HD Pentax-FA 50mm F/1.4

Standard prime lens • Digital era


HD Multi-layer High Definition coating is applied to the surfaces of lens elements. This anti-reflection coating boosts light transmission, ensures sharp and high contrast images, minimizes ghosting and flares.
FA Autofocus lens with mechanical coupling with camera and MTF program line support.

Model history (12)

Asahi Super-TAKUMAR 50mm F/1.4 [358, 35800]A8 - 60.45m⌀49 1964 
Asahi Super-TAKUMAR 50mm F/1.4 [378, 37800, 37801]A7 - 60.45m⌀49 1965 
Asahi Super-TAKUMAR 50mm F/1.4 Gold 1970 
Asahi Super-TAKUMAR 50mm F/1.4 for SL [37802]A7 - 60.45m⌀49 1969 
Asahi Super-Multi-Coated TAKUMAR 50mm F/1.4 [37902] [Mod. M42]A7 - 60.45m⌀49 1971 
Asahi SMC TAKUMAR 50mm F/1.4 [37908] [Mod. M42]A7 - 60.45m⌀49 1972 
smc Pentax 50mm F/1.4A7 - 60.45m⌀52 1975 
smc Pentax-M 50mm F/1.4A7 - 60.45m⌀49 1977 
smc Pentax-A 50mm F/1.4A7 - 60.45m⌀49 1983 
smc Pentax-F 50mm F/1.4A7 - 60.45m⌀49 1987 
smc Pentax-FA 50mm F/1.4A7 - 60.45m⌀49 1991 
smc Pentax-FA 50mm F/1.4 ClassicA7 - 60.45m⌀49 2023 
HD Pentax-FA 50mm F/1.4A7 - 60.45m⌀49 2023 

Features highlight

Ultra fast
Body AF
8 blades


Production details
Announced:May 2023
Production status: In production
Original name:HD PENTAX-FA 1:1.4 50mm
System:Pentax K (1975)
Optical design
Focal length:50mm
Maximum format:35mm full frame
Mount and Flange focal distance:Pentax K [45.5mm]
Diagonal angle of view:46.8°
Lens construction:7 elements in 6 groups
Diaphragm mechanism
Diaphragm type:Automatic
Aperture control:Aperture ring (Manual settings + Auto Exposure setting)
Number of blades:8 (eight)
On Pentax K APS-C [1.53x] cameras
35mm equivalent focal length:76.5mm (in terms of field of view)
35mm equivalent speed:F/2.1 (in terms of depth of field)
Diagonal angle of view:31.6°
Closest focusing distance:0.45m
Maximum magnification:1:6.67 at the closest focusing distance
Focusing modes:Autofocus, manual focus
Autofocus motor:In-camera motor
Manual focus control:Focusing ring
Focus mode selector:None; focusing mode is set from the camera
Quick-Shift Focus System (QFS):-
Shake Reduction (SR)
Built-in SR:-
Physical characteristics
Maximum diameter x Length:⌀65×40.5mm
Weather sealing:-
Super Protect (SP) coating:Front element
Filters:Screw-type 49mm
Lens hood:RH-RC49 - Screw-type round
PH-RA49 - Screw-type round
Teleconverters:HD Pentax-DA 1.4X AF Rear Converter AW → 70mm F/2
Pentax Rear Converter-A 1.4X-S → 70mm F/2
Pentax Rear Converter-A 2X-S → 100mm F/2.8
Source of data
Manufacturer's technical data.

Compared to the smc Pentax-FA 50mm F/1.4 Classic

  • HD Pentax-FA 50mm F/1.4
    • Advantages: 0
    • Disadvantages: 0
  • Manufacturer description

    TOKYO, May 17, 2023-RICOH IMAGING COMPANY, LTD. is pleased to announce the launch of the HD PENTAX-FA 50mmF1.4 and the smc PENTAX-FA 50mmF1.4 Classic. Developed for use with PENTAX K-mount digital SLR cameras, these standard lenses feature large-diameter optical elements to cover the full-frame image circle of K-mount cameras, despite their compact dimensions.

    These lenses are designed based on the smc PENTAX-FA 50mmF1.4, which was launched in 1991 as a standard lens for film-format SLR cameras. In recent years, this base model has gained popularity because it delivers a distinctive image rendition at open and larger apertures -- a rendition completely different from those produced by today's digital-specific lenses.

    The HD PENTAX-FA 50mmF1.4 features the latest, high-grade, multi-layer HD Coating to assure high-contrast images with edge-to-edge sharpness, while the smc PENTAX-FA 50mmF1.4 Classic produces a unique image rendition resembling that created by a lens designed 50 years ago. Although both feature the same focal length and open aperture, they are designed to produce distinctively different image renditions, providing photographers with a choice of product depending on their creative intention and/or application.

    Main Features of the HD PENTAX-FA 50mmF1.4

    1. HD Coating* to enhance imaging power

    After a thorough review of the lens coatings applied to the ever-popular smc PENTAX-FA50mm F1.4, PENTAX decided to apply the latest, high-grade, multi-layer HD Coating to this new lens. Compared to conventional multi-layer coatings, this high-performance coating effectively reduces average reflectance and improves light transmittance, delivering clear, high-contrast images with minimal flare and ghost images, even in demanding lighting conditions such as backlighting.

    * HD stands for High Definition.

    2. New exterior design to match the latest digital SLR models

    While retaining the dimensions of its base model -- the smc PENTAX-FA50mm F1.4 -- this lens features a totally new exterior design, similar to that of the latest DA and D FA-series lenses. This makes it a perfect match for K-series digital SLR cameras.

    Main Features of the smc PENTAX-FA 50mmF1.4 Classic

    1. Distinctive imaging characteristics

    Through intentional fine-tuning of the lens design, this lens has been designed to produce a unique visual effect commonly known as rainbow flare when it captures an image at open aperture* and against strong backlight.** It lets the photographer change the position and size of rainbow flare by shifting the relative position of the subject and light source, creating a unique, one-and-only visual expression not available with the latest lenses. By closing the aperture down to F4 or smaller, the photographer can capture sharper, crisper images that are free of not only rainbow flare, but also ordinary flare and ghost images.

    * It may be difficult to create rainbow flare when the lens is mounted on an APS-C-format digital SLR camera, because the camera's image sensor is designed to use only the central area of the image circle.

    ** During shooting, the user is advised to mount an ND (Neutral Density) filter (included as a standard accessory), or a commercial ND filter designed to reduce light transmittance to lower than a 1/16 level, on the lens. When observing an image through the camera's optical viewfinder, the user is advised to avoid looking directly at strong light sources.

    2. Nostalgic design

    This lens retains the exterior design of the smc PENTAX-FA50mmF1.4, featuring a black matte finish and a matte-black focus ring. It has no green ring -- the symbolic design of recent PENTAX digital-specific lenses -- to recreate the nostalgic appearance of an old-time lens from the film-format SLR era.

    Common Features

    1. When mounted on a PENTAX digital SLR camera body, these lenses can be used as 50mm standard lenses in the full-frame format, or 76.5mm medium-telephoto lenses in the APS-C format. With a full-frame camera, they provide an angle of view close to that of the human visual field, making it an ideal choice for a wide range of applications, such as snapshots, scenic images and portraiture.
    2. The large F1.4 open aperture produces images with a very shallow depth of field.
    3. Water- and grease-repellent SP (Super Protect) Coating has been applied to the front surface of the lenses, making it easier for the user to wipe off water or stains.
    4. The eight-blade diaphragm control mechanism produces a soft, natural bokeh (defocus) effect from open aperture to F2.8, and also minimizes the streaking effect of point light sources.
    5. Designed to be fully compatible with older K-mount digital SLR cameras and film-format AF SLR cameras, these lenses allow the photographer to retain all camera functions, thanks to the aperture ring installed on the lens body, and the mechanism designed to couple the lens with the camera's motor-driven, in-body AF system.

    Typical application


    Ultra-fast full-frame standard prime lens • Professional model

    Professional model

    • Combination of focal length and speed meets professional demands
    • Compatible with teleconverters

    Missing features (2):

    Built-in autofocus motor • Weather sealing

    Genres or subjects of photography (7):

    Landscapes • Cityscapes • Buildings • Interiors • Portraits • Street • Travel photography

    Recommended slowest shutter speed when shooting static subjects handheld:

    1/50th of a second

    Alternatives in the Pentax K system

    Sorted by focal length and speed, in ascending order

    Lenses with similar focal length and speed

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    Table of contents
    Pros and cons
    Instruction manual
    Pentax-FA series lenses (51)

    Pentax-FA series lenses

    The smc Pentax-FA lenses were primarily designed to work with the Pentax autofocus SLR (KAF2- or KAF-mount camera), making autofocus shooting possible. When Pentax FA Power Zoom lenses were used on the Pentax KAF2-mount camera, the camera featured a Power Zoom System.

    FA J lenses had A (Auto) position only, no aperture ring to set a F-stop manually. The camera body controlled aperture settings on "A" position.

    Copyright © 2012-2023 Evgenii Artemov. All rights reserved. Translation and/or reproduction of website materials in any form, including the Internet, is prohibited without the express written permission of the website owner.

    35mm full frame

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

    In-camera motor

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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 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),


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


    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.


    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/1.4 on this lens, and cannot be adjusted.

    Automatic aperture control

    For Programmed Auto or Shutter-priority Auto shooting, set the lens aperture ring to the "A" position.

    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.


    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.


    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 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.