Pentax K-3 II

APS-C AF digital SLR camera

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Specification

Production details
Announced:April 2015
System: Pentax K APS-C (2003)
Imaging plane
Maximum format:APS-C
Mount and Flange focal distance:Pentax K [45.5mm]
Imaging plane:23.5 × 15.6mm CMOS sensor
Resolution:6016 × 4000 - 24 MP
Shutter
Type:Focal-plane
Model:Electronically controlled
Speeds:30 - 1/8000 + B
Sensor-shift image stabilization:Yes
Exposure
Exposure metering:Through-the-lens (TTL), open-aperture
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics
Weight:700g
Dimensions:131.5x102.5x77.5mm

Manufacturer description

Denver, Colorado, April 22, 2015 RICOH IMAGING AMERICAS CORPORATION is proud to introduce the PENTAX K-3 II Digital SLR; refining the ultimate field camera. Developed as the successor to the award winning PENTAX K-3, the new K-3 II shares its predecessor’s magnesium alloy casing, metal chassis, 24.35 effective megapixel resolution, 27-point AF system and approximately 8.3 frames per second shooting while adding an improved 4.5EV stop shake reduction system, new high-speed AF algorithm, GPS, gyro sensor panning detection and automatic horizon correction.

“The introduction of the PENTAX K-3 II marks our commitment to providing photographers with rugged high quality solutions that exceed our customers’ expectations,” said Jim Malcolm, President of Ricoh Imaging Americas Corporation. The “magic’’ we add to our cameras through the motion-controlled Shake Reduction (SR) technology helps our photographers shoot for the stars and capture images in stunning detail; no other manufacturer is offering such a variety of features in a single camera design.”

The K-3 II is the first camera in the PENTAX line to incorporate Pixel Shift Resolution® for capturing still life subjects with ultra-high resolving power. Pixel shift technology uses the camera’s in-body Shake Reduction mechanism to move the image sensor at single pixel increments, capture 4 separate images, which are subsequently combined into a single high definition image. Benefits include higher resolving power, reduced false color and improved overall image quality of non-moving subjects.

Building on the PENTAX K-3 camera’s rugged dust proof and weather-resistant construction, the K-3 II features a built-in GPS receiver, GPS log and electronic compass purpose- designed to stand up to demanding location work. The GPS system records shooting location, camera orientation, altitude, and provides a date/time stamp tied specifically to your images; all of which can be transferred to a computer and mapped using services such as Google Earth™.

By combining the power of GPS positioning with in-body shake reduction mechanism, the PENTAX K-3 II cameras exclusive built in ASTROTRACER® features tracks and photographs astronomical bodies such as stars and planets. The system uses GPS and orientation location data together with magnetic and acceleration sensors to calculate the motion needed to synchronize the CMOS sensor with the movement of the stars; making it possible to capture stars as points of light rather than star trails during long exposures.

“The original PENTAX K-3 has been my go to camera since it was first introduced,” said professional photographer Kerrick James. “Now with the addition of GPS, Pixel Shift Resolution, and 4.5EV stop shake reduction, my field photography is further refined and documented regardless of my remote location. This ensures my demanding shooting style will always be met and will provide my clients with consistently high quality photography.”

The new PENTAX K-3 II uses the advanced and intuitive user interface common to most PENTAX camera products. The system is compatible with a host of accessories including a versatile array of flash units, lenses, battery grip and interchangeable focus screens.

Pricing and Availability

The PENTAX K-3 II will be available at retailers nationwide and at www.us.ricoh-imaging.com in May 2015 for a suggested retail price of $1099.95.

Main Features

1. High-resolution images

The K-3 II combines an APS-C-size CMOS image sensor free of an anti-aliasing filter with the high-performance PRIME III imaging engine — identical to the one installed in the PENTAX 645Z medium-format digital SLR camera — to optimize the imaging power of approximately 24.35 effective megapixels and deliver sharp, fine-gradation images. It also effectively minimizes annoying noise generated at higher sensitivities, allowing high-grade, high-sensitivity shooting even at the top sensitivity of ISO 51200.

2. New-generation PENTAX-original shake reduction mechanism

(1) Upgraded in-body SR mechanism to assure the best shake reduction performance in the K series

The K-3 II comes equipped with a PENTAX-developed SR (Shake Reduction) mechanism that can be used with any compatible PENTAX interchangeable lens.* Thanks to its new, high-precision gyro sensor, this mechanism assures more stable, effective camera-shake compensation than ever before, with an extra-wide compensation range of as much as 4.5 shutter steps — the widest of all K-series digital SLR models. Even when taking a panning shot, this efficiently controls the SR unit to always produce the best image possible under the given conditions.

(2) New Pixel Shift Resolution System to deliver image resolutions higher than the image sensor’s capacity

The K-3 II features Pixel Shift Resolution System,** the latest super-resolution technology, which captures four images of the same scene by shifting the image sensor by a single pixel for each image, then synthesizes them into a single composite image. Compared to the conventional Bayer system, in which each pixel has only a single unit of color data, this new system obtains all color data in each pixel. This innovative system delivers super-high-resolution images with far more truthful color reproduction and much finer details, while significantly lowering the level of high-sensitivity noise. Recorded images can also be synthesized, either on a computer using the accompanying utility software, or with the camera’s in-body RAW-data development function.

(3) Innovative AA filter simulator to minimize moiré

By applying microscopic vibrations to the image sensor unit at the sub-pixel level during image exposure, the K-3 II’s AA (anti-aliasing) filter simulator*** provides the same level of moiré reduction as an optical AA filter. Unlike an optical filter, which always creates the identical result, this innovative simulator lets the user not only switch the anti-aliasing filter effect on and off, but also to adjust the level of the effect. This means that the ideal effect can be set for a particular scene or subject.

(4) Supportive shooting functions

The K-3 II’s SR unit has a flexible design that tilts the image sensor unit in all directions. This is one reason why the K-3 II can provide a host of handy shooting functions, including auto level compensation; image-composition fine-adjustment; and ASTROTRACER, which simplifies advanced astronomical photography.

3. High-precision, SAFOX 11 sensor module with 27-point AF system

The K-3 II features the sophisticated SAFOX 11 AF sensor module with an expanded image-field coverage using 27 AF sensors (25 cross-type sensors positioned in the middle). The center sensor and the two sensors just above and below it are designed to detect the light flux of an F2.8 lens, making it easy to obtain pinpoint focus on a subject when using a large-aperture lens. Thanks to the combination of a state-of-the-art AF algorithm and the advanced PENTAX Real-Time Scene Analysis System, this AF system assures much improved AF tracking performance in the AF Continuous mode, while providing an extra-wide measurable luminance range (–3EV to +18EV).

4. High-precision exposure control with PENTAX Real-Time Scene Analysis System

The K-3 II is equipped with the advanced PENTAX Real-Time Scene Analysis System, which is supported by an approximately 86,000-pixel RGB metering sensor. This system is designed to optimize the camera’s overall performance, not only by controlling exposure with great accuracy, but also by utilizing the data obtained by the light-metering sensor to further enhance the accuracy of autofocusing and white-balance adjustment. It has also expanded the measurable luminance level to as low as –3EV. By detecting the type of scene or subject using the RGB metering sensor, the K-3 II selects the exposure settings that are more consistent with the photographer’s creative intentions.

5. High-speed continuous shooting with a top speed of approximately 8.3 images per second

The K-3 II continuously records as many as 23 images in the RAW format, or 60 images in the JPEG format,**** in a single sequence. This has been made possible through the use of several innovative developments, including: a high-speed, highly accurate control mechanism that regulates the shutter, mirror and diaphragm independently; a damper mechanism that effectively minimizes mirror shock; and a high-speed data transmission system incorporated in the PRIME III imaging engine.

6. Optical viewfinder with nearly 100-percent field of view

The K-3 II’s glass prism has been treated with a coating that is designed to improve reflectance for a much brighter viewfinder image. With a magnification of approximately 0.95 times, its viewfinder provides a broad, bright image field for easy focusing and framing.

7. Full HD movie recording with an array of creative tools

The K-3 II captures Full HD movie clips (1920 x 1080 pixels; 60i/30p frame rate) in the H.264 recording format. It also comes equipped with a stereo mic terminal for external microphone connection and a headphone terminal. The user can even adjust the audio recording level manually and monitor sound pressure levels during microphone recording. In addition to a host of distinctive visual effects available for movie recording,***** the K-3 II also provides the interval movie mode, which captures a series of 4K-resolution movie clips at a fixed interval

8. Built-in GPS module

Thanks to its built-in GPS module, the K-3 II provides a variety of advanced GPS functions, including the recording of location, latitude, longitude, altitude and UTC (Universal Time Coordinated) and direction at the time of shooting. The user can easily access images containing GPS data using a computer, to browse them, check on shooting locations and position data on the screen, or save them. The user can also take advantage of some unique tools, including: GPS log, which keeps track of the photographer’s movement; Electronic Compass, which displays the camera’s direction on the camera’s LCD monitor; and ASTROTRACER, which simplifies the tracing and photographing of celestial bodies by coupling GPS data with the camera’s SR mechanism.

9. Large, easy-to-view 3.2-inch LCD monitor with approximately 103,700 dots

On its back panel, the K-3 II features a 3.2-inch high-resolution LCD monitor with approximately 103,700 dots and a 3:2 aspect ratio. In addition to its wide-view design, this monitor also has a protective tempered-glass front panel for added durability, and a unique air-gapless construction in which the air space between LCD layers is eliminated to effectively reduce the reflection and dispersion of light for improved visibility during outdoor shooting.

10. Compact, solid body with dustproof, weather-resistant construction

The K-3 II’s exterior casing, consisting of top and bottom panels and front and back frames, is made of sturdy yet lightweight magnesium alloy. Thanks to the inclusion of 92 sealing parts in the body, it boasts a dustproof, weather-resistant and cold-resistant construction, assuring solid operation at temperatures as low as –10°C. It also features a dependable, durable shutter unit that withstands 200,000 shutter releases. Despite all these features, the K-3 II has been designed to be compact and maneuverable, assuring remarkable operability and swift response in the field.

11. Other features

  • Dual SD card slots for memory card flexibility (compatible with SDXC UHS-1 speed class in SDR104 buss speed mode)
  • Smartphone-support functions using the optional FLUCARD FOR PENTAX 16GB
  • Top-grade DRII (Dust Removal II) mechanism for effective elimination of dust on the image sensor using ultrasonic vibration
  • HDR (High Dynamic Range) shooting mode with RAW-format data filing
  • PENTAX-invented hyper control system for quick, accurate response to the photographer’s creative intentions
  • Model dial with a choice of lock mechanism engagement (ON or OFF)
  • Compensation of various parameters: lens distortion, lateral chromatic aberration, diffraction, brightness level at image-field edges, and fringe effect (available in RAW-format processing only)
  • The latest version of Digital Camera Utility 5 software is included

Special limited editions (1)

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/ on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.