Pentax K-5 at a glance:
- 16.3-million-effective-pixel sensor
- ISO 100-12,800 expandable to 80-51,200
- 7 frames per second
- 1080p HD video at 25fps
- Safox IX+ AF system
- Street price approx £1,000
Pentax K-5 review – Introduction
When Pentax introduced the K-7 in May 2009 as a replacement for the K20D, which was its only current DSLR at the time, it had been 18 months between releases. Simultaneously, the company released its entry-level K-x, which doubled the number in its DSLR range. Move forward another 18 months and Pentax has released the Pentax K-5 and K-r, doubling the range again.
This time the company states that neither of the new bodies replaces the older ones, and they are likely to line up alongside each other in the shops. The new Pentax K-5 sits at the top of the range as Pentax’s flagship DSLR model, while the K-r sits between the K-7 and K-x as an upper entry-level DSLR. This is good news for those who already own a Pentax DSLR and for those interested in buying one, because it suggests Pentax is pouring resources into developing and enhancing its DSLR range.
The Pentax K-7 was a real leap forward from the K20D. After testing the K-7 (AP 15 August 2009), it was clear that this was not just a wannabe enthusiast-level or ‘prosumer’ DSLR, and could hold its own with equivalent Canon and Nikon models. In fact, it boasted class-leading detail resolution and many unique features, such as a self-levelling sensor and in-camera HDR mode.
There is much to like about the K-7, and the good news is that the Pentax K-5 appears to have improved upon this model with a 16.3-million-pixel-resolution sensor (the K-7 has 14.6 million pixels), while maintaining elements that work such as a small, light yet rugged body. I look forward to seeing how much of a leap forward the Pentax K-5 is from the K-7, and whether it adds to the range or is more of a logical replacement for the K-7.
Features
Place the K-5 and K-7 bodies next to each other and, but for the name, it is not possible to tell the two apart. This means that the K-5 is relatively small and lightweight compared to its direct competition, but it is also well built, rugged and weather sealed. All the changes made to the K-5 are internal.
One of the more significant enhancements to the K-5 is the improved 16.3-million-effective-pixel sensor and 4928×3264-pixel output.
This is an increase from the 14.6-million-effective pixels found in the K-7 (and K20D), and notably the resolution is virtually equivalent to the Nikon D7000. Also, the sensitivity range can be extended to run from ISO 80 to ISO 51,200, which makes it the highest of any DSLR with an APS-C-size sensor.
Images can be saved as raw, JPEG and raw + JPEG simultaneously. As with previous models, the K-5 has two types of raw file – Pentax’s own PEF and Adobe DNG. To date, we’ve seen only a slight difference in image quality in favour of PEF files when using Pentax’s Silkypix software. However, the DNG files are more readily compatible with editing software and more convenient. JPEG files have four different qualities signified by stars on the display.
The K-5 matches the 7fps of the Nikon D300s, whereas the K-7 has 5.2fps. Around seven exposures at any one point (which is roughly one second) can be achieved at this rate in raw format. I found Pentax’s approximation of 30 exposures in JPEG format a little conservative, as I achieved up to 50 exposures. High-speed continuous shooting can be selected for focus or frame-rate priority, which helps in scenes of low light where focusing might be slow.
One slight criticism we had of the Pentax K-7 was its slow autofocus (AF) system. The K-5 uses a revised Safox IX+ AF, which is also found in the Pentax 645D. More on this later. Complacency could become an issue for the user, because there is a plethora of in-camera editing options to make changes post-capture. Significantly, this includes raw image editing. Shoot in raw and the user can adjust the white balance (WB), colour, tone and straighten horizon, to name but a few options.
In fact, there were no major in-camera image edits that could not be applied post-capture (see Features in use below). All the digital filter effects such as HDR capture, monochrome conversion and other tone settings can be applied for individual or multiple images in one go. Another handy feature in this menu is the image comparison, which splits the screen in half for closer inspection of two images.
In-camera shake reduction (SR) allows sharp shooting with up to 4EV slower shutter speeds, depending on the lens. This means that Pentax’s compatible lenses do not need built-in image stabilisation and can therefore be slightly smaller, lighter and cheaper than those that do.
As SR compensates for hand shake, it should be switched off when using the K-5 with a tripod. The SR system is also used for composition adjustments such as straighten horizon, and allows for up to 2° rotation with the sensor. There is an accurate auto horizon correction setting that can be switched on or off, which is much quicker than doing it manually.
This landscape made use of the automatic horizon correction
Pentax’s introduction of a digital level prompted others to follow suit and now this technology in several cameras. However, where the digital level of the K-5 has the upper hand over some of its competitors is that it not only detects tilt on the axis to the left and right, but also to the front and back.
This means the camera can be corrected for front and back tilt, as well as left and right. The level can be displayed by pressing the info button or by customising the button configuration to the raw/fx button, which can be found to the left of the lens. The digital level is less fiddly than using the spirit bubble on a tripod. Further to this and in emergency use, it is possible to rotate and crop images in-camera.
There are so many tools for shooting that I was hard pressed to find any missing functions. Remaining from the K-7 are multiple exposures with auto EV adjustment, interval shooting with start time and photo frequency control, while copyright data can be encrypted to file metadata.
A couple of new scene modes have been added, which includes cross-process. Lens correction for barrel and pincushion distortion can be applied to images both pre- and post-capture when the camera is used with Pentax DA, DA L, D FA and some FA lenses. Correction can also be applied for lateral chromatic aberration.
Features in use: In-camera raw editing
We have seen a number of improvements in what many cameras offer for playback and editing in-camera. Although in-camera raw editing is not unique to the K-5, the sheer volume of possibilities is impressive, and makes for fun shooting and editing. In playback mode, raw development can be accessed by pressing the down arrow button, and handily there is the option for single- or multi-image development.
Almost all the in-camera editing options are available and include white balance adjustment, JPEG and TIFF conversion, JPEG quality, tone mode with tweaks for elements such as saturation and sharpness, ISO bracketing ±1 stop, lens correction, noise reduction and shadow correction.
To develop multiple images, the user simply ticks the desired images and the current edit settings are applied to them all. When editing an image, it is saved as a separate file so the original is retained. There is a lot of fun to be had by scrolling through your images before you get home and applying various filters to your favourite shots.
Build and Handling
We really liked the body of the K-7, and the only difference between it and the K-5 is in the name on the top left on the front of the body.
The K-7 and K-5 share identical dimensions and weight, which means that the K-5 is smaller and lighter than its direct competitors, the Canon EOS 60D and Nikon D7000. Although the difference in size and weight between the K-5 and its competitors is fairly marginal, it is noticeable when walking around during a day’s shooting.
Despite its relatively small size for a camera of this level, the K-5 feels rugged and well built, with a magnesium-alloy body encasing its stainless-steel alloy chassis. There are 77 weatherproof seals to keep out dust and moisture. This is just as well because I tested the K-5 on several freezing cold and snowy days.
The body is complemented by Pentax’s rather limited range of weather-resistant (WR) lenses. I used the 18-55mm f/3.5-5.6 WR lens with the K-5, which requires a little persuasion to fit on and pull off as it locks extra tightly to the body.
Like the K-7, the K-5’s contours on the handgrip are ideally shaped to sit comfortably in the hand. The LCD screen is flush to the left of the back, which means that apart from the playback and delete buttons, and the shooting mode dial with metering switch, most of the controls are to the right of the screen and within thumb’s reach.
When the built-in GN13m @ ISO 100 pop-up flash is in use, it is positioned slightly further above the lens than the flashes of most other DSLRs. This is preferable because it can make for more flattering lighting for portraits and reduce redeye.
The menu is as simple as one could expect from a camera that offers so many functions, although I would like to see customisation options like those found in the competing Canon and Nikon models. However, it does not take long to become accustomed to the frequently used settings.
The four pages of custom settings include expanding the sensitivity settings to ISO 80-51,200, auto EV compensation and autofocus (AF) single and continuous frame settings.
White balance and Colour
Auto white balance gave much too orange results in this tricky abstract night scene. There is complete control over the colour temperature using Kelvin white balance
Both the white balance (WB) and custom colour modes can be accessed within thumb’s reach through the four-way controller to the right of the screen. By pressing the left arrow key AWB, ten presets (four of which are fluorescent), custom and Kelvin white balance modes are displayed. Up to three measurements can be stored for custom and Kelvin white balance modes and this is achieved simply by turning the shutter dial.
There are few situations where auto white balance (AWB) does not produce results virtually the same as the relevant WB preset. Of these, sunny conditions can at times produce slightly cooler images, while in tungsten light the results are a little warm, and tricky light from an outdoor lamppost results in images that are a little orange.
By pressing the right arrow key, the colour toning modes are accessed, of which there are nine presets. These include landscape, monochrome and vibrant for a sharper and more saturated effect. All can be fine-tuned with sharpness, contrast, key, hue and saturation adjustments, and the effects can be seen in Live View.
Generally, I kept the setting to natural for more accurate results and used the in-camera post-capture editing tool for creative effects. The default colour tone is set to bright and this produces punchy images, but there is an option for all tastes.
Metering
Like the K-7, the K-5 uses a 77-segment metering system. Metering modes are accessed by the dedicated switch on the bottom of the shooting-mode dial. I like having a dedicated dial for quick access, although the switch is tiny and a little fiddly to turn, especially as I was often wearing gloves during the test. The K-5 produces pleasing exposures in most situations.
When using the multi-segment metering mode, previous Pentax cameras like the K20D have a tendency to underexpose scenes that pose a wide dynamic range, such as a landscape with a large sky area. This can leave a dark foreground. Arguably, it is easier to extract detail from dark shadows than burnt-out highlights, so underexposure is preferable to overexposure.
Underexposure was addressed somewhat in the K-7’s 77-segment metering system, and the K-5 performs in a similar way. Only in scenes of wide dynamic range that would throw any metering system is the multi-segment metering unable to capture the range. Generally for such photographs, multiple exposures or high dynamic range (HDR) photography are better choices, and the K-5 offers HDR capture.
Autofocus
One slight niggle with the Pentax K-7 was the slow and noisy AF. The K-5 features a revised Safox IX+ AF system, which maintains the 11 selectable AF points, nine of which are cross-type. The main difference with the new system is that the 11 AF points are spread wider over the frame. The AF uses a dedicated AF assist lamp, which helps in low-contrast light.
Although the AF is still characterised by its noisy motor when it hunts for a focus subject in low-contrast light, the revised Safox IX+ is an improvement on its predecessor. I found it generally responsive and accurate, even in low-contrast light, and the situations in which it struggles to lock onto a subject are less frequent.
As the K-5 offers a shooting rate of 7fps, it may be of interest to action photographers. This makes the autofocus particularly important.
I spent a couple of hours photographing people snowboarding and sledging (and an overexcited dog running) down a hill during the snowy week using continuous AF mode. The K-5 is good at tracking moving subjects, especially if one is in the centre of the frame. Also, as the 11 AF points are set wider over the frame, the Safox IX+ has a larger and more forgiving focus area. The AF will struggle if the subject slips out of the focus area, and the two non-cross-type AF points on the edges of the AF area are of little help.
Although the AF system is quick in low-contrast light for single-frame shooting, in low light and crowded scenes the continuous AF takes longer to find a focused subject. This affects the frame rate.
In raw mode, seven frame per second shooting is available for one second
I took the K-5 to a floodlit football training session and in continuous AF with focus priority setting I could often only achieve two or three frames at a time. In the custom menu you can change the priority to frame rate, but the continual control over focus is compromised.As in the K-7, only manual focus can be used in the K-5 once recording has been started in video mode when the initial auto focus has been made.
Noise, Resolution and Sensitivity
Perhaps the most notable feature of the K-5 is its ISO range, which is expandable through the custom menu from its auto setting of 100-12,800 to a staggering ISO 80-51,200. Of all DSLRs with APS-C-size sensors, the Pentax K-5’s ISO of 51,200 has the highest sensitivity.
This is combined with a pixel output of up to 4928×3264 crammed into the APS-C-size sensor, which is an increase from the 4672×3104 pixels found in the K-7.
I am impressed with the level of detail in my images. Raw files are particularly sharp and images shot on our resolution charts reached 30 at ISO 100. Images shot at the maximum auto setting of ISO 12,800 still reached 24, which is equivalent to ISO 100 in many entry-level DSLRs. JPEG files are softer, but still resolve a lot of detail.
At ISO 100 files reach 28 and 24 at ISO 6400. JPEG files are softer still if noise reduction is applied. I turned off the noise reduction because distracting noise only really shows at much higher sensitivities, and in such conditions noise often adds atmosphere.
Although noise is evident at ISO 12,800, there is plenty of detail at this setting
Luminance noise is noticeable at around ISO 800, but only becomes striking from ISO 3200. Although obviously noisy, ISO 51,200 works in exceptionally low light and offers flash-free and atmospheric shooting.
Chroma noise comes into play at higher sensitivities too, and is most apparent in shadow areas, This can be helped a little by using shadow correction. To help counter distracting colour noise, images shot at such high sensitivities look much better converted to black & white.
Resolution charts: These images show 72ppi (100% on a computer screen) sections of images of a resolution chart, captured using a Sigma 105mm f/2.8 lens. We show the section of the resolution chart where the camera starts to fail to reproduce the lines separately. The higher the number visible in these images, the better the camera’s detail resolution is at the specified sensitivity setting.
Dynamic range
A wide dynamic range of over 12EV ensures detail is present in shadow areas
The K-5 holds no surprises with regard to its dynamic range and can capture more than 12EV. Highlight and shadow correction are possible individually through the dynamic range (D-range) setting and can be applied pre- or post-capture through the raw editing.
When the highlight correction is applied, the available ISO (in expanded mode) is raised to ISO 160 to enable underexposure for preserving highlights. Adding shadow correction boosts the dynamic range slightly, and used post-capture with raw files it shows that plenty of detail is retained in shadows.
HDR capture is available in JPEG format only, or it can be applied post-capture to raw files through the in-camera image-editing menu.
As well as auto, there are three levels of strength for HDR mode. I found that the auto mode generally produces pleasing results in most situations.
Auto align makes use of the shake-reduction (SR) system and is useful for HDR capture; SR compensates for movement when shooting without a tripod, as the multiple exposures are taken one after the other to form one image. Processing of HDR images is a little slow at around 20 seconds.
LCD, Viewfinder and Video
The K-5 shows no significant changes to the viewfinder from the K-7, which is slightly disappointing because we were not overly enamoured by it.
Although the pentaprism viewfinder has a 100% field of view that displays the whole scene, the view through it is quite dark. This is also the case with the data seen through the viewfinder, resulting in tricky viewing in dark, overcast and night-light conditions. That said, this did not deter me from using the viewfinder.
Live View is displayed via the 3in, 921,000-dot LCD screen. This is the same screen as found in the K-7, and the Live View button is to the right of the screen. I found the brightness, and the fact you can see exposure adjustments on screen as they are made, to be advantages of using Live View instead of the viewfinder.
Pentax has brought 1080p HD video to its DSLR range for the first time in the K-5, with a 1920×1080-pixel output at 25fps, while 1280×720 and 640×480 pixels are available at 25fps and 30fps respectively. There is an external microphone socket, and HDMI connectivity to view moving and still images directly onto a television.
Despite the plethora of post-capture editing available for still images, none can be used in-camera for video clips. The start and end times can be clipped and the excess footage is either discarded or saved as a new file.
Our verdict
With the launch of the K-5, Pentax has enhanced the core of the K-7 while maintaining its rugged, well-built yet lightweight body. The K-5 sits comfortably in the hand, has intuitive handling and with every genuinely useful feature present it is likely to please any enthusiast. A higher resolution offers larger prints, and the faster frame rate and sensitivity push the shooting boundaries to greater possibilities.
The K-5 has the same viewfinder as the K-7, which is still a bit too dim for me and, although the AF system has been enhanced, it struggles in crowded action scenes in low-contrast light., which is a shame as the better frame rate will be of interest to sports photographers.
Pentax states that the K-5 does not replace the K-7, but rather the two sit side by side in the range. However, a glance at the specification of the K-5 suggests otherwise, especially considering the advancements in the 18 months since the K-7 was launched. The K-7 started life at a similar price as the K-5, although it has come down a lot. Whether the K-5 is a worthy purchase for a K-7 owner will depend on how much they require the enhanced shooting and higher resolution.
The K-5 is solid, produces detailed images and boasts impressive low-light capabilities. Those looking to upgrade to an enthusiast-level DSLR won’t be disappointed because, in a competitive market, the K-5 fights its corner very well indeed.
Pentax K-5: Focal points
Dioptre
The switch to change the dioptre is available from above the viewfinder without needing to remove the eye cup.
Metering
This switch gives control for spot, centreweighted and multisegment metering.
Live View
Live View is accessed directly by this button and any changes to exposure are displayed.
Picture modes
There is direct access via this button to the nine different colour modes with fine-tuning for saturation, hue, key, sharpness and contrast. The default colour mode is ‘bright’.
Multi-exposure
Up to nine exposures can be taken on the same frame and there is the option for auto EV adjustment to ensure an accurate exposure.
Horizon correction
As well as the digital level gauge that acts like a spirit level, the auto horizon correction can be activated to level an uneven horizon during the image processing.
Cross-process
New to the K-series is the cross-process scene mode. Colours in this mode can be fine-tuned and up to three custom settings saved.
Interval shooting
Up to 999 exposures can be captured, with in-camera control over the start time of the sequence and set interval time between each photograph.
The Competition
Nikon’s D7000 is almost the same price as the K-5, and Nikon broke through its 12-million-pixel prosumer DSLR resolution barrier with a 16.2-million-effective-pixel sensor, which is virtually the same as the Pentax K-5. Canon’s EOS 60D has an 18-million-pixel resolution sensor and is around £200 cheaper, although its polycarbonate body is a compromise.
Nikon’s new metering system in the D7000 has 2016 pixels and 39 AF points, whereas the K-5 has 77-segment metering and 11 AF points. Of the three, the K-5 is marginally the smallest and lightest. It also boasts the fastest ISO, which can be expanded up to 51,200, and the fastest frame rate at 7fps, which matches the Nikon D300S but not quite the 8fps of the EOS 7D.
