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Pentax K-5 II

APS-C AF digital SLR camera

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Specification

■ Production details
Announced:September 2012
System:● Pentax K APS-C (2003)
■ Imaging plane
Maximum format:APS-C
Mount and Flange focal distance:Pentax K [45.5mm]
Imaging plane:23.7 × 15.7mm CMOS sensor
Resolution:4928 × 3264 - 16 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:680g
Dimensions:131x97x72.5mm

Manufacturer description

Denver, CO (September 10, 2012) – PENTAX RICOH IMAGING AMERICAS CORPORATION today announced the introduction of its PENTAX K-5 II and K-5 IIs flagship digital SLR cameras, designed to advance the company’s well-received K-5 camera, which launched in October 2010. These new dustproof, weather-resistant and cold-resistant cameras include a newly developed SAFOX X AF sensor that delivers the broadest autofocusing EV range (-3 EV to +18 EV) in its class. In addition, the PENTAX K-5 IIs is offered without an anti-aliasing filter, making it the perfect solution for photographers who practice commercial and studio photography where camera settings, lens selection, lighting, and other shooting conditions are controlled.

The new PENTAX K-5 II / K-5 IIs offer a compact, solid body that delivers high quality image reproduction, especially when working in low light conditions. The camera’s new, highly sensitive AF sensor enables photographers to work with a luminous flux based on F2.8 levels in addition to F5.6, which increases the AF accuracy when using fast lenses. The AF sensor also includes an upgraded AF algorithm as well as the Select-Area Expansion feature, which automatically tracks the subject when it deviates from a pre-assigned selection point, by assessing data from neighboring sensors.

“The new K-5 II and K-5 IIs deliver an extensive range of photographic possibilities for the resolution-conscious photographer in all of us. As a successor to our popular K-5 camera, these new models offer upgraded features designed to produce superb image quality, including the new AF sensor which is especially useful for photographers working in low light conditions,” said John Carlson, Sr. Manager of Sales and Marketing, PENTAX.

Major features include:

High resolution CMOS sensor for true-to-life images with minimal noise

With its large sensor measuring 23.7mm by 15.7mm with approximately 16.28 effective megapixels, the K-5 II’s latest-generation CMOS image sensor ensures high-speed image data readout. By coupling the sensor with the PRIME (PENTAX Real Image Engine) II imaging engine, the K-5 II delivers super high resolution, rich gradation digital images free of digital noise over a wide sensitivity range – from ISO 100 to ISO 12800 in the standard setting, or from ISO 80 to ISO 51200 when expanded via a custom function.

High quality LCD monitor with outstanding visibility outdoors

The K-5 II includes a 3.0 inch, wide-view, air-gap-free LCD display with approximately 921,000 dots for excellent visibility when outdoors. Situated between the front glass panel (which is coated with an anti-glare film) and the LCD screen is a unique resin layer that alleviates the reflection and dispersion of light to effectively prevent ghost images and maintain image brightness. The LCD cover is also made of tempered glass to keep it free of scratches and abrasions.

Anti-aliasing filter-free feature of the K-5 IIs

The K-5 IIs is offered without an anti-aliasing filter, which is commonly found in many DSLRs to smooth computer generated imagery by decreasing high frequencies and distortion, but adversely reduces detail resolution. Without this filter, the K-5 IIs creates deeply rich, detailed imagery at supreme resolution levels.

Compact, solid body with dustproof, weather-resistant construction

The K-5 II’s exterior casing is made of sturdy and lightweight magnesium alloy, while its chassis is made of highly rigid stainless steel. With 77 special seals in its body, the camera offers a dustproof, weather-resistant and cold-resistant construction, assuring reliable operation at temperatures as low as 14°F (-10°C). It also features a dependable shutter unit for a top shutter speed of 1/8000 per second, and the ability to withstand as many as 100,000 shutter releases.

PENTAX-original SR mechanism

The camera features the PENTAX-developed SR (Shake Reduction) mechanism, which compensates for the adverse effects of camera shake by approximately three shutter steps for blur-free images. The SR mechanism works with a variety of PENTAX interchangeable lenses – even those designed for film-format cameras. Thanks to its flexible design, which shifts the image sensor unit in all directions within the image place, the K-5 II offers several useful features to assist the photographer during shooting, such as auto level compensation and image composition fine-adjustment functions.

Bright, clear optical viewfinder with a nearly 100-percent field of view

The K-5 II features a glass pentaprism finder with a 100% field of view and approximately 0.92-times magnification (with a 50mm F1.4 lens at infinity) for an exceptional view of the entire image field and improved accuracy while photographing. The camera is also equipped with the Natural-Bright-Matte III focusing screen to facilitate manual-focus operation.

High-speed, continuous shooting to capture up to seven images in one second

The K-5 II’s high-speed continuous shooting mode allows photographers to record as many as 30 images (in the JPEG format) in a single sequence at a maximum speed of approximately seven images per second. This is ideal when shooting fast-moving subjects such as athletes and wildlife – all with ease and precision.

Innovative image processing functions

A custom image function allows users to easily select the desired finishing touch for a particular image to help express their creativity. This function provides a choice of nine distinctive custom image modes, such as Bleach Bypass, which creates a solemn visual effect used in motion pictures, and Cross Process, which produces eye-catching images with unique, dramatic colors. The K-5 II also offers 18 built-in digital filters, including sketch and posterization, to add distinctive visual effects to images without the need for software-aided computer re-touching.

Additional features of the PENTAX K-5 II / K-5 IIs include:

  • Electronic Level function, with a vertical level scale
  • Automatic compensation of distortion and lateral chromatic aberration (available only with DA,D FA and FA Limited series lenses)
  • CTE mode, to automatically adjust the white balance to emphasize the dominant colors of a specific scene
  • DR II (Dust Removal II) mechanism, to effectively shake dust off the CMOS image sensor using ultrasonic vibration
  • PENTAX-original Hyper Control system, to swiftly and accurately respond to the photographer’s creative intentions
  • Dynamic range expansion function, to compensate for both whitewashed (overexposed) highlight area and blackout (underexposed) shadow area
  • RAW data retrieve function to save the original RAW data of a just-recorded JPEG format image
  • RAW/Fx button, for single-action switching of image file format, as well as for assignment and instant recall of a specific function
  • A choice of three grid patterns while in Live View mode, including “Golden Section”
  • Long battery life, for recording of approximately 980 images with a full recharge
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Table of contents
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Instruction manual
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Pentax K APS-C system cameras
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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.