Pentax KP–Sorta review–Part 2 After a… Uh… While

So I’ve had my Kp for a few months now – which to my brain is basically enough time for stars to form and die, civilizations to rise and fall, and monkeys to happily evolve into semi sentient sea-slugs. Anything over a month is lots to me. I still like the Pentax KP lots is the upshot.

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Take that shake reduction! I think at the time I was doing night landscapes and got bored.

I was planning a shootout between the K50 and the KP – but frankly I wound up selling the K50 after a few weeks – I literally just stopped using it, the Kp is a totally different class of camera. Between that and my Olympus EM5 I pretty well have my photography needs stitched up (maybe a medium format film camera… maybe a couple). Suffice it to say that the Kp is so far advanced from the K50 that it’s not funny (the K50 isn’t a bad camera, it’s actually quite a good camera, it’s like the canon 760d or the nikon d3200 – though both of those autofocus faster and quieter)

I haven’t spent much time using the K70, though the image quality seemed similar to the Kp – if image quality is all you care about then the K70 is a great buy, I use a camera all the time, so the extra ergonomics of the Kp are worth the money for me (especially as the K70 is $1200 and the Kp is $1800 here in NZ – the K70 would be about NZ$900 if the american pricing was carried across evenly).

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Pretty serious looking camera – I had a guy who was serving me in a shop say – “Ooh, nice. I have no idea what that is, but it looks really expensive” I suppose that’s something of an endorsement – it is a cool looking piece of kit.

The Kp is small enough to carry on a daily basis, but frankly it’s winter here, so I’m wearing a jacket – thus I tend to have my EM5 on me most of the time (jacket pocketable with the 20mm 1.7). I have shot a number of times documenting gallery shows and suchlike with the KP and the imaging potential there is exceptional.

I’ve documented a couple of exhibitions where other people simply gave up and let me have at it – they were using high end Sony and Canon cameras which were a generation or two old. So basically yes, it’s ideal for documentary photography. and surprisingly easy to manual focus in the dark. I wouldn’t buy it for sports photography.

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It was very very bloody dark, there were four bulbs in a 15×30 meter black painted space, that’s a projection on the wall – and I had to darken down the image about a stop in post and it’s still a bit bright to my tastes.

The ISO can be left to run to iso3200 or so in auto mode without any gratuitous grain – in a space which is evenly lit (ie no bright patches or super dark patches) you can push it to absolutely bloody stupid levels – I have shot at 64,000 iso with grainy but useable results. I used to routinely push b&w  film two or more stops so I quite like grain, the grain from the kp is quite natural although when you go over about 50,000ISO there is some faint green & magenta mottling when viewed at 100%. (this whole paragraph would have been bloody ludicrous five years ago).

 

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32,000 ISO – it’s grainy, but usable in this context – copy the address of the image and cut off anything after *.JPG to see it full size.

This low light performance is enhanced by a genuinely usable shake reduction system – I’m not sure what happens under the hood, whether the camera somehow bakes the file, but I’ve had basically grain free, sharp shots at 0.4sec, 1600iso and f2.8, it will also auto focus reliably and fairly quickly when it’s at least two stops darker than that(well, it’s not glacially slow anyhow – nothing else on the market is any faster in those light levels) . The shake reduction is far better then the k50, or frankly any other camera I’ve had hands on with.

Ergonomically I think it’s the mutt’s nuts, or some more appropriate animal’s body part colloquially used to denote good stuff. I tend to leave it set up with the raw button on the left side of the mount as a trigger for depth of field, and with it set to A mode I tend to have it set to rear dial = aperture, front dial = ISO & custom dial C1 set so that the second rear dial is EV compensation – it’s the closest thing to full manual override and this works well for me in that I don’t have to use the rear screen or take my eye away from the viewfinder when I am working (unless I’m using my sigma 10-20, just cos I tend to walk into stuff using that lens).

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Some leaf action.

One thing which I think has made the ergonomics even better for me is the medium size accessory grip (that’s my preference of the three), alongside a mod which looks bloody daft, but balances the rig nicely – that’s the poorly adjusted L plate which I have sticking out the left side of the camera by 40mm (1.5”) or so. As I said, it looks daft, but it’s great for carrying the camera and seems to help with the balance for larger lenses. Protects cables too.

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Nice ergonomics.

I have only used the flash for fill once, when photographing an artwork which was heavily spot lit in a dark room – it worked perfectly for that, and that is basically what it’s for – fill flash (or triggering strobes at a push). I frankly have no idea what the GN is, or the recycle time, or the spread for that matter. I very rarely use on camera flash, I’d rather use either natural light or else pocket wizards and a real strobe (or three).

It is really handy to have a fill flash on your camera but it won’t light up a room. I leave it dialed down ev –1.7 It never seems to blow out at that setting. I won’t show those photos as I don’t tend to show photos of other peoples artwork – it’s a bit weird to do that, and its not polite.

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I’m super pleased by photos of reflections right now – It’s great being this easily amused – 10 years of daily photography and I still learn something daily.

I don’t really see this as a camera that people would buy for landscape photography, though it works fine for this – nor would I buy one for sports or action photography – What I see this camera as is as either a ‘work’ camera or as a backup camera for someone who uses a K1 professionally. It is perfectly adequate for many things, and exceptional for several, but frankly its not a camera which I would see a wedding, landscape, product, etc photographer using as a main camera. Sure, it will work fine for these things, but there are better choices.

Using it as a backup camera for a K1 is logical, it uses most of the same gear, and will step in in a pinch (although it strikes me as more logical to just get another K1 and be done with it). As a work camera is where I see the real utility of the KP.

In my daily job I work as a photo technician in an art school (and no, I am not linking them), so I do a lot of installation setups, tech consulting, documentation including information layouts, some technical teaching, and one hell of a lot of admin work. It’s not exciting stuff really, though I generally enjoy it.

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A project I’m working on right now – that’s about 90% of the electronics involved. A post about this project is coming soon.

In this role the KP has become my go-to camera for stills. Most of the photos I take at work aren’t high end art shots, but rather they are documenting the condition of gear, they are documenting gallery shows for the schools Facebook page, I photograph a fair few paintings, some jewelry, setting up lights for people, and so forth – it’s basically the spec work you do when you are an art technician.

In this role I used to jump between my cellphone, Canon 60D’s, 760d’s, 5Diii’s, Pentax k50, Nikon d90’s, d7000’s, and Panasonic GH4’s (depending what was available and what I was doing). I still use my cellphone, especially for time-lapses, and very occasionally the GH4 for video. But for any stills I pretty much default to the KP as I know straight out that I can get the shot with no issues and quickly. I also know that I can get close as damn to the image quality of the 5Diii as is doesn’t matter.

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Very early morning with the white balance set blue, those smoke stacks are steam vents.

Keep in mind that I don’t do 40×60” prints and billboards for my day to day, most of what I do is documentation for digital and magazine size output – the KP will do a nice 40×60” if given a decent lens and decent lighting, it’s usually pretty hard to see much of a difference from full frame cameras at this scale – especially if you used to use 10mp cameras for the same stuff and are up to snuff with Photoshop prepress routines. Any camera which can do a 40×60” can do a billboard. For small images I have gotten away with using battery powered continuous lights and shooting at ISO3200 (the client couldn’t see any problems even when I mentioned it).

As far as video goes, it works just fine for static setups with a fairly static scene and no real camera movements, it has a audio input, and can be used with a laptop on wifi for a monitor, and also for sound mixing. So it’s fine for this sort of static studio shot (ie on tripod), but for anything with movements I basically think that m43 cameras typically do a better job – especially if they can film at 120p, which the KP cannot. I’ll probably use it for time-lapse at some point – I’m certain it’ll be great for time-lapse, though I’d probably use an external intervalometer and premiere pro rather than the internal video options.

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I mentioned earlier that I’m currently excited by reflections.

So yeah, as a travel camera with the ability to do some simple vlogging, yes, it’s fine, but as a dedicated video camera it won’t replace a m43 camera, or frankly even a cellphone. It’s a handy thing the camera can do rather than a reason to buy the camera – What it will do in terms of video which is a bit unusual is it will work quite nicely in extremely low light with it’s high iso performance, and that can be a segue into a thing which has been niggling at me since I brought it.

I’ve been reading reviews that say it looks like anything from a mirrorless camera through to it looks like a Pentax ME. It doesn’t look like these things at all, though it does look more like an Olympus Em5 than any other Pentax camera, Frankly it sorta looks like a Cosina CT1g also, but stylistically it looks to me like it was inspired by something else.

When I first brought the Kp I had a student look at it and excitedly say “Man, that looks like a handgun!”. He had a point – It really does look like is was inspired by a high end tactical firearm of some persuasion. I’m not really gun savvy enough to provide an example of what it might have been inspired by, but I can’t unsee it now, so I figured I’d share.

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My gun style shot – I’m not really a gun person, they look kinda cool, but I just don’t have much of a need to put holes in stuff. You can see my badly adjusted L-Plate mod here – makes a nice handle.

In a way the logical (to me) case-use for this camera seems a little similar to a handgun – Basically nobody ever (almost nobody I hope) has needed a handgun as a daily tool, that is, as a tool that they will use day in and out in the way that a carpenter uses a hammer, or a product photographer uses their camera. Rather it is a tool which you always have with you, which may have infrequent use, and may not be the absolutely perfect tool when or if it is needed, but it’d better freakin work if it’s needed, and you need to practice with it more than casually.

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It’s nice to have a weather proof camera, the weather was sleeting when this was taken.

I don’t see the Pentax KP as a tool which I will use to take thousands of frames each day, day in and out. I would buy a different, and probably much heavier camera for that case usage – This isn’t to say that the KP can’t do it – I’ve taken over 1000 frames in a day a couple of times, and I routinely take 100-200 frames per day even when I’m not actually photographing for a project – That’s not working,  it’s just cos I enjoy taking photographs.

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I’ve included this as an example of pulling back on a super contrasty shot – it was originally black shadows and a near white sky – I fiddled it in post. Lot’s of space to move stuff about in the raw file – I use DNG files rather than PEF.

I see the KP as a tool which I will generally have with me, and which will, in a pinch be able to produce the goods without any drama, hassle or screwing about. Despite the fact I work with camera’s I don’t generally go out of my way to call myself a photographer, and while I do take a lot of photographs it’s not the core of what I do (I tell people I plug stuff in). The Pentax Kp is good for this sort of work, It’s light, tough and flexible tool compared to any other options I have available.

It’s not a cheap tool, with an array of decent lenses it runs to $3000+ in the local currency, but that’s less than a canon 5Diii body only, and gives very nearly the same image quality in a smaller lighter form factor. It’s not the absolute best image quality out there, nor the fastest and most reliable autofocus, it’s not the smallest or lightest camera, it doesn’t have the best battery life* But it does fine, to very bloody well in these things, and all told I’m very happy using it, especially as I have a full set of lenses.

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Another very bloody early morning in paradise – Dunedin Harbor.

The down sides – Video, it’s just not so hot – if Pentax allowed the sensor stabilization to be used in video and for a higher data bit rate then it would be more useful. Also continuous AF is only average to be honest, it’s not awful, but I tend to leave the camera in central point and to manual focus when things get tough. The metal body can be a bit of a pain in cold weather, which isn’t a Pentax problem so much as a me problem.

* The rated battery life of 400 odd frames is pretty conservative, I have managed to get over 700 out of it including some video and flash without running it down. I think that the battery depletes according to how long it is switched on as much as how many frames it takes – I always have the rear screen off during stills shooting and I don’t chimp much, I also switch the camera off if I’m not using it. Having said that – you do need to buy spare batteries if you are considering heavy shooting or multi day excursions. I have several spares for every camera I own, so I don’t see this as a big problem apart from the eventuality of having to change batteries in bad weather. I’ve had to get out of the habit of leaving the camera switched on ready for shots.
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Just ‘cos I think it’s funny.

Mods

  1. The badly adjusted L plate – Gives it a handle, and protects cables – massively improves the balance.
  2. You can download a piece of software called Pentax KS2 remote from Source forge – it’s a bit twitchy, but it will let you tether the camera through wifi – that’s besides the cell phone app – I used them to trigger, not to transfer data.
  3. The grip size does make a difference, I’m looking forward to third parties making more-better ones.
  4. The old style 2.5mm cable release can be used with a simple audio adapter – I have a metal body 3.5mm four pole male to 2.5mm female – I’m using a 2.5mm canon style intervalometer with that, works fine.

The year the bears returned

We had always been told stories of the time of the bears. Gran mama told us that as a girl she had known men who bore terrible scars from hunting them… 

But then gran mama also spoke to fairies and peed the bed, so we didn’t listen much to her anyways. Then the ice started to come back, and the fishermen started disappearing.

Depth of field or boke

This is something I see commented upon a great deal – Many people refer to boke, or bokeh, boʊkɛ… Whatever.

The Japanese word boke (ボケ) means something along the lines of blur/haze/fuzz – but it’s the quality of the blur which is being commented upon, not the fact that it’s there. All lenses do boke. Well, any lens which you can focus at any rate, with a few disclaimers.

Heres a few tips;

1. The larger the sensor the more pronounced the out of focus blur will be

2. The longer the lens the more pronounced the out of focus blur will be

3. The converse to both of the above statements is true

4. None of this will automatically dictate the quality of the boke – or what the blur feels like – that’s more of a judgement call and a matter of finding out what a camera is good for (that is to say – it’s a matter of taste and highly personal).

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I love Holga’s for this – I tend to drill out the aperture plate to about f6 and modify the lens to focus closer 50cm so as I can get shots like this. The joys of 6x6cm frames, even fairly moderate apertures give nice depth of field on larger format cameras when you get nice and close.

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This is a shot which would have been vastly improved by my limiting my depth of field – This was at 55mm and 5.6, which I had no choice about, it was a reaction shot – the magpie just popped in to ask me if I had any spare food going to waste – it didn’t stick around too long – At f11 the buildings in the background would have been sharp, which would be even more distracting – at 2.8 they would have been blurry and disappeared to a greater extent – At 5.6 they’re not too intrusive.

As an aside, for some reason a lot of magpies in Australia really seemed to like me, I don’t know if it was because I sat still or what – they’d just drop what they were doing and come and visit me, they’d go through my pockets if I let them – They wouldn’t go near other people, even if offered food, Crows seemed to be fascinated by me too (the fascination was mutual). I thank my lucky stars it wasn’t hornets.

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Those two shots I just focused on something close and then recomposed – the first one is with a K10d (Brisbane city just after sunset – same view as the magpie shot above) – the second is with a mobile phone (no idea where) (and rather noisy now I look at it large)

 

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These two (obviously taken at the same time) were taken in my mums lounge, the paint on the wall is a warm mint sort of colour (quite a nice colour actually) – one had shadow behind hence the change in background colour.

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You can use a supplementary lens to achieve this sort of effect – this is a wide adapter for a mobile phone shoehorned onto a point n shoot which has been modified to see infrared. It’s kinda boke… Sorta.

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Pro tip – hold a bit of plastic in front of the lens to get interesting lens flare – Sorta boke, infrared with a really nasty lens – nothing was actually in focus, so it’s hard to judge the ‘out of focus quality’.

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Pinhole photos have infinite depth of field, but they’re typically blurry, it’s just physics, sometimes it works, sometimes it don’t. As an aside, I just now finally saw the rabbit that people commented on years ago (10 years now I think of it – I wonder what they’re up to).

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Digi infrared, a poked lens, and taking a snap out of a car window at 100kph – Technically awful, but I do like this shot.

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This has blur as an integral part of the shot, but it’s not properly a boke shot as such – In the background is a row of trees and a park, but all I wanted was a nice mid tone to make the spider web on the window 30cm away pop. Taken with a Canon 760d with an 18-135 kit lens at 135mm & 5.6.

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Classic boke shot – even got the cherry blossoms. Panasonic GX1 with a 25mm 1.4 cctv lens, probably at something more like f2 to control the backlighting, the boke is a bit squirrely, but that’s not a bad thing Smile – the branch is at about 30cm and the tree is maybe 1.5m away.

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The opposite – smaller aperture for depth of field – I wanted depth of field here so I stopped down and focused out a bit. This is taken just out of Alice Springs in central Australia on a rare rainy day. It’s normally a very very arid landscape. Pentax K10d 18mm f6.3

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Big head little car – Small aperture, large depth of field. – Oh, that’s Richmond in QLD Australia – Dinosaur capital of Australia – they have fantastic dino head rubbish bins and a waterskiing lake (which is pretty odd given it’s the Aussie outback and thus dry as f^*k).