How to answer and make this clear?
Well, take the subject first. It's some rusty steel structure on the stern of a commercial fishing boat; it's a support for a roller over which the ropes/cables which pay out the nets get drawn. This isn't vertical, but angled in two planes to the shooting perspective (there are two supports: one port and the other starboard but the one of interest is the closer of the pair).
The interest is the roughness of the rust on the main part of the structure combined with flaked paint. As it happened, the central focus zone of the viewfinder (the only one used for the checks) was more or less where I wanted to place focus, making it quite logical to adopt the belt and braces technique. Also, remember that the exposure was made at circa f8 which, on a 2.8/24mm lens and at the particular magnification in the shot, gives quite a wide depth of field. The eye-focusing is obviously made at f2.8 (and I understand about the possibility of focus shift on stopping down); but the electronic focus check is also having to operate at f2.8 so the two opinions should co-incide - no?
Why can't I tell where I was trying to focus? Am I an idiot? It might not be as simple (no pun etc.) as that (and the subject is not out of focus on the monitor), but it is very hard to guess, in retrospect, at which specific plane on a receding range of them (the rusty steel support) I was looking at the time of focusing. One bit of rust looks much as another and, with so much depth available, it masks problems when averything looks sharp anyway.
Really, the problem is evident at the very moment of focusing when the point inside the central a/f zone looks visually sharp but the light has failed to switch on. Ths isn't a case of allowing the camera to choose the focus - that's why I avoided buying a/f lenses even when I bought the F4s. Making my re-entry to 35mm, having dumped 35mm and the F4s for the Pentax 6x7 ll (yes, another sad day, largely driven by stock agency dogma), I avoided the F5 and bought one of the last available F3 bodies which I still have, along with a freezer full of assorted films... It and the D200 make an odd couple.
I agree that focusing on one spot and then recomposing the shot isn't best practice - that's the beauty of a screen - but I have to admit that I miss the cross-wedge system from film cameras too; great for speed and always seemed spot-on in my experience. But then, I never do sport; the closest I got to that was fashion or calendars where the big event was leaping into a wave...
Diopter setting of the pentaprism eyepiece. This is set at the point where the focus marks look sharpest to my eye.
Thanks for the suggestions.
Ciao - Rob C