Pentax Q

In summary

The most pocketable interchangeable-lens camera available provides a wealth of creative shooting effects.With the new Pentax Q, this innovative camera manufacturer has once again challenged convention by producing the smallest, lightest interchangeable-lens camera system currently available. Although the Pentax Q isn’t a retread of the company’s 1979 Auto 110 SLR camera, its designers have applied many of the same principles to give users a similar set of controls and functions to the company’s larger DSLRs. . . [more]

Full review

With the new Pentax Q, this innovative camera manufacturer has once again challenged convention by producing the smallest, lightest interchangeable-lens camera system currently available.
Although the Pentax Q isn’t a retread of the company’s 1979 Auto 110 SLR camera, its designers have applied many of the same principles to give users a similar set of controls and functions to the company’s larger DSLRs.

The new camera will be offered in black and white, with the lenses in silver with black trim. The available kit lenses cover popular angles of view, with the 8.5mm f/1.9 standard prime lens being roughly equivalent to a 50mm lens on a 35mm camera and the 5-15mm f/2.8-4.5mm lens ranging from 29-87mm in 35mm format.

Building such a small camera system was a brave decision that’s likely to polarise potential buyers because compromises were required to achieve the desired objectives. But the Pentax Q has a lot to recommend it, including the following:
1. It’s pocketable. Although too big for a shirt pocket, it will easily fit into a jacket pocket with any of the current lenses attached.
2. All the settings and controls required by serious photographers are included
3. This is a camera to experiment and have fun with. It provides more special effects than any comparable camera plus 21 Scene pre-sets. Many effects support additional adjustments.
4. It records raw files in the ‘universal’ DNG format.
5. Its built-in flash can be popped up above and away from the lens axis to minimise red eyes in portraits.

On the downside, three things could deter potential purchasers: the relatively high price tag of the basic camera kit, the small sensor, which is the same size as the sensors in the company’s Optio digicams and the limited range of compatible lenses. Compromises are required here, too, if you’re to get the most from this camera.

Only five lenses are available to date, two of them ‘toy’ lenses. Unfortunately, there’s no indication of third-party manufacturers being interested in producing lenses for the Q body. We don’t know if Pentax will provide an adaptor that allows K-mount lenses to be used on the Q body. (They would probably be too large for a comfortable fit.)

Concerning the sensor, it’s obviously different from the CCDs used in the Pentax Optio models and its photosites are marginally larger. Backlighting also improves light capture and sensitivity. Nevertheless, compared with the sensors in competing cameras, the Pentax Q’s sensor is very small, as shown in the table below (which also includes current RRPs).

	Width	Height	Area	Crop factor (35mm)	RRP with kit lens
Pentax Q	6.17 mm	4.55 mm	28.0735 mm2	5.8x	$779
Fujifilm X10	8.8 mm	6.6 mm	58.08 mm2	4x	$449
Nikon 1 J1/V1	13.2 mm	8.8 mm	116.16 mm2	2.7x	$899/$1099
Panasonic GF3	17.3 mm	13.0 mm	224.9 mm2	2x	$899
Sony NEX C3	23.5 mm	15.6 mm	366.6 mm2	1.5x	$749
Canon EOS 1100D	22.2 mm	14.7 mm	326.34 mm2	1.6x	$649

The small sensor has an important advantage, however: it allows very small lenses to be used. The diameter of the Q’s lens mount is roughly two thirds of the standard K-mount used in Pentax DSLR cameras. This makes the entire Pentax Q system much more compact than its competitors. It’s also smaller and lighter than many ultra-zoom digicams.

Build and Ergonomics
Although lacking a built-in viewfinder, the Pentax Q looks and handles like a tiny rangefinder camera. An optional O-VF1 optical viewfinder that plugs into the is available but it adds bulk to the camera body and would require parallax correction when used for close-ups.

Front view of the Pentax Q in black with the 8.5mm f/1.9 kit lens. (Source: Pentax.)

Build quality is very good, thanks to a magnesium alloy shell with textured, leather-like cladding on the front panel. The lens mount takes up roughly half of the camera’s front. It has a metal mounting plate with 10 gold-plated lens information contacts clearly visible.

Front view of the Pentax Q with no lens, showing the image sensor and lens information contacts.

Also prominent when you remove the lens is the tiny CMOS sensor, which is likely to be quite susceptible to damage if touched – and also vulnerable to dust. Although there’s a low-pass filter over the sensor and the Q has a vibrating dust-removal system that engages each time the camera is switched off, even tiny dust particles would be more noticeable on a sensor this size than they would on a larger sensor as they cover a proportionally larger area.

The lens release button lies below and on the right hand side of the lens mount. The bayonet mount is as easy to use as the similar system on a Pentax DSLR. Tiny microphone orifices are located close to the bottom of the front panel on either side of the lens mount.

A moulded grip on the right hand side of the front panel makes it possible to use the camera one-handed, although in an average-sized hand it feels very small. An infrared receiver for the optional remote control is inset half-way up the grip.

The only other feature on the front panel is a prominent Quick Dial, which has five click-stops, four of which can be loaded with frequently-used functions for quick recall. You can choose the four settings from the Aspect Ratio, Digital Filter, Custom Image or Smart Effect functions. However, all four settings must come from the same sub-menu and you can’t assign multiple functions at the same time.

The Quick Dial menu showing the functions that can be assigned to the four click-stops.

The top panel is a bit busier, with a nicely-designed mode dial inset above the grip, where it’s easily reached with the index finger and an E-dial behind it for adjusting aperture, shutter speed and exposure compensation settings. Between these dials and the hot-shoe are the shutter and on/off buttons. The former rises well above the camera body, while the latter is recessed into it, making them readily identifiable by touch.

Beyond the hot-shoe sits the Playback button, which is also recessed into the top panel, Further left lies the slider for raising the flash. Most of it is recessed but a small knob sits slightly proud of the top panel.

The top panel of the Pentax Q in white, showing the location of the main controls. (Source: Pentax.)

As in a typical digicam, much of the rear panel of the Pentax Q is covered by the LCD monitor, which is used for composing shots and reading menus. By modern standards, this screen isn’t all that flash, providing a fairly average 460,000-dot resolution and limited usability in bright outdoor lighting.

Back view of the Pentax Q in white, showing the monitor and main button controls. Source: Pentax.)

A small, dimpled thumb rest is located just below the E-dial on the rear panel. To its left are two buttons; one for setting aperture values and exposure compensation and the other a Green/Delete button that can be customised by assigning one of five functions to it.

The default setting resets the values being adjusted. Alternatives include Preview, One-push file format swap (RAW/JPEG), AE lock and Enable AF. A conventional arrow pad sits below the thumb rest with direct access buttons for ISO, self-timer, white balance and flash modes. Info and Menu buttons are located just above the lower edge of the panel.

The SD slot can be found under a lift-up panel on the camera’s right hand side, while the battery slots into a compartment with a slide-out cover on the left side. USB and HDMI terminals are located beneath a rubber cover in the base plate of the camera. A metal-lined tripod socket is located next door, in line with the optical axis of the lens.

The label on the base plate of the review camera carried the tag ‘Hoya Corporation; Assembled in the Philippines’. We assume this camera was made before Ricoh acquired Pentax in October, 2011.

Sensor and Image Processing
The Pentax Q is built around a backlit, 1/2.3-inch type (6.17 x 4.55 mm) CMOS sensor that delivers a top image resolution of 12.4 megapixels. Rumour has it that it’s the Sony IMX078CQK Exmor-R chip, which has a pixel pitch of 1.55 µm and supports Full HD video capture at up to 60 frames/second.

The Q Engine processor in the Pentax Q is described as a ‘new generation’ chip that has been engineered to complement the camera’s sensor and lenses. Its functions include noise reduction and supports the HDR (High Dynamic Range) function that produces one composite photo from multiple images.

For still image capture the camera supports both JPEG and DNG.RAW files. However, raw file recording must be enabled in the set-up menu as it’s not part of the default settings. Raw files are also only recorded with a 4:3 aspect ratio.

Three levels of JPEG compression are available: Best, Better and Good. The camera also provides four aspect ratio settings with four image sizes for each. The table below outlines typical image sizes.

Image size	Aspect ratio	Recorded pixels	JPEG Quality
			Best	Better	Good
RAW	4:3	4000 x 3000	22.76MB
12M		4000 x 3000	4.90MB	2.57MB	1.53MB
9M		3456 x 2592	3.65MB	1.92MB	1.14MB
5M		2688 x 2016	2.05MB	1.08MB	0.64MB
3M		1920×1440	1.36MB	0.71MB	0.42MB
10M	3:2	4000 x 2664	4.07MB	2.14MB	1.27MB
8M		3456 x 2304	3.26MB	1.71MB	1.02MB
5M		2688 x 1792	2.05MB	1.08MB	0.64MB
2M		1920×1280	0.97MB	0.51MB	0.30MB
9M	16:9	4000 x 2248	3.65MB	1.92MB	1.14MB
6M		3456 x 1944	2.42MB	1.27MB	0.76MB
4M		2688 x 1512	1.62MB	0.85MB	0.51MB
2M		1920 x 1080	0.97MB	0.51MB	0.30MB
9M	1:1	2992 x 2992	3.65MB	1.92MB	1.14MB
6M		2592 x 2592	2.42MB	1.27MB	0.76MB
4M		2016 x 2016	1.62MB	0.85MB	0.51MB
2M		1440 x 1440	0.97MB	0.51MB	0.30MB

Image sensitivity, ranges from ISO 125 to ISO 6400, which is similar to the ranges supported by many digicams. Adjustments are, however, in 1/3EV steps instead of full-stop increments. Long exposures in Bulb mode are restricted to a maximum ISO of 1600.

Video
Three settings are available for video recording: 1920 x 1080 and 1280 x 720 pixels, both with a 16:9 aspect ratio and VGA at 4:3. All are recorded in MPEG-4 format with H.264 compression at 30 frames/second. The camera supports continuous movie recording of up to 4GB or 25 minutes, after which recording stops and the movie file is saved.

There’s no direct movie button so you have to select the movie mode on the movie dial to switch to video recording and use the shutter button to turn recording on and off. Soundtracks are recorded monaurally and there is no provision for adding an external microphone. You can switch off audio recording via the Flash button on the arrow pad.

The vertical buttons on the arrow pad let you select between Auto and Manual recording. Manual mode lets you set the aperture, shutter speed and sensitivity with the e-dial, Av button and Green Button. The same buttons also switch shake reduction on and off

Autofocusing engages when you half-press the shutter button but is disabled during movie recording, which is a little disappointing. However, manual focusing is available and the large depth of field resulting from the small sensor makes this less of an issue than it would be with an APS-C DSLR. You can apply Custom Image settings to movies, but not the Smart Effects or Digital Filters.

The Q’s Movie mode also provides an Interval Movie setting for recording time-lapse movies by taking still pictures at set intervals and combining them as a single video clip. You can set the intervals between shots from one second to one hour, the times at which to begin and end recording between five seconds and 99 hours and the time to commence recording.

You can also capture still pictures while recording video clips, although only in JPEG format. The resolution of shots is the same as you’ve set for normal JPEG stills.

Effects
The special effects in the Q are packed into three sub-menus: Custom Image, Smart Effects and Digital Filters. The 11 Custom Image effects are available in all shooting modes except the Scene mode and all are adjustable across a fairly wide range (+/- 4 steps in most cases). Details of each setting are outlined in the table below.

Custom Image Tone	Effect
Bright (default)	Raises saturation, hue and contrast to produce a bright, sharp image.
Natural	Reproduces close-to-natural colours.
Portrait	Reproduces a healthy and bright skin tone.
Landscape	Increases saturation, highlights shapes and produces a vivid colour image.
Vibrant	Changes the colour slightly to create an antique look.
Radiant	Emphasises glossiness to produce a spectacular finish.
Muted	Reduces saturation to create a soft look.
Bleach Bypass	Reduces the saturation and increases the contrast to create the look ofr an old picture.
Reversal Film	Increases image contrast to replicate the effect of a slide film.
Monochrome	Takes pictures using a B&W colour filter.
Cross Processing	Changes hue and contrast at random. The outcome varies each time a picture is taken.

Ten Smart Effects are also available, with details of each provided in the table below.

Smart Effect Setting	Effect
Brilliant Colour	Raises the saturation level.
Unicolor Bold	Creates an extremely high contrast image that retains one particular colour in the image.
Vintage Colour	Produces a toy-camera-like effect, with a choice of several different finishing touches.
Cross Processing	Produces a unique image with unusual colours.
Warm Fade	Creates a low contrast image with the white balance slightly shifted to pink shades.
Tone Expansion	Produces a dramatic image with an artistic finishing touch, close to an intensified HDR (High Dynamic Range) effect.
Bold Monochrome	Produces a low-key, high contrast image with enhanced sharpness.
Water Colour	Creates a watercolour-like finishing touch.
Vibrant Colour Enhance	Creates a flowery atmosphere with slightly enhanced contrast.
USER	Used to enter a user-selected combination of custom image mode and a digital filter.

Digital Filter effects will be familiar to users of Pentax DSLR cameras. The effects provided in the Pentax Q are listed below.

Filter	Effect	Adjustments
Toy Camera	Creates photos that look as if they have been taken with a toy camera	Shading level, Blur, Tone Break
High Contrast	Increases contrast.	1 to 5 levels of intensity.
Shading	Darkens background.	6 types, +/- 3 levels.
Slim	Changes the horizontal and vertical ratio of images.	+/- 8 steps.
HDR	Reproduces a high dynamic range image.	Low, Medium, High.
Invert Colour	Inverts colours.	Off/On
Extract Colour	Extracts to selected colours leaving the rest of the image B&W.	Colours (2 banks): Red/Magenta/ Blue/Cyan/Green/Yellow Extractable range of colours: 1-5
Colour	18 colour filters (6 colours x 3 tones)	Colours: Red/Magenta/Blue/Cyan /Green/Yellow Density: Light/Medium/Dark
Water Colour	For taking a picture that looks as if it was painted.	Intensity: Low, Medium, High. Saturation: Off, Low, Medium, High.
Posterisation	Lessens the tone of the image to simulate picture	1 to 5 levels of intensity.
Fish-eye	Simulates a fish-eye lens.	Low, Medium, High.

The Scene mode is also generously equipped, with 21 options covering: portrait, landscape, macro, moving object, night scene portrait, sunset, blue sky, night scene, night scene HDR (3 shots, less noise), night snap, food, quick macro (with blur control), pet, kids, forest, surf and snow, HDR, backlight silhouette, candlelight, stage lighting (for capturing moving subjects in poorly lit places) and museum.
The night scene HDR setting records three frames and combines them to reduce image noise. In contrast, the HDR mode records three frames and combines them to produce an image with a wider dynamic range.
When the camera is in the Auto Picture Mode, it automatically selects the optimal settings from the following scene pre-sets: portrait, landscape, macro, night scene portrait, sunset, blue sky and forests. When none of these settings apply, there’s also a standard setting.

One interesting addition to the mode dial is the BC (Blur Control) mode that goes some way towards overcoming the inherent high depth of field of the small sensor. In this mode, the camera automatically estimates the relative distance of each object in the field of view and records a sequence of shots with different focus positions.

These shots are merged to produce a single image in which the background is blurred. Three levels of blurring are selectable via the e-dial. The results are shown in the sample images below.

Blur Control level 1.

Blur Control level 2.

Blur Control level 3.

The same subject photographed in A mode with an aperture of f/1.9.

This mode can only be used for JPEGs and uses the widest lens aperture. ISO adjustment is blocked. It needs to be used with care as it sometimes produced blurring in places we wanted to keep sharp. The user manual recommends shooting at distances that produce head and shoulder portraits for optimal results.

The Kit Lens
The 8.5mm f/1.9 kit lens supplied with the review camera is not available separately (at present). Similar in size to the fixed lenses on some digicams, it covers a picture angle of 49.5 degrees, which is roughly equivalent to 47mm in 35mm format. Minimum focusing distance is approximately 20 cm, providing a maximum magnification of 0.05x.

Measuring just 22.9 mm in length and with a diameter of 45.7 mm this is very small. It weighs only 37.14 grams without the supplied lens cap and end cap, largely because it’s mostly made from lightweight aluminium. The camera plus lens combo amounts to approximately 237 grams, all up with battery and memory card included.

Optical construction is relatively simple, with eight elements arranged in five groups. The front element has a diameter of just under 15 mm, which is pretty small. As with digicam lenses, the minimum aperture is f/8, although the widest aperture of f/1.9 is faster than most.

The mounting plate appears to be solid stainless steel and the lens fits smoothly and securely on the camera body. This lens has a built-in shutter that supports shutter speeds from 30 seconds to 1/2000 second as well as Bulb exposures. It has five diaphragm blades.

Aside from the partially-ribbed fixed ring near the lens mount, there is only one moving part: a 6 mm wide manual focusing ring, located 5 mm behind the front of the lens barrel. There’s no focus limiter so this ring can be turned through more than 360 degrees. No distance scale is provided.

Imatest showed this lens provided its highest resolution a couple of f-stops down from maximum aperture. Diffraction kicked in around f/3.2 and resolution declined from there on as shown in the graph of our Imatest results below. This graph also shows edge softening to be slight throughout the aperture range of the lens.

Lateral chromatic aberration was consistently negligible and we found no obvious coloured fringing in test shots. In the graph of our Imatest results below, the red line marks the boundary between ‘negligible’ and ‘low’ CA.

Backlit subjects were generally handled well, provided the sun was prevented from shining directly into the lens.

Performance
Subjective assessments of test shots suggested the Pentax Q is capable of delivering high image quality, particularly with DNG.RAW capture. However, many JPEG shots showed the characteristics of a small-sensor digicam, notably a tendency to ‘blow out’ highlights in contrasty conditions combined with some blocking up of shadow details.

High ISO performance was better than we expected – and equal to (or better than) some cameras with larger sensors. Image noise was negligible in most shots up to ISO 1600, although colour rendition was slightly cool.

Some softening was visible in long exposures at this point due to noise-reduction processing. Long exposures at higher sensitivities were visibly noise-affected and quite soft.

Even at the lowest sensitivity, Imatest showed the review camera failed to meet expectations for a 12-megapixel camera, although raw files came relatively close. Raw files also increased their advantage at higher ISO settings, as shown in the graph of our Imatest results below.

Flash exposures at high ISO settings were even more impressive, with softening only becoming apparent at ISO 3200. Flash exposures were also evenly balanced throughout the review camera’s sensitivity range.

Auto white balance performance was similar to most digicams we’ve reviewed. Shots taken under incandescent lighting retained a noticeable warm cast, while traces of green remained visible in shots taken in fluorescent lighting.

The tungsten pre-set removed the warm cast of the incandescent lighting, while one of the four pre-sets produced neutral colours under fluorescent lighting. Manual measurements also yielded neutral colour rendition and there’s an adequate range of in-camera corrections.

A setting in the custom menu lets you tweak the auto white balance correction for incandescent lighting. Two options are available: subtle correction (the default) and strong correction, which removes most of the warm cast, as shown below.

Getting the most out of the exposure metering system required some care, although it delivered acceptable results most of the time, provided the appropriate metering pattern was selected. In contrasty lighting, the system showed a tendency to under-expose and spot metering was more likely to provide well-exposed shots than the centre-weighted or multi-pattern modes.

Autofocusing was reasonably fast in bright conditions and with static subjects, even in low light levels. However, AF lag was noticeable with moving subjects, particularly in overcast conditions.

Video quality was better than the frame grabs below suggest. Movement was smoothly recorded and exposure adjusted quickly when lighting conditions changed. But focusing was a little slow with moving subjects and we observed some jerkiness at times when panning the camera and the stabilisation system could only counteract slight camera movement.

In addition, audio recording began a second or two after the start of a clip, which meant you either had to edit in a soundtrack to cover the gap or allow for the delay when shooting (not always easy). Sound quality was adequate but nothing to write home about and there’s no wind cut filter to suppress the effects of moving air on recordings.

Response times were similarly unspectacular. The review camera took almost three seconds to power-up ready for use. Shot-to-shot times averaged 1.5 seconds without flash and 2.2 seconds with.

Capture lag averaged 0.45 seconds, with a consistent 0.1 second lag when shots were pre-focused. It took two seconds, on average, to process each Large/Fine JPEG file, 5.6 seconds for each raw file and 6.4 seconds for each RAW+JPEG pair.

The high-speed continuous shooting mode is only available when shooting JPEGs and has a maximum recording rate of five frames/second. In our tests, the review camera captured seven frames in two seconds before slowing down. It took 9.9 seconds to process this burst.

Low-speed continuous recording is available for all file formats, although the buffer capacity varied considerably. We were able to record 11 Large/Fine JPEGs in 7.8 seconds before noticeable slowing occurred. It took 9.4 seconds to process this burst.

The buffer capacity was reduced for raw file and RAW+JPEG capture in burst mode. We were able to record five DNG.RAW files in three seconds before capture rates slowed. It took 10.2 seconds to process this burst. Five RAW+JPEG pairs were captured in the same time, although they took 16.4 seconds to process.

Conclusion
As a genuinely pocketable interchangeable-lens camera, the Pentax Q is in a class of its own and can’t be compared with either fixed-lens, small-sensor digicams or current mirrorless cameras. While it combines the advantages and disadvantages of the small sensor digicams with the versatility of an interchangeable-lens system, unfortunately, currently the range of lenses available is very limited and two of the five lenses are ‘toy’ lenses, which won’t appeal to serious shooters. It doesn’t appear likely to expand in the near future.
If you’re looking for a pocketable camera that can deliver high-quality images, the Pentax Q is a good choice – as long as you can live with its not inconsiderable limitations. However, it works best for shooting photos and videos that will be shared online. Images can be printed up to A3 size, provided ISO is kept below 400 (where noise and limited dynamic range may affect output quality).

The winning feature of the Q is its generous array of in-camera creative tools and the ease with which they can be applied. Gadget geeks and casual snapshooters looking for something diminutive and fun to use will find the Pentax Q appealing and its $779 price tag is lower than the US price, making local purchase worthwhile.

Buy this camera if:
– You need a genuinely pocketable camera.
– You require a similar suite of controls to most DSLRs.
– You’re interested in shooting raw files and prefer the ‘universal’ DNG file format.
– You would enjoy the many in-camera special effects.
– You want to shoot Full HD (1920 x 1080 pixels) video with good audio quality.

Don’t buy this camera if:
– You need an optical viewfinder built-in.
– You require a high level of depth-of-field control.
– You’re looking for a camera that takes regular DSLR lenses.
– You require excellent performance at high ISO settings.
– You need a wind cut filter for shooting movies.
– You want high buffer capacity for continuous shooting.

 

SPECS

Image sensor: 6.17 x 4.55 mm (1/2.3-inch type) Backlit CMOS sensor with 12.75 million photosites (12.4 megapixels effective)
Image processor: Q Engine
A/D processing: 8 bits/channel JPEG, 12 bits/channel RAW
Lens mount: Pentax Q mount
Focal length crop factor: 5.8x
Image formats: Stills -DNG.RAW, JPEG (Exif 2.3), RAW+JPEG; Movies – MP4 (AVC h.264)
Image Sizes: Stills – [4:3] 4000 x 3000, 3456 x 2592, 2688 x 2016, 1920×1440 [3:2] 4000 x 2664, 3456 x 2304, 2688 x 1792, 1920×1280 [16:9] 4000 x 2248, 3456 x 1944, 2688 x 1512, 1920 x 1080 [1:1] 2992 x 2992, 2592 x 2592, 2016 x 2016, 1440 x 1440; Movies: 1920 x 1080p/30, 1280 x 720p/30, 640 x 480p/30
Image Stabilisation: Sensor Shift Shake Reduction (4 stops max)
Dust removal: DRII (ultrasonic vibration of low pass filter)
Shutter speed range: 1/2000 to 30 sec (lens shutter), 1/8000 to 30 sec (electronic shutter); Bulb (with lens shutter); flash synch. speed 1/250 sec.
Exposure Compensation: +/- 3EVC in 1/3EV steps
Exposure bracketing: 3 frames, up to +/- 3 EV in 1/3 or 1/2 steps
Self-timer: 2 or 12 seconds delay
Focus system: 25-point TTL Contrast Detection AF with Single, Continuous, Face Detection AF, Manual Focus point adjustment
Focus modes: Auto 25 Point, User-Selectable, Centre AF assist
Exposure metering: TTL image sensor metering Sensitivity range: EV 1.3-17.0 (ISO 125, f/1.9); Multi-segment, Centre-weighted, Spot modes
Shooting modes: Auto Picture, Scene, Program (P), Shutter Priority (Tv), Aperture Priority (Av), Metered Manual (M), Blur Control (BC, JPEG only), Movie, Bulb (available in Metered Manual)
Auto Picture modes: Standard, Portrait, Landscape, Macro, Night Scene Portrait, Night Scene, Blue Sky, Forest Scene modes: Portrait, Landscape, Macro, Moving Object, Night Scene Portrait, Sunset, Blue Sky, Night Scene, Night Scene HDR (JPG only), Night Snap, Food, Quick Macro (JPG only), Pet, Kids, Forest, Surf & Snow, HDR (JPG only), Backlight Silhouette, Candlelight, Stage Lighting, Museum
Custom Image modes: Bright, Natural, Portrait, Landscape, Vibrant, Radiant, Muted, Bleach Bypass, Reversal Film, Monochrome (including film filters, infrared, sepia toning), Cross Processing (creative random effect generation)
Smart Effects: Brilliant Colour, Unicolour Bold, Vintage Colour, Cross Processing, Warm Fade, Tone Expansion, Bold Monochrome, Watercolour, Vibrant Colour Enhance, USER 1-3 Green simplified mode available
Digital filters: Toy Camera, High Contrast, Shading, Slim, HDR, Invert Colour, Extract Colour, Colour, Watercolour, Posterisation, Fisheye, Dynamic Range adjustment (highlight and shadow correction)
Custom Functions: 13
Colour space options: sRGB, Adobe RGB
ISO range: Auto: ISO 125-6400 in 1/3EV steps, Bulb mode up to ISO 1600
White balance: Auto, Daylight, Shade, Cloudy, Fluorescent (D, N, W, L), Tungsten, Flash, CTE Manual mode; WB fine adjustment available in all modes
Flash: P-TTL flash with retractable popup extension; GN 7 (m/ISO 200); Auto, Auto + Redeye, On, On + Redeye, Slow Sync, Slow Sync + Redeye, Trailing Curtain Sync, Off modes
Flash exposure adjustment: -2 to 1 EV
Sequence shooting: Max. 5 fps for 5 JPEGs
Storage Media: SD, SDHC, SDXC memory cards
Viewfinder: optional shoe mounted optical viewfinder O-VF1 available for 01 Standard Prime lens
LCD monitor: 3-inch TFT colour LCD with 460,000 dots, 100% FOV; Grid (4×4, Golden Ratio, Scale), Bright/Dark Indication, Histogram displays
Playback functions: One Shot, Multi Image Display (4, 9, 20, 42, 90 thumbnails), Magnification (up to 16x, scrollable, quick zoom), Histogram, Folder, Calendar Filmstrip, Select & Delete, Movie Playback, Bright/Dark Indication, Slideshow Mode pallet: Image Rotation, Digital Filter, Redeye Edit, Resize, Cropping, Index, Protect, Slideshow, Cross Processing, RAW Development, Movie Edit, Image Comparison, DPOF Digital filters (playback): Monochrome, Toy Camera, High Contrast, Shading, Slim, HDR, Invert Colour, Extract Colour, Colour, Watercolour, Posterisation, Fisheye, Retro, Soft, Sketch, Miniature, Frame Composite, Starburst, Base Parameter Adjust; Movie Divide, Delete Frames
Interface terminals: USB 2.0 hi-speed, AV out, HDMI out (Type D, Micro)
Power supply: D-LI68 rechargeable lithium-ion battery; CIPA rated for approx. 250 shots/charge
Dimensions (wxhxd): 98 x 57.5 x 31.0mm (body only)
Weight: 180 grams (body only without battery and card)

 

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