I have the disc for the Pentax (Silkpix) software from when I bought my K-x a while ago. I used this software in the past on an XP laptop,. PKTether-the unofficial tethering solution for Pentax SLRs-has just been updated to a new version, we hear today. Created by Polish programmer Tomasz Kos, and originally known as 'Pentax Kx.

The Pentax K-x will save its raw files in either DNG (Adobe) format, or PEF (Pentax) format. Until Camera Raw 3.1 was released, I had my K-x writing DNG files, since there was no support in Apperture for PEF files.

With Camera Raw 3.1, the K-x is now explicitly included, so that I could switch to PEF format.My initial sense after doing that was that the PEF files were coming in darker than the DNG files had. But when I switched back to DNG, those were darker than I thought they should be, too. Since I had DNG files that had been processed with Camera Raw 3.0, I went back and made new versions, processing those with Camera Raw 3.1. Those, too, were much darker than the same files processed with the earlier raw developer. For examples,is from a K-x DNG master processed with Camera Raw 3.0, whileis from the same master, reprocessed with Camera Raw 3.1.

I've embedded the histograms shown in the inspector in each. Each of those has no adjustments applied. The JPEG image produced in camera (I shoot Raw+JPEG) is much closer to the brighter 3.0 image than the darker 3.1 image.I've seen one other report of similar behaviour with K-x images in here, but that took the approach that the solution was to revert to Camera Raw 3.0, for now, at least. I hate to move backward, particularly if it locks me out of any future updates.

So, does Apple have a history of recalibrating cameras that they've already released Raw support for? Might this change in a future Camera Raw update, or is this likely to be what they alway render for the K-x?I can get the new style images looking okay (in fact, they seem to have better noise characteristics) with a good deal of adjustment, but not if I confine my adjustments to the Raw Processing brick. There, Boost and Hue Boost are both maxxed out by default, already. If I add adjustments in the exposure brick, and maybe a few others, I can probably get a general set of adjustments that will work as a default for this camera, but how common is it to have to do that? From a discussion with Iliah Borg in that DPReview thread, I now understand what's going on. The darkness in the K-x images is a result of having Highlight Protection on. That shifts the exposure 1 EV darker.

The in-camera JPEGs, and raws developed by PDCU and Lightroom hide this, and shift everything but the brightest higlights back up to compensate. For the in-camera JPEG engine, that's probably the right thing to do, but where we have quite a bit of flexibility of highlight recovery when we process the raws, I'd rather not have the loss of dynamic range that that causes. So, I've turned highlight priority off in my camera, and my images look good, and don't squeeze the mid-tones down as they otherwise would. I'm glad Apple chose not to hide that from us, and believe their current calibration for the K-x is correct.

Yes, this was with Aperture 3. The darkness didn't start showing up in my DNG files until Camera Raw 3.1. Once it recognized them as K-x DNGs, rather than generic DNGs, they got darker. And the PEFs that it could now read were similarly dark.Yeah, it seems Apple screwed up with Camera Raw 3.1 in breaking DNG files that could previously be read. I wish they'd support new cameras regardless of the application used to read them, but I can see why they'd limit the K-x PEF support (which was basically new) to Aperture 3. They really shouldn't have broken DNG support, that had worked fine, for Aperture 2, though.So yeah, you probably either need to drop back to Camera Raw 3.0, or upgrade to Aperture 3. Aperture 3 mostly seems to work fine for me, at the moment.

There were some issues with importing my iPhoto Library that I've mostly worked out, and some quirks that were fixed by the 3.0.1 update. I'm not saying it's all better, but it's not the doom that one might imagine reading some of the threads here, either.I only had the trial version of Aperture 2, though.

I only got the K-x in late December, and before that, I had no need for raw processing. The software Pentax supplies is UGLY, though, and iPhoto wasn't cutting it, so I tried the Aperture 2 trial and the Lightroom 3 beta. I concluded that I much preferred Aperture to Lightroom, but I wasn't going to buy Aperture 2 when all the speculation was that Aperture 3 was right around the corner, or not coming at all. Since my Aperture 2 trial had run out, it wasn't a hard choice to buy Aperture 3 as soon as it came out. I do find I use the editing brushes more than I imagined I would, and I'm very happy that it now directly supports my camera - I've switched to shooting PEF raw instead of DNG raw. Thanks for pointing out the issue with the in-camera Hightlight Correction. The dreaded pink tint is no longer present on my new shots with HC turned off and I might reconsider buying Aperture 3 after the trial period is over.

Unfortunately I am not able to remove the tint from my older shots - the three colour channels of the histogram just stay kind of unequally displaced from the black point and no adjustments combination seems to get them to align. But that's OK since those shots are experimental at best 🙂. Apple Footer.This site contains user submitted content, comments and opinions and is for informational purposes only. Apple may provide or recommend responses as a possible solution based on the information provided; every potential issue may involve several factors not detailed in the conversations captured in an electronic forum and Apple can therefore provide no guarantee as to the efficacy of any proposed solutions on the community forums. Apple disclaims any and all liability for the acts, omissions and conduct of any third parties in connection with or related to your use of the site.

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This article needs additional citations for. Unsourced material may be challenged and removed.Find sources: – ( November 2008) This article discusses the – mainly – manufactured by ( ペンタックス, Pentakkusu) Ricoh Imaging Corp. And its predecessors, Pentax Corporation ( ペンタックス株式会社, Pentakkusu Kabushiki-gaisha) and Asahi Optical Co., Ltd. ( 旭光学工業株式会社, Asahi Kōgaku Kōgyō Kabushiki-gaisha).It covers from the first ' models in 1952 and their successor, the pivotal ', to the present time.

Contents.Background The period around 1950 marked the return of the Japanese photographic industry to the vigorous level of the early 1940s, and its emergence as a major exporter. The newly reborn industry had sold many of its cameras to the occupation forces (with hugely more disposable income than the Japanese) and they were well received. The saw a huge influx of journalists and photographers to the, where they were impressed by lenses from companies such as and for their Leica rangefinder cameras, and also by bodies by these and other companies to supplement and replace the Leica and Contax cameras they were using. The Asahiflex IIbThere has always been a close design relationship between the products of Asahi, and those made in Germany (and later East Germany) by a variety of manufacturers, most notably Zeiss Ikon. In the case of the Asahiflex, study should be made of the immediate pre-war and immediate post-war models of the Praktiflex, which could be properly called the inspiration for the Asahiflex. This is, however not very likely, since the cameras are very different in mechanical construction and form, although the specifications show many similarities. According to other sources, it was a pre-war Reflex Corelle, owned by president Mr.

Matsumoto, that inspired the Asahiflex. The camera was designed by two engineers who had previously worked at Konishi (Konica).The Asahiflex I had a non-interchangeable waist-level viewfinder, with a direct optical viewfinder for eye-level use. The Asahiflex I had a non-returning mirror and shutter speeds from 1/25 to 1/500. The camera used the M37 screw mount.

It went through some minor modifications for flash use, resulting in the IA. With the IIB a key advance was made: the quick-return mirror. The problem of mirror black-out was one of the main problems with prior SLR designs, greatly reducing usability and a major reason for the greater popularity of the rangefinder. With the IIB there emerged the first practical quick-return mirror, a vital innovation and one which was quickly adopted by other manufacturers. With the final model in the series, the IIA, the Asahiflex gained slow speeds from 1/25th of a second to 1/2 of a second.

Asahiflex I (1952–1953). Asahiflex IA (1953–1954).

Asahiflex IIB (1954–1956). Asahiflex IIA (1955–1957)Asahi-Pentax Series (pre Spotmatic). Main article:A recognized problem with the Asahiflex series was that, lacking a pentaprism, it was very difficult to use the camera in a vertical position and taking pictures of moving objects was almost impossible. The small viewfinder on top of the camera was of little use when the photographer wanted to use a 135 mm or 500 mm lens. The problem was recognized by Asahi. In 1957, Asahi introduced the Pentax series, a (SLR) which was so well received that it influenced the design of 35 mm SLRs worldwide for years to come. The Pentax and its later development and likewise classic 1964 spurred the development of Asahi into a photographic, eventually renaming itself 'Pentax' after its seminal product.

The Pentax series remains pivotal in the development of modern SLR photography.There is some confusion about the etymology of the name. Most sources claim it was licensed from VEB Pentacon the East German successor to Zeiss Ikon, and is derived from the combination ' PENTaprism' and 'cont AX', in the same way that 'Pentacon' was taken from ' PENTAprism' and ' CONtax'.

It's known that the 'Pentax' name was originally registered as a trademark by VEB Pentacon, duly noting that both the M42 lens mount and the first recognizably modern 35mm SLR camera, the Contax D, were products of the East German branch of Zeiss Ikon, circa 1949. There are other stories, too. The word PEN in Japanese actually means small, so you might think that this is the explanation, but it is'nt. In fact the name Pentax comes from a contraction of PENTAprism and AsahifleX. This was confirmed by the international sales department of Asahi Optical Co.

In 1999.The Asahi Pentax of 1957 featured:. Rapid-wind film advance lever. Main article:However, by the 1960s the clamour for in-camera exposure metering was rising. It was possible to attach an external CdS exposure meter to the later AP-derived models, but in 1960 the next breakthrough arrived. At the camera show, Asahi exhibited the Spot-matic prototype. This camera took exposure measurements, via a spotmeter, through the taking lens, an incredible innovation. The camera excited tremendous attention and in 1964 the first production Spotmatic (hyphen dropped) emerged.

The Spotmatic was virtually identical to the prototype; however, the spotmeter was replaced with an all-over average-reading exposure meter in order to give more consistent results. The camera was an instant success and was snapped up by the thousands, although Asahi had been beaten into production by the Topcon RE Super which went on sale in April 1963; the Topcon failed to attract the same degree of commercial success. The Spotmatic was replaced by the Spotmatic II with many upgrades 1971 - 1976.

Electro-Spotmatic with Super-Takumar 1:1.8 55mm lensIn 1966 Asahi Optical had produced one million SLR cameras since the first Asahiflex of 1962. It took them only another three years, until 1969, to reach two million. This period was a time of complete pre-eminence for Asahi Optical.

During the Spotmatic era Asahi were manufacturing more SLRs per month than all the other camera manufacturers combined. One of the technological highlights was the Electro-Spotmatic of 1971. This camera was one of the very first to incorporate automatic exposure.

The series concluded in 1973 with the introduction of the Spotmatic F (now incorporating open-aperture metering rather than the stop-down metering of the early models). 28mm f/2.8 SMC, 11 mm maximum shiftHowever, by the mid-1970s the limitations of the M42 mount were being felt. By this time most other manufacturers had opted for a bayonet lens mount. It was a great step for Asahi Optical to take but the M42 screw mount, by now widely known as ', had reached the end of its useful life. Pentax were now to adopt the that would see them through the next 40 years.Other prototypes In 1960, the same year that Asahi Optical introduced the Spot-matic prototype at photokina, they also showed another SLR prototype which they called the Metalica. The Metalica gave a glimpse into the future direction of Pentax cameras; it featured a prototype bayonet lens mount, a vertical-traveling, metallic Copal-type focal plane shutter (from which the camera drew its name), and an already obsolescent coupled selenium. The light meter was not TTL, but instead featured the typical large selenium mini-lens pattern on the front of the pentaprism.

Otherwise the camera resembled the Spot-matic in appearance. While Asahi Optical didn't put the Metallica into production, the concepts of a bayonet lens mount and a metal focal plane shutter were already being discussed internally at the company.In 1966 Asahi Optical showed another prototype called Metalica, sometimes referred to as Metalica II. Gone was the cumbersome selenium light meter, replaced with a now standard internal CdS meter.

Like the 1960 prototype, the Metalica had a bayonet lens mount, and also featured an improved Copal-square metallic shutter. But the biggest innovation was the fully automatic shutter operation coupled to the TTL meter. The metering system, for the first time in a SLR, controlled the shutter speed automatically based on the aperture set. With these innovative developments, the Metalica pioneered features that would not surface on Pentax production cameras until the Electro-Spotmatic (ES) (automatic aperture-priority exposure) in 1971 and K2 (vertical metal shutter, bayonet lens mount, automatic aperture-priority exposure) in 1975.

(Cecchi 1991:80-86)K Mount cameras. A Pentax K1000 SE with a SMC 50 mm f/2 lens. K2 (1975–1980).

K2 DMD (1976–1980). KX (1975–1977). KM (1975–1977). (1976–1997)Three new models were introduced at once in 1975: the K2, KX and KM. What set these cameras apart from any earlier Pentax was the replacement of the M42 'universal' screw-lens mount with a proprietary bayonet mount system of its own, known as the K mount.

Still the basis for Pentax lenses and cameras today, the K mount offered greater convenience and enabled the production of faster lenses such as the 50 mm. To keep M42 users in the Pentax system, an M42-K Mount adaptor was offered, enabling them to continue to use their existing lenses, albeit with the loss of automation and needing to accept 'stop-down' metering, which causes the viewfinder's image to brighten or darken whenever the aperture's f/stop is changed.The K series cameras followed the design ethos of the previous Pentax Spotmatic series cameras, which were large and heavy, although rugged.

But by 1975 there was already a general move to smaller 35mm cameras, led by the, so even as the K series was introduced Pentax were working on a new camera line, the M Series which started to appear in 1976. All except the K1000 therefore had short production lives as the M Series took over the Pentax mid-range.The KM, the bottom of the original range, was almost identical to the Spotmatic F except for the K mount and the top plate cosmetics. It used a rather dated and slow CdS (cadmium sulfide) photocell for metering. The KX featured a better light meter using SPD (silicon photodiodes), visible aperture and shutter speeds in the viewfinder, and a mirror lock-up mechanism. The K2, the flagship model, incorporated aperture-priority autoexposure with a fully manually selectable range of shutter speeds from 8s to 1/1000. The only other aperture priority camera Pentax had made up to this point, the ES series, only had manual shutter speeds from 1/60 upwards. A special version of the K2, the K2 DMD, was introduced in 1976 that could use a data back and motor drive (hence 'DMD'), together with other enhancements that aimed it at the professional market.

Also in 1976 the K1000 was introduced, being the KM stripped of its self-timer, depth of field preview and some other facilities, and aimed at the lower end of the market in which it was very successful and continued in production until 1997, helped by the fact that for many years it was the usually recommended camera for students starting photographic or art courses.M Series. Pentax MXThe M series cameras were noted for their compact size, and are among the smallest 35 mm SLRs ever made, though they are quite heavy when compared to the plastic SLRs of the 1990s. Except for the MX, all were based on the same basic camera body, and featured aperture-priority exposure automation. While superficially resembling the ME, the MX was designed as a manual-only SLR system targeted to the advanced amateur or professional photographer, and had its own set of accessories that were mostly incompatible with the other M series cameras.

Conversely, the other M-series cameras were targeted squarely at casual users. None of the M-series, with the exception of the MX, featured a depth of field preview.The ME featured aperture-priority only automation with no manual override.The was entirely manual and resembled the earlier KX in features.The ME Super was an ME with a manual mode.The MG, MV, and MV1 were even simpler versions of the original ME.The ME-F was an early attempt at an autofocus SLR using a special 35-70mm zoom with a motor built into the lens. (1981–1988). (1976–1980). (1980–1987).

(1982–1985). MV (1979–1982). MV1 (1979–1982). (1976–1985)LX. Pentax LX with accessory grip and FA-1 finderThe model was a tough, professional-grade competitor to the, the, and RTS cameras. It replaced the K2 DMD as the Pentax 35mm flagship. It is rugged, weatherised and sealed against dust, yet compact and light.

It has interchangeable (more than any of its rivals) and; the S69 screen is particularly bright. The LX uses an advanced metering system that also reads the light falling on the film and the first shutter curtain during exposure, the OTF (off the film) feature, a patent, but utilised in the Olympus OM-2 in 1975. The selected aperture value and shutter speed are shown in the viewfinder. It had a large range of accessories which were mostly not interchangeable with other contemporary cameras. It remained in production for more than 20 years. LX (1980–2001)A Series The A series added fully programmed exposure control (adjusting both aperture and shutter speed automatically) to the M series. To enable control of the lens aperture by the camera body, it used the new KA-mount, a backward-compatible modification that also allowed the array of standard K-mount lenses to be used in manual and aperture-priority exposure modes.

The A series were the first cameras from Pentax to use LCD digital displays for exposure information in the viewfinder. The super A / super PROGRAM and the program A / program PLUS both used a translucent white window on the front of the pentaprism to provide backlight to the LCD display without having to use the battery for illumination. (1983–1987).

program A / program PLUS (1984–1988). A3/A3000 (1985–1987)P Series The P series featured fully programmed exposure control (in addition to manual mode), film speed setting (defaulting to 100 if the code couldn't be read), exposure lock and preview. All but the P3/P30 also offered, and the P5/P50 offered exposure compensation of ±3 EV. P5/P50 (1986–1989). P3/P30 (1985–1988).

P3n/P30n (1988–1990). P30t (1990–1997)SF Series The SFX (called the SF1 in the US) was the world's first AF SLR with built-in auto flash, which is retractable. Pentax has referred to the built-in flash as 'RTF' (Retractable TTL Flash) ever since then.

Pentax SAFOX I (Sensor Ability Fortifying Optical Correction System) module was integrated to these series. (1987–1989). SFXn/SF1n (1989–1993). (1988–1993)Z/Pz Series The second generation of autofocus cameras from Pentax.

They are equipped with new SAFOX II autofocus module and power contact to enable power zoom function in power zoom FA lenses. PZ-10 (1991). PZ-1 (1991). PZ-20 (1992). PZ-50 (1992). PZ-1P (flagship model) (1994). PZ-5P (flagship model) (1994).

PZ-70 (1995)MZ/ZX Series. A photographer holds a Pentax MZ-5n with Metz flashlightThis innovative series brought the 'small and light' concept back from previous generation manual focus cameras. This series known as MZ models elsewhere were named ZX models in the USA except MZ-S, the MZ-5 being known as the ZX-5 in the USA.

The exception to this rule was the MZ-6 which was known as the ZX-L in the USA. Models shown on the same row are model replacements/upgrades in the range, so the MZ-10 was replaced by the MZ-7 which was subsequently replaced by the MZ-6.All members of this series are compact autofocus SLRs except the MZ-M. The flagship model in this series is the MZ-S which body materials are metal, faster film drive and higher flash sync speed. Only MZ-S and MZ-6 are compatible with newly introduced P-TTL flash system. Both models can control remote flash wirelessly by popup flash commander mode in normal or high-speed flash sync.SAFOX IV/V autofocus module are integrated into this series.Models which were also backward compatible with both the KA and K mounts:(Flagship model)MZ-3MZ-5 MZ-5nMZ-10 MZ-7 MZ-6/ZX-LMZ-M (manual focus version and no built in flash)Models which were backward compatible with the KA mount but not the K mount:MZ50 MZ30MZ60.ist Series (Film).ist (2003–2006)Digital MZ-D Prototype The, also known by its internal code name of MR-52, was a prototype.

It was announced at in September 2000 and was demonstrated to the press at the (PMA) show in January 2001. In October 2003, Pentax canceled the camera, stating 'The cost of manufacturing the prototype SLR 6-megapixel digital camera meant it was not a viable product for our target market.' .ist Series (Digital) In 2003 Pentax introduced their first Digital under Digital.ist series and released the first flagship model, the which uses a Sony 6 mega.

Since 2003, the.ist D is the only digital SLR that can control HS wireless P-TTL from its pop-up flash and has many advanced features for professional applications. In 2004 Pentax released the second member in the digital.ist line, the which is the first real consumer model (retailing under US$1,000). What set Pentax D and DS DSLRs apart from the competition was the clarity and high magnification provided by their pentaprism viewfinders, a very useful feature considering the support for legacy manual focus lenses. In 2005 Pentax released the, a model with fewer features than the D and DS with a lower price. All Pentax's digital SLRs are compatible with K-mount lenses, and M42 (42 mm screw mount) lenses (with adaptor). Due to the smaller size of the CCD, lenses have an effective field of view of 1.5 × times the same lens in 35 mm format.

So, where a 50 mm lens was considered a 'normal' lens on 35 mm film, that same lens on a 1.5× 'crop factor' camera has the field of view of a 75 mm lens on film. This only uses the center of the lens' projected image. To address this 'crop factor,' Pentax created a new series of lenses that were designed only to cover the smaller sensor. These are the DA series for their digital SLRs, which still feature the K-mount but have a smaller back-focus element designed specifically for use with the Digital SLR lineup.

The DA series lenses do not have a mechanical aperture ring and so are not backward compatible with some earlier film bodies. The later D-FA lens series re-introduces a mechanical aperture ring in some lenses and these are fully compatible with both film and digital SLRs.SAFOX VIII are integrated into this camera series.ist D Flagship model (2003–2006). Pentax K-5In May 2006, Pentax announced a new line of Digital SLR cameras to replace Digital.ist series.

The and replaced.ist DL2 and DS2, while incorporating in-body shake reduction in the K100D model. The, a new flagship model in Digital K series replaced.ist D, adopted 10-megapixel sensor and weather-sealing construction, was announced on 14 September 2006.The K10D featured a viewfinder (instead of the slightly dimmer on some previous models), full programmed, aperture and shutter priority modes, and a new Sensitivity-priority mode where the rear dial adjusts light sensitivity and the camera adjusts shutter speed and aperture to maintain correct exposure. Power contacts on the lens mount were introduced to enable Pentax's SDM for silent focusing. The power contacts also provide the power zoom function in some FA lens that Pentax introduced in the 1990s. In addition, the K10D could write JPEGs and two versions of files (PEF, and the Adobe specification ).The K100D Super was a slight upgrade to the K100D announced in June 2007. The upgrade included some features from the K10D, such as an improved shake reduction (SR) system, a dust removal system, and power contacts for SDM lenses, but which could not enable the power zoom function as the K10D.On January 23, 2008, Pentax announced the and, which replaced the K10D and K100D series respectively.

The K20D featured a 14.6 megapixel sized sensor, a special 21, on the display, and an increased sensitivity range extending to 3200. The K200D adopted the 10 megapixel sensor and weather sealing of the K10D, among other improvements, while retaining the smaller body size of the.The was announced on September 22, 2008 at the along with the DA-L series of lightweight, inexpensive lenses.On May 20, 2009, Pentax announced the as a replacement for the. It introduced an updated version of the sensor, but with an entirely new compact design. Notable new features included full metal body construction, a pentaprism viewfinder covering 100% of the frame, video capture, a quieter and faster shutter mechanism, and the ability to apply automatic corrections for lens distortion. This flagship model uses a 77 multi-zone metering system and updated focus - SAFOX VIII+. The K-7 was available from July 2009.In September 2009 the, was introduced to replace the entry level.

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A review by Imaging Resource emphasised its 'excellent high ISO performance' and 'excellent print quality'.In September 2010 Pentax announced the, a 6 frames per second 12.4 megapixel camera and the, a 7 frames per second 16.3 megapixel camera. These cameras use a new, faster autofocus system, SAFOX IX. Pentax K-01In February 2012 information about the was released.

It still uses the standard but lacks an optical reflex viewfinder. The K-01 quickly became one of the most controversial Pentax offerings, with criticism focusing on the innovative design, which many considered made the camera uncomfortable to hold, with poorly-placed controls, while acknowledging its strong image quality and low-light / high ISO performance.

Within months, the retail price had dropped by 50% and after a year the model was discontinued.Pentax announced a new mid-level DSLR, the, in May 2012. It has the same APS-C sensor and processor as the K-01, and is fully weather-sealed. With a XS lensIn September 2012, Pentax announced the successor to the K-5, the. It has the same APS-C sensor as the K-5, but has an improved autofocus sensor and a redesigned rear LCD with no air gap.

A version of the camera without an anti-aliasing filter would be sold as the K-5 IIs. Both cameras were released in October 2012.In June 2013 Pentax announced the successors to the K-30, the. Both are mid-level DSLRs, the K-500 being a stripped-down version of the K-50, having no weather seals and less-advanced electronics. Pentax K-500 uses 4 AA batteries (rechargeable Lithium battery is optional), while Pentax K-50 uses rechargeable Lithium battery.In October 2013 Pentax launched the successor to the K-5ii and K-5iis, the. The K-3 is the first DSLR to use its shake reduction system to function as an anti-aliasing filter. The medium format cameraIn March 2010 Pentax announced its first medium format digital camera, the.

The camera has been in and out of development since 2003 and went on sale in Japan in May 2010 at of ¥850,000, with supplies to the rest of the world expected to start soon after. It is targeted at professionals doing outdoor photography—camera body features very high level of airtightness. It uses a 40, 44 mm × 33 mm. At the same time, a new series of lenses designated D FA 645 (featuring Weather Sealing on all such lenses) was also released.The 51.4 megapixel CMOS sensor was announced in February 2014 at the CP+ 2014 Camera and Imaging Show.

Pentax Q. Pentax QIn June 2011 Pentax announced the ' mirrorless interchangeable lens camera and the 'Q-mount' lens system.

It has a small, 1/2.3 inch 12.4 megapixel LED Backlit CMOS sensor.Announced in September, 2012, the Q10 has a slightly redesigned body and an improved sensor. Most features and specifications were unchanged. The launch price was also lower than that of the Original Q. In June 2013, the next generation of the Q series, the Q7, was announced. The most significant change is that the Q7 uses a larger 1/1.7 inch sensor with the same 12.4 MP resolution. The Q-S1, largely a cosmetic update of the Q7 with the same sensor size and resolution, was announced in August 2014.Optio (Digital) The is a series of consumer digital cameras.

It is one of the earliest mass-market examples of a digital point-and-shoot camera.Full-frame format In early 2015, Ricoh announced development of a Pentax for release later in the year, and at the CP+ show in, a mockup was displayed that suggested the camera's potential specifications, including: an IR port for remote release, an anti-aliasing filter simulation mode, and an articulating rear LCD.On February 17, 2016 Ricoh unveiled the full-frame DSLR with 36MP sensor. The camera started shipping late April 2016. The updated K-1II was launched on 22 February 2018. url=Other formats.

Pentax 6 × 7 with a 75 mm f/4.5 shift lens.Pentax is one of the few camera manufacturers still producing cameras. As of 2012, there are two offerings, one in the 6×7 format—the, and one in the 6×4.5 format—Pentax 645NII. Both use or roll film. These cameras build on the Pentax SLR design experience. The shape of the Pentax 67 is broadly similar to a 35 mm SLR camera. By contrast, the Pentax 645 resembles other medium-format cameras by makers such as and, which tend to be cube-shaped.Previous models include the Pentax 645 and 645N, and Pentax 6x7 and 67.Another interesting product was the tiny reflex system, based on the film format.See also Wikimedia Commons has media related to.References. RICOH IMAGING LTD.

From the original on 2018-02-11. Retrieved 8 February 2018. Pentax Corporation. Archived from the original on 2007-12-24.

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