________________________________________________

PENTAX F 24-50mm f/4: (POP: April, 1991)
        Focal lenght:           24.03mm         to      47.18mm
        Maximum aperture:       3.64            to      3.91
        Maximum magnification:  1:13.1 (0.28m/11")      1:6.4 (0.27m/10")
        Minimum aperture:       22
        Number of blades:       8
        Zooming:                85 deg. counterclockwise
        Focusing:               90 deg. clockwise
        Construction:           11/10
        Filter size:            58mm
        Weight:                 0.368kg (13 oz)


        24mm: (1.1% barrel distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        4.0     | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A   | B   | C+  | D   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------


        35mm: (normal)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        4.0     | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A   | B+  | B   | C+  |
                -------------------------------------------


        50mm: (normal)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        4.0     | A+  | A+  | A   | A   | B   | C   | D   |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | B+  | B   | C+  |
                -------------------------------------------

        Lateral color: very slight @ 24 & 35, slightly intense @ 50
        Flare: well-controlled throughout
        Light fall-off: absent 1 stop down.
______________________________________________________________________________

SIGMA 24-50mm f/4-5.6: (POP: August,1992)
        Focal lenght:           23.76mm         to      45.76mm
        Maximum aperture:       3.98            to      5.56
        Maximum magnification:  1:13.7 (0.29m/11.375")  1:7 (0.29m/11.375")
        Minimum aperture:       22              to      32
        Number of blades:       6
        Zooming:                50 deg. clockwise
        Focusing:               60 deg. clockwise
        Construction:           13/10
        Filter size:            52mm
        Weight:                 0.269 kg (9 1/2 oz)


        24mm: (1.9% barrel distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        4.0     | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A+  | A   | B   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------


        35mm: (0.8% barrel distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        4.8     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        32.0    | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------


        50mm: (0.9% pincushion distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------
        32.0    | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
______________________________________________________________________________

SIGMA 24-70mm f/3.5-5.6: (POP: May,1995)
        Focal lenght:           25.59mm         to      69.25mm
        Maximum aperture:       3.77            to      5.87
        Maximum magnification:  1:10 (0.33m/1'1.125")   1:3.6 (0.35m/1'1.875")
        Minimum aperture:       22              to      32
        Number of blades:       6
        Zooming:                40 deg. counterclockwise
        Focusing:               70 deg. clockwise
        Construction:           11/8
        Filter size:            55mm
        Weight:                 0.267 kg (9 7/16 oz)


        24mm: (2.6% barrel distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        3.5     | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------


        35mm: (nominal distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        4.0     | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        32.0    | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------


        70mm: (1.7% pincushion distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        5.6     | A+  | A+  | A   | A   | B   | C   | D   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------
        32.0    | A+  | A+  | A+  | A   | B   | C+  | C   |
                -------------------------------------------

        Lateral color: moderate @24/70, slight @35.  May affect picture
                       quality.
        Flare: very well controlled @35/70
        Light falloff: gone by f/8 @24, f/5.6 @35, f/8 @70
______________________________________________________________________________

PENTAX FA 28-80mm f/3.5-4.7: (POP: October, 1992)
        Focal lenght:           27.71mm         to      73.41mm
        Maximum aperture:       3.17            to      4.79
        Maximum magnification:  1:10.0 (0.24m/9.5")     1:3.9 (0.25m/9.875")
        Minimum aperture:       32
        Number of blades:       8
        Zooming:                75 deg. counterclockwise
        Focusing:               100 deg. clockwise
        Construction:           8/8
        Filter size:            58mm
        Weight:                 0.386kg (13 5/8 oz)


        28mm: (3.0% barrel distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        3.5     | A+  | A+  | A+  | A   | B+  | B   | C+  |
                -------------------------------------------
        4.0     | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------


        50mm: (1.7% pincushion distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        4.5     | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A   | A   | B   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A   | A   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | A   |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        32.0    | A+  | A+  | A+  | A+  | B+  | B   | C+  |
                -------------------------------------------


        80mm: (< 0.5% pincushion distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        4.7     | A+  | A   | A   | B   | C+  | D   | F   |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A   | B+  | C+  | D   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A+  | A   | B   |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        32.0    | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------

        Lateral color: slight, may affect picture quality at wide-angle
                       setting.  Virtually gone by longest focal length
        Flare: well controlled @ 28 & 50, normal @ 80
        Ghosting: strong ghost image @ 28, all apertures
______________________________________________________________________________

PENTAX FA 28-105mm f/4-5.6: (POP: June, 1992)
        Focal lenght:           28.14mm         to      98.75mm
        Maximum aperture:       3.80            to      5.84
        Maximum magnification:  1:10.8 (0.26m/10.25")   1:2.9 (0.27m/10.5")
        Minimum aperture:       22              to      32
        Number of blades:       9
        Zooming:                80 deg. counterclockwise
        Focusing:               255 deg. clockwise
        Construction:           13/11
        Filter size:            58mm
        Weight:                 0.514 kg (1 lb 2 1/8 oz)


        28mm: (2.1% barrel distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        4.0     | A+  | A+  | A+  | A   | B   | C+  | D   |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------


        65mm: (0.7% pincushion distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        4.5     | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A+  | A   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A+  | A   |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        27.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------


        105mm: (0.7% pincushion distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | B+  | B   | C+  |
                -------------------------------------------
        32.0    | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------

        Lateral color: moderate @28, virtually eliminated @65
                       present in moderate quantity @105
        Light fall-off: gone by 1 stop down at all focal lengths
        Flare: very well controlled from max to min apertures
               at all focal lengths.
        Ghosting: strong ghost image @28, f/8-22 when backlit
______________________________________________________________________________

SIGMA 28-70mm f/3.5-4.5 UC: (POP: November,1990)
        Focal lenght:           28.58mm         to      65.59mm
        Maximum aperture:       3.54            to      4.41
        Maximum magnification:  1:13.7 (0.35m/1' 2")    1:5.88 (0.33m/1' 1")
        Minimum aperture:       22              to      27
        Number of blades:       6
        Zooming:                55 deg. clockwise
        Focusing:               124 deg. clockwise
        Construction:           11/8
        Filter size:            52mm
        Weight:                 0.328 kg (11 3/8 oz)


        28mm: (3.9% barrel distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        3.5     | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        4.0     | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------


        50mm: (1.2% pincushion distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        4.0     | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        27.0    | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------


        70mm: (0.9% barrel distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        4.5     | A+  | A+  | A+  | A+  | B+  | B   | C+  |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A   | B+  | B   | C+  |
                -------------------------------------------
        27.0    | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
______________________________________________________________________________

SIGMA 28-200mm f/3.8-5.6: (POP: Febuary, 1995)
        Focal lenght:           30.24mm         to      200.48mm
        Maximum aperture:       3.8             to      5.15
        Maximum magnification:  1:45.5 (1.39m/4'6.25")  1:8.1 (1.63m/5'4.125")
        Minimum aperture:       22              to      32
        Number of blades:       7
        Zooming:                90 deg. counterclockwise
        Focusing:               80 deg. counterclockwise
        Construction:           17/14
        Filter size:            72mm
        Weight:                 0.503 kg (1 lb 1 3/4 oz)


        28mm: (0.7% pincushion distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        3.8     | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A   | A   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------


        80mm: (1.1% pincushion distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        5.0     | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        32.0    | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------


        200mm: (1.7% pincushion distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        5.6     | A+  | A+  | A   | A   | B   | C   | D   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        32.0    | A+  | A+  | A   | A   | B   | C   | D   |
                -------------------------------------------

        Lateral colour: slight to moderate @28, dominant @80, moderate @200
        Field curvature: high across zoom range
        Flare: well controlled @wide/middle zoom settings, very noticeable @200
        Light fall-off: gone by f/11 @28, f/8 at longer focal lengths
______________________________________________________________________________

TAMRON 28-200mm f/3.8-5.6: (POP: April,1993)
        Focal lenght:           27.37mm         to      190.76mm
        Maximum aperture:       3.69            to      5.67
        Maximum magnification:  1:40 (1.55m/5' 1")      1:6.9 (1.61m/5' 3.375")
        Minimum aperture:       22              to      32
        Number of blades:       6
        Zooming:                90 deg. counterclockwise
        Focusing:               90 deg. counterclockwise
        Construction:           16/14
        Filter size:            72mm
        Weight:                 0.425 kg (15 oz)


        28mm: (2.4% pincushion distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        3.8     | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------


        100mm: (2.8% pincushion distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        5.6     | A+  | A   | A   | B+  | C+  | D   | F   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A   | B+  | B   | C+  |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------
        32.0    | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------


        200mm: (2.4% pincushion distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        5.6     | A+  | A+  | A   | B+  | C+  | C   | F   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | B+  | B   | C+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A   | B   | C+  | C   |
                -------------------------------------------
        32.0    | A+  | A+  | A   | B+  | C+  | C   | D   |
                -------------------------------------------
______________________________________________________________________________

TOKINA 28-70mm f/2.6-2.8 AT-X Pro: (POP: Febuary, 1995)
        Focal lenght:           29.93mm         to      70.15mm
        Maximum aperture:       2.61            to      3.02 
        Maximum magnification:  1:19.6 (0.51m/1'8")     1:8.1 (0.48m/1'7")
        Minimum aperture:       22
        Number of blades:       8
        Zooming:                70 deg. counterclockwise
        Focusing:               50 deg. clockwise
        Construction:           16/12
        Filter size:            77mm
        Weight:                 0.779 (1 lb 11 7/16 oz)


        28mm: (1.4% barrel distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        2.8     | A+  | A+  | A+  | A   | B   | C+  | C   |
                -------------------------------------------
        4.0     | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A   | A   | B   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------


        50mm: (1.4% pincushion distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        2.8     | A+  | A+  | A+  | A   | B   | C+  | C   |
                -------------------------------------------
        4.0     | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A+  | A   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A+  | A   |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------


        70mm: (1.4% pincushion distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        2.8     | A+  | A   | A   | B+  | C+  | D   | F   |
                -------------------------------------------
        4.0     | A+  | A+  | A+  | A   | B   | C+  | C   |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A+  | A   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A+  | A   |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------

        Lateral colour: slight to moderate @28, slight @50, virtually none @70
        Field curvature: high @70, normal at 28 & 50
        Flare: well controlled at all focal lengths
        Light fall-off: gone by f/8 @ 28, f/5.6 @ 50, f/4 @ 70
______________________________________________________________________________

TOKINA 28-70mm f/2.8 AT-X: (POP: September,1992)
        Focal lenght:           27.69mm         to      64.69mm
        Maximum aperture:       2.72            to      2.84
        Maximum magnification:  1:18.8 (0.49m/1' 7.25") 1:8.2 (0.5m/1' 7.75")
        Minimum aperture:       22
        Number of blades:       8
        Zooming:                80 deg. clockwise
        Focusing:               60 deg. clockwise
        Construction:           16/12
        Filter size:            72mm
        Weight:                 0.610 kg (2 lbs, 5 1/2 oz)


        28mm: (1.9% barrel distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        2.8     | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        4.0     | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------


        50mm: (1.3% pincushion distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        2.8     | A+  | A+  | A   | B+  | C+  | C   | D   |
                -------------------------------------------
        4.0     | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A+  | A   | A   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A+  | A   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | A   |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------


        70mm: (1.8% pincushion distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        2.8     | A+  | A+  | A   | A   | B   | C   | D   |
                -------------------------------------------
        4.0     | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A+  | A   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | A   |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
______________________________________________________________________________

Pentax FA 70-210mm f/4-5.6 (POP: May, 1992)
        Focal lenght:           69.73mm         to      188.90mm
        Maximum aperture:       4.10            to      5.33
        Maximum magnification:  1:11 (0.92m/3' 0.25")   1:4 (0.91m/3')
        Minimum aperture:       32              to      45
        Number of blades:       9
        Zooming:                90 deg. counterclockwise
        Focusing:               260 deg. clockwise
        Construction:           10/8
        Filter size:            49mm
        Weight:                 0.465 kg (1 lb, 3/8 oz)


        70mm: (1.2% barrel distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        4.0     | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A   | A   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | A   |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        32.0    | A+  | A+  | A+  | A+  | A   | B   | C+  |
                -------------------------------------------


        135mm: (1.0% pincushion distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        4.5     | A+  | A+  | A   | A   | B   | C   | D   |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A   | A   | B   |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        32.0    | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------


        200mm: (1.2% pincushion distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        5.6     | A   | B+  | B   | C+  | D   | F   | F   |
                -------------------------------------------
        8.0     | A+  | A   | A   | B+  | C+  | D   | F   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A   | B+  | B   | C+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A   | B+  | B   |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        32.0    | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        45.0    | A+  | A+  | A+  | A   | B   | C+  | C   |
                -------------------------------------------

        Lateral color: slight @ shortest, negligible @ middle/longer
        Light fall-off: very well controlled; almost none at max aperture
        Flare: very well controlled @70, increased with focal length
               quite noticeable @200
______________________________________________________________________________

SIGMA 70-210mm f/4-5.6 UC: (POP: November,1990)
        Focal lenght:           70.39mm         to      202.81mm
        Maximum aperture:       4.02            to      5.70
        Maximum magnification:  1:12.7 (1.03m/3' 5")    1:4.5 (1.00m/3' 4")
        Minimum aperture:       22              to      32
        Number of blades:       6
        Zooming:                push/pull
        Focusing:               135 deg. clockwise
        Construction:           13/9
        Filter size:            52mm
        Weight:                 0.434 kg (15 1/4 oz)


        70mm: (0.7% barrel distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        4.0     | A+  | A+  | A+  | A   | B+  | B   | C+  |
                -------------------------------------------
        5.6     | A+  | A+  | A+  | A   | B+  | B   | C+  |
                -------------------------------------------
        8.0     | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A+  | A   | B+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A+  | A+  | A   | B   |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------


        135mm: (2.1% pincushion distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        4.5     | A+  | A+  | A   | B+  | C+  | C   | F   |
                -------------------------------------------
        5.6     | A+  | A   | A   | B   | C+  | D   | F   |
                -------------------------------------------
        8.0     | A+  | A   | A   | B+  | C+  | D   | F   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A+  | A   | B+  | C+  |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A   | B   | C+  | C   |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------
        27.0    | A+  | A+  | A+  | A   | B+  | C+  | C   |
                -------------------------------------------


        210mm: (1.6% pincushion distortion)

                  3x5   4x6   5x7  8x10  11x14 16x20 20x24
                -------------------------------------------
        5.6     | A+  | A+  | A   | A   | B   | C   | D   |
                -------------------------------------------
        8.0     | A+  | A+  | A   | A   | B   | C   | D   |
                -------------------------------------------
        11.0    | A+  | A+  | A+  | A   | B   | C   | D   |
                -------------------------------------------
        16.0    | A+  | A+  | A+  | A   | B+  | C+  | C+  |
                -------------------------------------------
        22.0    | A+  | A+  | A+  | A   | B+  | C+  | C+  |
                -------------------------------------------
        32.0    | A+  | A+  | A+  | A   | B+  | C+  | C+  |
                -------------------------------------------