PHOTO YODOBASHI

YODOBASHI CAMERA ONLINE PHOTO MAGAZINE

PENTAX K-3 II, smc PENTAX-DA* 16-50mm F2.8 ED AL [IF] SDM, 1/100, F11, ISO 100, Photo by T.Nakanishi

PENTAX K-3 II / SHOOTING REPORT

I have an impression that PENTAX employs surprising technologies in every new camera. For example, the predecessor K-3 had the unique "lowpass selector" that enabled photographers to choose whether they use the effect of lowpass filter or not. And, this K-3 II has even more surprising function, the new "Pixel-Shifting Resolution System," which takes multiple shots while moving the sensor. Such function had been employed for a handful of medium format digital backs from early on. However, PENTAX packed it into a small APS-C body. While shifting Bayer patterned pixels by one pixel for each image, it takes four images to be synthesized into a single composite image, enabling each pixel to get all RGB color information. While the majority of manufacturers are going for more pixels, PENTAX takes an approach to increase information per pixel, which I find truly amazing.

( Photography & Text : T.Nakanishi )

PENTAX K-3 II, smc PENTAX-DA* 16-50mm F2.8 ED AL [IF] SDM, 1/8, F11, ISO 100, Pixel Shift Resolution mode, Photo by T.Nakanishi

Let's start with the image shot with the Pixel-Shifting Resolution System. This is the level that I have to call "super resolution." The definition is far higher than the one shot without using a lowpass filter. The Pixel-Shifting Resolution System generates no false colors unlike Bayer patter sensors, and it is advantageous in attaining higher resolution, better tonal and color reproduction, and lower noise reproduction. Once I witnessed this stunning image quality, I cannot help but believing that taking multiple shots while moving the sensor is one of the best answers for digital photography.

PENTAX K-3 II, smc PENTAX-DA* 50-135mm F2.8 ED [IF] SDM, 1/15, F8, ISO 100, Photo by T.Nakanishi

This is a standard shot, whose resolution is high enough. Because I turned the lowpass selector off, the definition is pretty high.

PENTAX K-3 II, smc PENTAX-DA* 300mm F4 ED [IF] SDM, 1/8000, F4, ISO 100, Photo by T.Nakanishi

PENTAX K-3 II, smc PENTAX-DA* 50-135mm F2.8 ED [IF] SDM, 1/3, F11, ISO 100, Photo by T.Nakanishi

PENTAX K-3 II, smc PENTAX-D FA MACRO 100mm F2.8 WR, 1/160, F3.2, ISO 100, Photo by T.Nakanishi

PENTAX K-3 II, smc PENTAX-DA* 300mm F4 ED [IF] SDM, 1/320, F4, ISO 100, Photo by T.Nakanishi

PENTAX K-3 II, smc PENTAX-DA* 16-50mm F2.8 ED AL [IF] SDM, 1/500, F2.8, ISO 400, Photo by T.Nakanishi


PENTAX K-S2, Photo by T.Nakanishi

Side-by-side comparison. The left image is a normal shot (lowpass selector: off) and the right image was shot with Pixel-Shifting Resolution System (cropped to get the same magnification as the left image). Because the Pixel-Shifting Resolution System shoots four images, it's best used to shoot stationary subjects. While I shot the moment with the lowest wind, some portions are shaking. But, even so, the difference is quite obvious. It's ultra high resolution and I cannot believe it was shot with an APS-C camera.

PENTAX K-3 II, smc PENTAX-DA 12-24mmF4 ED AL[IF], 1/13, F11, ISO 100, Pixel Shift Resolution mode, Photo by T.Nakanishi

More examples shot with the Pixel-Shifting Resolution System. This system is great for high frequency subjects such as a vast forest. Meanwhile, this system demands even higher quality lenses.

PENTAX K-3 II, smc PENTAX-DA* 16-50mm F2.8 ED AL [IF] SDM, 1/20, F11, ISO 100, Pixel Shift Resolution mode, Photo by T.Nakanishi

As I already mentioned, the Pixel-Shifting Resolution System needs to be used for stationary subjects. You also need to shoot with a tripod and a timer to prevent the camera shake, as well. However, the reward for this little extra effort is enormous. The resolution of the soil's texture so terrifyingly high that I feel I can almost see the grains.


PENTAX K-3 II, smc PENTAX-DA* 16-50mm F2.8 ED AL [IF] SDM, 1/800, F4, ISO 200, Photo by T.Nakanishi

When shooting normally, you can take advantage of the powerful Shake Reduction. Together with the minimal level of mirror shock, you can shoot without worrying about the camera shake even when shooting indoor.

PENTAX K-3 II, smc PENTAX-DA* 16-50mm F2.8 ED AL [IF] SDM, 1/1000, F4, ISO 200, Photo by T.Nakanishi

As a K-3 user, I felt the K-3 II has better AF with higher accuracy and faster response speed, and I think it's due to the "SAFOX11" with high sensitivity and response as well as the latest algorithm for AF. I welcome this fundamental update because it allowed me to shoot with a good pace.

PENTAX K-3 II, smc PENTAX-DA* 16-50mm F2.8 ED AL [IF] SDM, 1/100, F4, ISO 400, Photo by T.Nakanishi

The K-series has a great high sensitivity performance, and this model generates even less noise. With this performance, I feel we are stepping into the new era when we don't call ISO 400 or 800 "high sensitivity."

PENTAX K-3 II, smc PENTAX-DA* 300mm F4 ED [IF] SDM, 1/250, F4, ISO 6400, Photo by T.Nakanishi

Noise becomes noticeable at ISO6400, but I feel I can almost use it regularly. With this camera, you can aim at the scenes that you had given up.

PENTAX K-3 II, smc PENTAX-DA* 16-50mm F2.8 ED AL [IF] SDM, 1/25, F8, ISO 400, Photo by T.Nakanishi

PENTAX K-3 II, smc PENTAX-DA* 16-50mm F2.8 ED AL [IF] SDM, 1/15, F11, ISO 100, Photo by T.Nakanishi


PHOTO YODOBASHI

Small update. Big leap for SLR cameras.

The hottest function of this camera is of course the Pixel-Shifting Resolution System. Because of the high resolution and profound rendition, I stopped being conscious about sensor size. The resolution of the K-3 was pretty high, but the one of the K-3 II is far higher. And, of course it comes with other minor updates. In addition, it inherits the toughness realized by the weatherproof construction, hyper controlling, and the compactness unique to an APS-C camera. At this moment, I can't ask for anything more from this camera. Do try it and you'll understand what I mean.

( 22.06.2015 )