Product Type: D-SLR Camera
Price: $1899 body only
Reviewed By: Paul Burrows
Magazine: Pro Photo: April 2011
Distributor: CR Kennedy & Co Pty Ltd
Who Sells What/Website: Pentax
If you thought the Pentax K-7 was packed with features then meet the K-5 which has even more goodies plus, just for good measure, a higher resolution sensor with significantly increased sensitivity. Report by Paul Burrows.
The K-5 is very similar externally to the K-7, but has a new sensor, upgraded processor and quite a few new features.
The standard set of ‘PASM’ exposure modes is expanded to include Sensitivity-Priority AE (Sv) and Shutter & Aperture-Priority AE (TAv).
The top deck info panel provides a comprehensive set of read-outs (including the electronic level indicator) and has built-in illumination.
The K-5 offers an extensive range of filter effects available at-capture or post-capture. The ‘Custom Filter’ feature enables up to eight effects to be combined, including soft focus, shading, distortion and a selection from a total of 18 colours.
The ‘Extended Bracketing’ function allows for auto bracketing over three frames for colour saturation, hue, high/low key adjustment (i.e. image brightness), contrast and sharpness. These parameters can also be combined.
Pentax has been the only D-SLR manufacturer to really leverage the additional JPEG processing capabilities virtually on tap via the imaging ‘engine’ that’s also performing basic duties such as applying the picture modes. This has been the basis of an ever-growing list of filter effects in Pentax D-SLRs which can be applied either at capture or post-capture plus a range of corrective functions which also continues to expand on successive models. All essentially only require the writing of additional software so it’s a bit surprising that rivals only dabble in this area.
Of course, there is the question about just how often some of these effects might be used – and it’s true that a few probably have very limited applications – but having them in-camera has obvious benefits and, as with conventional filters, experimentation can lead to interesting results. Additionally, Pentax is reducing the need for post-camera image processing even to the extent of providing RAW-to- TIFF/JPEG conversion on its latest D-SLRs.
The K-5 is to the K-7 as the entry-level K-r was to the K-x – namely essentially the same camera physically, but with a new and higher resolution sensor plus quite a long list of additional image processing functions. These include not only some new filter effects and picture mode presets, but also a faster continuous shooting speed and a step up in the video recording resolution from HD to Full HD. All of this is the work of the latest PRIME II processor (the initials stand for ‘Pentax Real Image Engine’) which is both more powerful and faster thereby enabling 7.0 fps for still shooting (up from 5.2 fps) and video recording at 1920x1080 pixels and 25 fps. You can get some idea of just how extensive are the K-5’s capabilities by looking at the length of the ‘Additional Digital Features’ entry in the specifications, and you won’t be surprised to learn that the printed instruction manual is all of 375 pages long. It’s worth noting there too, that this manual is one of the better ones, particularly in terms of the indexing which actually makes sense for a change (and actually matches the page numbers).
Seeing In The Dark
Many of the additional image processing functions added to the K-r over the K-x have also made their way into the K-5, including a ‘Cross Processing’ capture mode, Bleach Bypass and Reversal Film picture modes, and new filter effects called Sketch and Posterisation.
The new CMOS-type sensor has a slightly different imaging area to that of the K-7’s – although the focal length magnification factor remains at 1.5x – and a total pixel count of 16.93 million with the effective count being only marginally lower at 16.28 megapixels. This is a small increase over the K-7’s 14.6 MP (effective), but the native sensitivity has increased more significantly to the equivalent of ISO 100 to 12,800 and can be expanded a further two stops up to ISO 25,600 and 51,200. There’s also a small ‘pull’ step down to ISO 80.
The increase in effective resolution results in a slightly bigger maximum image size of 4928x3264 pixels for both JPEG and RAW capture. JPEGs can alternatively be captured in three smaller sizes and there’s a choice of four levels of compression labelled ‘Premium’, ‘Best’, ‘Better’ and ‘Good’. RAW images can be captured as compressed PEFs or uncompressed DNG files. RAW+JPEG capture is possible in whatever two file configurations are already set and there’s a RAW/Fx button on the lens mount which can be set to switch between any combination of capture formats.
RAW files can be converted in-camera into either JPEGs or TIFFs. There’s a total of 11 processing parameters available, including the image size and quality level, the ‘Custom Image’ mode, white balance setting, sensitivity, the lens aberration corrections, shadow correction and the colour space.
Image stabilisation is provided via sensor shift which Pentax calls ‘Shake Reduction’ (SR) and which gives up to four stops of compensation, depending on the lens focal length in use. With older lenses, the focal length can be input manually. Sensor cleaning is performed via ultrasonic vibration of the LPF and can be set to operate automatically when the camera is switched on or manually activated (via the Set Up menu) as required.
At The Movies
The four-way navigation keys for the menu system also serve as short-cuts for items which are typically frequently changed when shooting. The button marked ‘LV’ activates the live view function. The movie mode is engaged via the main mode dial.
The main monitor displays include a status screen which can show up to 25 items depending on the camera set-up. There’s a choice of six colour schemes.
The ‘Custom Image’ picture presets now number nine with the addition of Bleach Bypass and Reversal Film. Each of the standard colour modes has adjustable parameters for saturation, hue, sharpness, contrast and high/low key.
The Control Panel screen provides direct access to a range of settings including the filter effects, the ‘Custom Image’ presets and the various on-the-fly corrections.
Video clips are recorded in the Motion JPEG (AVI) format in either the Full HD resolution of 1920x1080 pixels or the HD resolution of 1280x720 pixels, both at 25 fps (PAL standard) with mono soundtracks. Additionally, the movie picture quality can be set to Best, Better or Good. Like the K-7, the K-5 has an input for connecting an external stereo microphone which is essential if you’re at all serious about using the video facility. The built-in mono mic simply lacks dynamic range and is very prone to picking up handling noise.
Video functionality is reasonably good and includes manual aperture selection prior to shooting (so depth-of-field can be adjusted), access to the digital filters and cross processing effects, and preselection of the white balance setting , the ‘Custom Image’ mode and subject distance via AF (using any point mode). Image stabilisation is available during shooting as is exposure compensation over a range of +/-2.0 EV and manual focusing control (with a magnified image for assistance).
The clip duration limitation is 4.0 GB or 25 minutes, whichever comes first, and it’s worth noting here that the K-5 doesn’t support the expanded-capacity SDXC memory cards straight out of the box, but firmware update Version 1.02 adds it. Incidentally, a subsequent upgrade, Version 1.03, is also available and primarily designed to improve the autofocusing operation in low light situations. As far as we can tell, no K-5s have shipped with these two latest upgrades already loaded (to check, switch the camera on while holding down the ‘Menu’ button and the firmware version will be displayed in the monitor screen). Our test example had Version 1.01 loaded.
Built Tough Externally, not a lot has changed over the K-7 which means the K-5 is a pretty traditional-looking camera in terms of both its styling and the control layout. It’s not a compact D-SLR, but no bulkier than the Canon EOS 60D or Nikon D7000 which are pretty much its closest rivals.
The construction comprises magnesium alloy covers over a stainless steel chassis with a total of 77 seals to provide protection against the intrusion of moisture or dust. The ‘WR’ series Pentax lenses are also sealed, including a substantial O-ring around the mount. As with the K-7, the K-5’s bodyshell is also insulated so the camera can function in subzero temperatures as low as -10 degrees Celsius.
The top panel layout still includes a monochrome LCD read-out panel (with built-in illumination), but like most current-generation D-SLRs, the K-5 also displays a comprehensive status screen in its main monitor and which comprises a total of 25 pieces of information. There’s also an interactive control panel which provides direct access to 13 functions, including the digital filters, ‘Cross Processing’ capture, the ‘Extended Bracketing’ modes, HDR capture and the various corrections (i.e. dynamic range, distortion, lateral chromatic aberration and tilt). Both these displays automatically re-orientate when the camera is held vertically and are available in a choice of six colour schemes – blue, grey, purple, red, B&W and orange. Beyond the control screen are short-cut keys for the main capture-related settings, namely ISO, white balance, the picture presets (called ‘Custom Image’ modes), the flash modes and the ‘drive’ settings which includes the self-timer, the auto exposure bracketing settings and mirror lock-up.
The K-5 has a total of nine ‘Custom Image’ picture presets. In addition to the new Bleach Bypass and Reversal Film, these are called Bright, Natural, Portrait, Landscape, Vibrant, Muted and Monochrome. Each of the standard colour modes has adjustable parameters for saturation, hue, sharpness, contrast and high/low key which varies the image brightness over a range of plus/minus four steps. Adjustments to both colour saturation and hue are plotted within a RGBCMY colour hexagon which shows the variations in colour space terms. The Bleach Bypass preset replaces the hue adjustment with a range of eight coloured toning effects (with green as the default) while the Reversal Film preset only has an adjustment for sharpness, but the colour saturation and contrast are already boosted to replicate the look of transparency film.
In the Monochrome preset the adjustments are for sharpness, contrast and high/low key plus contrast control filters and toning affects. The filters
are yellow, orange, red, green, magenta, blue, cyan and, interestingly, infrared while the toning effects range from cold-to-warm (i.e. blue-to-sepia) over plus/minus four steps. As before, the visual effects of each preset – and any fine-tuning – can be gauged on a preview image which is captured (but not stored), by flicking the camera’s power switch to a preview position.
The new ‘Cross Processing’ function was first introduced on the entry-level K-x and expanded on the subsequent K-r which is also what the K-5 has. There is a random setting which varies the effect for every image, but up to three of these can subsequently be saved as favourites and repeated. Alternatively, there are three preset colour shifts.
The K-5’s HDR processing has also been upgraded as per the K-r, so the facility fires off three frames in quick succession, adjusting the exposure with each by +/-3.0 EV with the option of Auto Align correction to ensure all three frames precisely match. The processing options are Auto, Standard or Strong 1 to 3 with this last setting delivering a very pronounced HDR ‘look’.
Alternatively, the K-5 has dynamic range expansion processing with separate adjustments for the highlights (either on or off) and the shadows (off, low, medium or high), but the two can be combined. The ‘D-Range’ corrections are performed via a combination of exposure adjustments for the highlights and tweaking of the tone curve for the shadows. If highlight correction is selected, the minimum sensitivity becomes ISO 200 to provide the extra signal ‘headroom’.
As mentioned earlier, the K-5’s many and varied digital filters and effects can be applied either at capture or post-capture, the latter including an HDR option as well. Many of these effects can be additionally varied so the choice of settings is truly huge... we worked out 120 alone for the at-capture filters and there are many more post-capture effects. A ‘Custom Filter’ option allows for up to eight effects to be combined, including soft focus, shading, distortion (type and level), a selection from a total of 18 colours and even Invert Colour.
The post-capture selection includes more elaborate effects such as Water Colour, Sketch, Pastel and Posterisation plus here, again, it’s possible to create a Custom Filter. A new file is created which possibly makes this the more desirable way to apply effects than at the point of capture. Up to 20 effects can be combined in the same image and it’s also possible to subsequently retrieve a previously used set of effects and apply them to a new image. Finally, there’s something called ‘Base Parameter Adjust’ which enables the image’s base brightness, saturation, hue, contrast and sharpness to be finetuned to enhance an effect. Experimentation is the only way to find out what the end result looks like.
Top panel layout is unchanged from the K-7 and includes a monochrome LCD read-out panel.
The K-5’s new sensor and upgraded processor deliver some noticeable image quality improvements over the K-7, including lower noise levels, enhanced colour fidelity (especially in terms of the more subtle shades) and high levels of detailing. Noise levels are low up to ISO 3200 and not excessive at either ISO 6400 and 12,800, but both the boost settings are quite noisy with noticeable losses in definition.
The K-5 has built-in correction processing for both lens- and camera-derived deficiencies. The former works with most of the CPU-equipped DA, DA L and D FA series lenses from Pentax (one exception, for example, being the 10-17mm DA fish-eye zoom) and corrects on-the-fly for distortion and lateral chromatic aberrations.
The camera-based corrections include ‘Composition Adjustment’ which allows for a framing shift of up to 24 steps up/down and/or left/right (equivalent to about +/-1.5 mm) and the application of up to +/-1.0 degree of level or tilt… provided any shifts have been no more than 16 steps. These corrections are applied to a live view image using the four-way navigation keys to make the shifts and the rear input wheel to apply the tilt corrections. As noted earlier, the Shake Reduction can be set to apply automatic tilt correction and the range here is +/-2.0 degrees. On a related topic, an electronic level indicator can be displayed in both the topdeck info panel and the main monitor screen, the latter including an ‘artificial horizon’ type graphic for yaw and a bar type graphic for pitch. Colour coding indicates the degree of displacement – red for extreme, yellow for moderate and green for when the camera is level.
Successive pressing of the ‘Info’ button – which is located adjacent to the monitor screen – cycles through the display options; i.e. status screen, control panel and electronic levels.
The live view image can also be configured to include a wide variety of information, including a real-time histogram, the highlight and shadow warnings, the level indicator and an exposure compensation scale. The ‘Custom Image’ picture modes, white balance settings, flash modes and drive modes can all be directly accessed when the camera is in live view and digital previewing is available. Actually, there’s a digital preview function which operates outside live view and displays the image with the highlight and/or shadow warnings and either luminance or RGB histograms. After checking, this image can then be either discarded or saved.
For image review/playback the screens include a luminance histogram superimposed over the image, a thumbnail with a full set of histograms (i.e. luminance plus RGB channels), both highlight and shadow warnings, and a detailed set of Exif data. The playback functions also include cropping and resizing, movie editing, the ability to save a white balance setting and a slide show function which allows for variable display times and transitional effects. Interesting are ‘Index’ which puts together a number of images into a proof sheet (in a variety of designs), and ‘Image Comparison’ which, you won’t be surprised to learn, displays two images side-by-side with the option of independent or simultaneous enlargement for checking focusing.
Thumbnails can be displayed in groups of four, nine, 16, 36 or 81 images and, at the other end of the size scale, the zoom playback allows for a magnification of up to 32x. Copyright information can be added to the Exif data, namely the photographer’s name and the copyright holder.
Pentax has equipped the K-5 with the same latest-generation, SAFOX IX+ autofocus moduleas is used in the medium format 645D. This still employs 11 focusing points, but promises enhanced performance in a number of areas, including response speed. Each of the focusing points can be selected manually plus there’s a ‘spot AF’ mode which uses only the centre-point.
Switching between the single-shot and continuous modes is done manually, and both have a pair of priority settings engaged via the custom menu. The single-shot mode can be set to either focuspriority or release-priority (i.e. the shutter will fire even if the subject isn’t in focus) while the continuous mode can be set to focus-priority or fps-priority which favours maintaining the shooting speed over keeping the subject in focus. There’s also a ‘Catch- In’ mode when the lens is prefocused manually and the shutter will be triggered automatically when the subject moves into focus.
Autofocusing in live view is, of course, via contrast- detection with the option of face detection AF/AE and an auto tracking function. It is possible to use the conventional phase-difference detection autofocusing in live view, but the image feed is interrupted. Manual focusing in live view is assisted by a magnified image, enlarged by up to 10x.
The K-5 has three metering modes – 77 segment multi-zone, centre-weighted average and spot. As has been the case on the last couple of generations of higher-end Pentax D-SLRs (and the 645D), the standard ‘PASM’ selection of exposure modes is supplemented by a couple of extras – ‘Sensitivity- Priority AE’ and ‘Shutter & Aperture-Priority AE’. In the sensitivity-priority mode – marked as ‘Sv’ on the mode dial and stands for ‘sensitivity value’ – the ISO can be changed on-the-fly via the rear input wheel and the exposure settings are changed accordingly. The shutter-and-aperture priority mode – marked ‘TAv’ on the mode dial – essentially works in the reverse. In other words, the ISO setting is automatically changed by the camera in order to maintain an aperture and speed combination regardless of changes in the light level.
Additionally, the K-5’s program control mode can be set to one of six aperture/speed selection lines designated Auto, Normal, High Speed Priority, Depth-Of-Field Priority – Deep, Depth-Of-Field Priority – Shallow and MTF Priority. These are all pretty self-explanatory, but the MTF Priority setting optimises the aperture selection to match the attached lens’s MTF curve (as obtained from the lens’s CPU). Program shift is possible in all settings and with either aperture or shutter speed priority depending on whether the front or rear input wheel is used.
This is also the basis of the K-5’s ‘Hyper’ switching between certain exposure modes. The ‘Hyper Program’ mode enables switching to either the aperture- or shutter-priority auto modes by simply using the appropriate wheel. In the ‘Hyper Manual’ mode, simply pushing a button sets the ‘correct’ exposure – as determined by the metering – and then it’s a case of making any required fine-tuning via adjustment of either the aperture or shutter speed.
As on the K-7, the K-5’s shutter is tested to 100,000 cycles and has a speed range of 30-1/8000 second which flash sync up to 1/180 second. The camera has a built-in flash with both an ISO standard hotshoe and a PC terminal for connecting external flash equipment. The built-in flash has red-eye reduction, fill-in, slow speed sync and second curtain sync modes plus various combinations of these. Additionally it can function as the commander unit in a wireless TTL flash set-up using dedicated accessory flashes. Flash compensation is available over a range of -2.0 to +1.0 EV, adjustable in 1/3 or ½ stop increments.
Pentax continues to expand the choice of in-camera filters and special effects that can be applied either at-capture or post-capture. Shown here (right) are Toy Camera, Sketch, Water Colour, Posterisation, Miniature and Monochrome Infrared.
There’s a host of white balance control and setting options, include the ‘Colour Temperature Enhancement’ (CTE) mode introduced on the K-7 and now also on the 645D (as well as the K-r). CTE boosts the predominant colour in an image so it does exactly the opposite of automatic white balance correction. An obvious application is with sunsets where the prevailing warmth will be enhanced.
There are nine white balance presets – including four for different types of fluorescent lighting – and provisions for storing up to three custom settings. Three manual colour temperature settings – selected from a range of 2000 to 10,000 degrees Kelvin – can also be stored. Fine-tuning in the blue-to-amber or magenta-to-green colour ranges is available for all the presets, the custom settings, the manual settings and the CTE mode.
White balance adjustment is included in an ‘Extended Bracketing’ function which allows for a total of six parameters to be varied over a sequence of three frames, either separately or in any desired combination. Extended Bracketing can also be combined with exposure bracketing In
addition to the white balance, EB includes saturation, hue, high/low key adjustment (i.e. image brightness), contrast and sharpness.
The auto exposure bracketing can be set to either a three- or a five-frame sequence, with adjustments of up to +/-2.0 EV per frame applied in either 1/3 or 1/2 EV steps. The exposure bracketing can also be combined with the exposure compensation’s range of +/-5.0 EV.
Speed And Performance
Seven frames per second is a cracking pace for a mid-range D-SLR with a conventional reflex mirror, but the K-5 delivers on the promise. Using a San Disk Extreme Pro SDHC card, the Pentax fired off a sequence of 42 frames – at the JPEG/large/premium – quality setting in 6.074 seconds. This represents a shooting speed of 6.914 fps which is only a whisker away from the claimed 7.0 fps. These test files were 10.5 MB in size so they were actually a little larger than the average Pentax quotes for this image size/ quality setting. During these timing tests it was also quite noticeable how quiet the K-5 is compared to the other D-SLRs capable of similar shooting speeds.
In terms of image quality we expected the K- 5 to be marginally superior to the K-7 and it was, particularly in the area of noise levels. The default
noise reduction processing does result in some slight softening in areas of fine detailing, notably textures, but it can be switched off or set manually to a low setting (for both high ISO and long exposure NR). Everything holds together very well up to ISO 3200 when some graininess starts to become evident in areas of even tone. This increases progressively at ISO 6400 and 12,800, but still isn’t excessive... these are usable files up to moderate enlargements. Both the boost settings are quite noisy and definition is significantly reduced, but interestingly the colour saturation doesn’t seem to suffer at all and the RAW files recorded at between ISO 6400 to 51,200 are noisier than the premium JPEGs.
The colour reproduction is excellent, but with some slight oversaturation of the reds which is only really problematic with very pale complexions and, of course, the camera provides plenty of scope for tweaking all the processing parameters of JPEGs (more than its rivals, in fact). Overall, the levels of detailing are very high and the dynamic range is good, but definitely benefits from the ‘D-Range’ processing which will slow down the maximum shooting rate achievable.
Particularly useful is the capacity to tweak the dynamic range expansion towards either the highlights or shadows as the prevailing contrast range demands. The HDR processing (which only works with JPEGs) requires experimentation to balance the degree of expansion while avoiding the tell-tale artificial look.
While it’s tempting to dismiss the various filter effects and processing options as gimmicks (and some are probably a bit limited in their uses), they can be, however, handy to have on tap.
Pentax is a minnow compared to Canon, Nikon and Sony, but it continues to serve it up to the ‘big three’ in the D-SLRs categories in which it competes. The K-r is easily the most capable entry-level model on the market at the moment and the K-5 not only competes successfully against its similarly-priced rivals, but doesn’t look too shabby alongside pricier models such as the D300S or EOS 7D. It simply can’t be beaten for features and these are supported by excellent imaging performance. Bear in mind that both the D7000 and EOS 60D are exceptional cameras – each with their own specific strengths – but the K-5 easily holds its own against them. A couple of little operational niggles remain, but regular users would soon learn to live with these and they certainly don’t detract from the K-5’s overall competency and cohesiveness of design. Pentax’s edge in SLRs has always been the value-added aspects of its models and this continues most emphatically with the K-5.
Price: $1899 body only
Type: Fully automatic digital SLR with Pentax K-AF bayonet lens mount.
Focusing: Automatic via 11-point wide-area system using phase-detection type CCD sensor arrays (including nine cross-type arrays). Focus points may be selected manually or by the camera. Manual or auto switching between one-shot and continuous modes, the latter with a predictive function. Sensitivity range is EV -1 - 18 (ISO 100). AF assist provided by built-in flash.
Metering: 77-zone evaluative, centre-weighted average, spot and P-TTL flash. Metering range is EV 0 to 21 (ISO 100/f1.4).
Exposure Modes: Program with shift (plus a manually adjustable program line), shutter-priority auto, aperture-priority auto, sensitivity-priority auto, metered manual, and P-TTL flash. ‘Hyper Program’ switching between program and either aperture-priority or shutter-priority AE modes. Sensitivity priority program mode sets optimum aperture and speed for a given sensitivity setting.
Shutter: Electronic, vertical travel, metal blades, 30-1/8000 second plus ‘B’. Flash sync to 1/180 second. Exposure compensation up to +/-5.0 EV in ½ or 1/3 stops increments.
Viewfinder: Coverage = 100% vertical/horizontal. Magnification = 0.92x (50mm lens at infinity). LCD display and LED focus point indicators. Interchangeable focusing screens (choice of four). Eyepiece strength adjustment built-in.
Flash: Built-in pop-up unit with GN 13 power (ISO 100/m). External flash units connect via hotshoe or PC terminal.
Additional Features: Magnesium alloy bodyshell over a stainless steel chassis, bodyshell sealed against dust and moisture, auto exposure bracketing (over three or five frames), depth-of-field preview, AE lock, camera display panel (with built-in illumination), multiple exposure facility, intervalometer, dual-mode self-timer (two or 12 second delays), user’s settings memory, external LCD panel, audible signals, wired remote controller, wireless remote controller, auto power-off (variable delay), 27 custom functions.
Sensor: 16.93 million pixels CMOS with 15.7x23.7 mm area. Sensitivity equivalent to ISO 100-12,800 (expandable to ISO 80 and ISO 51,200).
Focal Length Increase: 1.5x
Formats/Resolution: Four JPEG compression settings and RAW output (lossless compression). RAW+JPEG capture. RAW images can be captured as either compressed PEF or uncompressed DNG files. Four resolution settings; 4928x3264 pixels, 3936x2624, 3072x2048 and 1728x1152 pixels. 24-bit RGB colour for JPEGs, 36-bit RGB colour for RAW files (captured at 4928x3264 pixels resolution).
Video Recording: Full HD = 1920x1080 pixels at 25 fps and 16:9 aspect ratio or HD = 1280x720 pixels at 25 fps and 16:9. SD = 640x480 pixels at 25 fps and 3:2. All movie modes have Best, Better or Good quality settings. Motion JPEG (AVI) format. Clip length of up to 25 minutes in duration or up to 4.0 GB in file size. Built-in mono microphone with stereo microphone input.
Recording Media: SD/SDHC. SDXC via firmware upgrade.
Continuous Shooting: Up to 30 frames at 7.0 fps in JPEG/large/best and high-speed mode, up to 20 frames in RAW/PEF mode (from firmware Version 1.01). Low speed continuous shooting at 1.6 fps.
White Balance: Auto/manual with ten presets, three custom settings, three manual settings, white balance bracketing and fine-tuning along the amberblue and magenta-green axes. Fine-tuning is available for the presets, manual settings and custom measurements. ‘Colour Temperature Enhancement’ (CTE) mode enhances the prevailing lighting tone. A ‘Digital Preview’ facility allows the effect of each preset to be visually gauged before capture.
Interfaces: USB 2.0/AV composite output, HDMI output, stereo mic input.
Additional Digital Features: Live view (with contrast-detection AF), automatic correction for distortion and chromatic correction (with DA and DFA series lenses), body-integrated anti-shake via sensor shift, manual leveling/composition adjustments (rotate and vertical/horizontal shift), electronic level display, auto horizon correction, built-in sensor cleaning, 7.62 cm LCD monitor (921,000 pixels), sRGB and Adobe RGB colour space, nine ‘Custom Image’ presets (Bright, Natural, Portrait, Landscape, Vibrant, Muted Bleach Bypass, Reversal Film and Monochrome.) with fine-tuning (for colour tone, colour saturation, contrast, sharpness, high/low key and highlight/shadow contrast adjust), B&W capture with filter and toning effects, capture filters (Toy Camera, Retro, High Contrast, Extract Colour, Soft, Star Burst, Fish-eye, Custom), post-capture filters (Toy Camera, Retro, High Contrast, Sketch, Water Colour, Pastel, Posterisation, Miniature, Base Parameter Adjustment, Monochrome, Extract Colour, Soft, Star Burst, Fish-Eye, Slim, HDR, Custom and 18 colours), cross processing function (Random, Preset 1/2/3 and Favourite 1/2/2), HDR capture mode (three exposures with Auto, Standard or Strong 1/2/3 variations), dynamic range expansion (highlight and/or shadow correction), multiple exposure facility (2 to 9 with auto EV adjustment), histogram display (luminance and RGB channels), highlight/shadow alerts, noise reduction for long exposures, ‘Extended Bracketing’ function (for contrast, saturation, hue, high/lowkey adjustment, sharpness and white balance), intervalometer (up to 999 images, one second to 24 hours intervals), RAW-to-TIFF/JPEG conversion, day-by-day folders, adjustable image display time, playback zoom (up to 32x), auto playback (with variable display times and transitions), image rotate, 4/9/16/32/81 thumbnail displays, PictBridge support.
Power: Rechargeable 7.2 volts, 1860 mAh lithiumion battery pack (D-L190). Optional D-BG4 battery grip accepts extra li-ion pack or six AA-size batteries.
Dimensions (WxHxD): 131.0x97.0x73.0 mm (body only).
Weight: 660 grams (body only without battery pack or memory card).
Price: $1899 body only. $1999 with Pentax-DA 18-55mm f3.5-5.6 AL WR zoom.
Distributor: C.R. Kennedy & Company Pty Ltd