Pentax K-30

      Photo Review 9

      In summary

      Buy this camera if:
      – You already own a suite of Pentax K-mount lenses.
      – You shoot mainly still photographs and enjoy working outdoors.
      – You want superior high-ISO performance and a high sensitivity range.
      – You would enjoy a camera with lots of creative in-camera adjustments.  

      Don’t buy this camera if:
       – You need a DSLR camera for recording movies.

      Full review

      Pentax has replaced its entry-level K-r model with the new ““ and decidedly superior  ““ K-30, which features a tried-and-proven 16.3-megapixel, APS-C-sized CMOS sensor inside a weather-sealed plastic body. The new camera’s design shows the influence of its ‘big sister’ the   K-5, which is targeted at serious enthusiasts and uses the same sensor. But it has also adopted some features of the similarly-equipped K-01, including its Prime M processor, which provides better low-light performance.


      The new Pentax K-30 has a weatherproof body that can withstand rain and spray. (Source: Pentax.)

      Sensor-shift stabilisation is built into the new camera, which means none of Pentax’s lenses require optical stabilisation. The system also includes vibration for shaking dust off the sensor, a function that can be engaged at start-up and/or shut-down.

      Combining features from the K-5 and K-01 with a few totally new functions, has enabled Pentax to produce a totally new camera. Like earlier Pentax DSLRs, the K-30 has an abundance of genuinely useful shooting modes, along with a heap of special effects that some photographers may prefer to avoid.

      Build and Ergonomics
      As the first weatherproof (but not waterproof), DSLR priced at entry-level,   the K-30 stands out from the crowd. It can be used in the rain as well as in dusty and snowy conditions and can operate in temperatures down to -10 °C.  Accordingly, although the body is clad with plastic, there’s a solid metal chassis  at its heart

      The K-30’s body is slightly larger than the K-r’s and also slightly heavier. But it has a noticeably different shape with angled planes and gentle curves distinguishing it from other DSLRs (including those from Pentax).


      The front panel of the K-30, showing the standard Pentax control layout. (Source: Pentax.)

      The grip is deep enough to please photographers with large hands and/or long fingers and comfortable to use in both landscape and portrait orientation as well as with gloved hands.   The control layout is similar to the K-r’s, although a few buttons on the rear panel have been repositioned to minimise chances of pressing the wrong one.

      The flash-up button has been moved forwards and now sits above the RAW/Fx button on the forward section of the camera body. A deep set or horizontal ridges lies below the RAW/Fx button to provide a rest for the left hand thumb while you cradle the lens. Further down is a focus mode selection lever with three positions: AF-S, C and M.


      The rear panel of the K-30. (Source: Pentax.)

      The AF/AE-L button has been moved away from the top right hand corner to make way for a rest for the user’s right thumb. It’s now located just above the Play button. Unusually for an entry-level DSLR, the K-30 has two ‘e-dials’; one on the rear panel (in the same position as the K-r’s) and the other at the front of the grip.

      The arrow pad has been moved up a little to allow the Info and Menu buttons to be inserted below it. Its directional buttons access the ISO, self-timer, white balance and flash settings from different positions than the K-r’s.

      The 3-inch  TFT  colour LCD monitor is fixed in place (as part of the weatherproofing) and has a resolution of 921,000 dots plus brightness and colour adjustment. An anti-reflective coating has been applied to make outdoors viewing easier. Pressing the Info button lets you change the display on the monitor and provides options for an electronic level or status screen with detailed exposure settings plus brightness or RGB histogram. (An electronic compass display is available when the optional GPS unit is used.)

      The optical viewfinder is big, comfortable to use and has a pentaprism, which is more robust than the penta-mirrors used in many entry-level DSLRs (to cut weight and costs). It covers the full field of view of the sensor, has a soft surround that’s glasses-friendly and provides 0.92x field-of-view magnification.

      There’s a generous range of dioptre adjustments for users with sub-optimal eyesight and, unusually for an entry-level DSLR, the focusing screen is interchangeable. The camera is supplied with the standard Natural-Bright-Matte III focusing screen.


      The top panel of the K-30 without a lens fitted. (Source: Pentax.)
       The top panel control layout hasn’t changed, despite the body re-design. However, there have been changes to the settings on the mode dial, with the scene selections shuffled into the SCN setting. Replacing them are new U1 and U2 programmable ‘user’ modes and a B mode for   Bulb exposure. The ‘Auto Pict’ mode has become simply ‘Auto’.

      The ‘green’ button on the top panel is the same as on the K-r and, like the e-dials, it can be programmed to adjust a selected function. Pressing it in P or Sv modes allows you to return to P or P-line, while in Tv and Av modes, it adjusts ISO settings. In TAv/M mode it accesses P-line and Tv or Av shift.

      The memory card slot is located in the right hand side panel, under a sliding cover that fits very snugly. Below it a lift-up rubber cover protects the remote controller port. (It’s quite hard to open.) A similar cover on the left hand side panel protects the Video/PC output terminal.

      The battery compartment is located in the base of the camera. It has an interesting configuration that can accept either the supplied rechargeable lithium-ion battery of four AA cells. A metal-lined tripod socket is located on the lens axis.
      What’s New?
      Most of the new features have been ported across from the K-01, particularly with respect to live view shooting mode. Settings added include focus peaking (which is similar to the systems used in Sony’s NEX cameras) and flicker reduction for controlling flickering from certain types of lights.

      A ‘Radiant’ setting has been added to the Custom image pre-sets. It emphasises glossiness, which could be useful when shooting products, food or fashion illustrations. It’s available for JPEG capture but only for post-capture processing of raw files.

      The HDR mode offered in the K-01 (and several previous DSLRs) appears in the K-30. It records three exposures and combines them into a single image and users can choose from four settings: HDR Auto (camera decides the strength of the effect),  HDR 1,  HDR 2 and  HDR 3 (which is quite strong and can produce an unnatural tonal balance). An Auto Align option is available for use when shooting with the camera hand-held.

      Colour and brightness adjustments are available for fine-tuning the monitor in live view mode. The K-30 has also adopted most of the K-01’s movie settings, including the ability to adjust   shutter speed, ISO and EV compensation while recording. Unlike the K-01, movie soundtracks are recorded monaurally and there’s no jack for an external microphone.

      The user interface in the K-30 is typically Pentax, with an Info screen providing quick access to a palette of functions and a multi-page menu accessed via a dedicated button.  Auto settings for highlight and shadow correction have been introduced to the Info palette, each enabling the camera to adjust levels by analysing the current scene.

      These modes work by using different ISO settings for different areas of the frame. Highlights get a lower ISO setting and shadows get a higher one. Highlight correction requires you to shoot at ISO 200 or higher so you can push the highlights by one EV. Three EV of adjustment is available for shadows.
         Superficially, the K-30’s AF system may appear very similar to the system in the K-5, with 11 selectable points and nine cross-type sensors in the centre. However the new SAFOX IXi+ sensor module features improved optical components (including a diffraction lens) to make it more responsive.

      The K-30 is compatible with the optional O-GPS1 GPS recorder, which includes an electronic compass that displays the latitude, longitude, altitude of the current location, lens

      direction and Coordinated Universal Time (UTC) in standby mode. Automatic synchronisation of the camera’s date and time settings with the location, using GPS data is also available.

      This unit also includes a new ASTROTRACER function for tracking and photographing stars and other celestial phenomena. It matches the movement of the camera’s built-in shake reduction unit with the movement of astronomical subject(s) to ensure minimal blurring, even during long exposures.

      Sensor and Image Processing
      As mentioned above, the 23.7 x 15.7mm CMOS sensor is the same Sony-produced chip as used in the K-5 and the K-01 ““ as well as the Nikon D7000, Sony A580 and Sony NEX-5N. This chip has a tried-and-proven record for excellent high ISO performance, which we’ll evaluate in our Imatest and user testing (see below).

      It’s coupled to the same PRIME M image processor chip as used in the K-01. Accordingly, image formats and sizes are the same as in the K-01 and the K-30 supports both JPEG and DNG.RAW capture ““ but only with a 3:2 aspect ratio.

      DNG.RAW files are only recorded at 4928 x 3264 pixels with 12-bit depth and they’re not processed so none of the in-camera effects are applied. Typical files are around 26.32MB. For JPEGs, users can access three compression ratios. Typical image sizes and compression ratios are shown in the table below.

      Image size

      Recorded pixels

      Best (1:4.5)

      Better (1:8)

      Good (1:16)


      4928 x 3264





      4224 x 2816





      3456 x 2304





      2688 x 1792




      Continuous shooting is available at a maximum capture rate of six frames/second for approximately 30 JPEG frames or about eight RAW+JPEG pairs. It takes around 17 seconds to clear the buffer memory but the camera can be operated within a second or two of the last frame in a burst.

      Movie capture can only be accessed via the mode dial and recording is engaged and stopped by pressing the shutter release. The K-30 records video clips in MPEG-4 format using the efficient AVC/H.264 compression. Full HD (1920 x 1080 pixels) clips can be captured at 30, 25 or 24 frames/second, while 720p HD   can be recorded at 60, 50, 30, 25 or 24 frames/second, providing scope for slow-motion video recordings.   VGA clips can only be recorded at 30, 25 or 24 frames/second, eliminating the possibility of recording for slow-motion playback).

      The AF system operates by default (with all its inherent problems and no focus confirmation) but you can focus manually by switching the camera to manual mode and turning the focusing ring on the lens.

      The camera can record video continuously for up to 25 minutes with a clip length limit of 4GB. Audio is recorded via tiny single-hole microphones just above the lens mount, although users can connect a stereo microphone to the 3.5mm diameter terminal on the camera if they want better soundtracks. The table below shows typical recording capacities for an 8GB SDHC card.



      Frame Rate

      Aspect Ratio




      Full HD

      1920 x 1080

      25 fps


      10 m. 55 s.

      14 m. 21 s.

      20 m. 03 s.


      1280 x 720

      30 fps

      17 m. 35 s.

      26 m. 57 s.

      37 m. 23 s.

      25 fps

      21 m. 04 s.

      32 m. 10 s.

      44 m. 37 s.


      640 x 480

      30 fps


      51 m. 52 s.

      78 m. 18 s.

      106 m. 25 s.

      25 fps

      61 m. 56 s.

      92 m. 13 s.

      125 m. 46 s.

      When the mode dial is set to the movie mode, the default setting is Programmed AE, although you can select Av or M modes if you wish to adjust aperture, exposure compensation, shutter speed or sensitivity settings. However, the lens aperture and shutter speed settings are fixed at the start of each clip.

      Digital filters supported in movie mode include Cross Processing, Toy Camera, High Contrast, Extract Colour and Colour. The arrow pad is used to adjust audio levels and switch the Movie SR (electronic shake reduction) on and off.

      The K-30 also supports interval movie recording, in which still pictures are recorded at pre-set intervals and combined into a single *.AVI movie file. It’s only available when the mode dial is set to movie mode and you can set the start time, shooting interval and total recording time via the camera’s menu.

      Playback and Software
      Nothing much has changed since the K-5 and the K-01 provides all the standard still playback settings, including multi-image display (4, 9, 16, 36, 81 thumbnails), magnification (up to 16x, scrollable, quick magnification), image rotation, calendar filmstrip, display, folder, slideshow, select & delete, movie playback (no data, basic data, full data) and save RAW data from JPEG (if space is available in buffer memory).

      Other functions offered in playback mode are  resize, cropping, slideshow, save as manual WB, RAW development (to JPEG), index print, image comparison, protect, DPOF, movie edit and extract JPEG from movie. The following digital filters can be applied in playback mode: Monochrome, Extract Colour, Toy Camera, Retro, High Contrast, Shading, Invert Colour, Colour, Tone Expansion, Sketch Filter, Watercolour, Pastel, Posterisation, Miniature, Soft, Starburst, Fisheye, Slim and Base Parameter Adjustment.

      While no software was provided with the review camera, the software disk contains the latest version of Silkypix Developer Studio for Pentax, which is essentially a raw file converter.

      Raw files from the K-30 can be opened in most popular file conversion applications, including Adobe Camera Raw. And you don’t need the latest Adobe software to support the DNG files.

      The Kit Lens
      The review camera was supplied with the smc Pentax-DAL 18-55mm f/3.5-5.6 AL kit lens, which we reviewed in January 2009.  This lens carries an ‘Assembled in Vietnam’ label and appears to have been built to a price. Despite its plastic mounting plate, overall build quality is good.

      We’ve included graphs showing the performance of the lens on the K-30 body as we felt many readers would be interested its performance on the new camera. As before, slight edge softening was detected across the kit lens’s   aperture and focal length range. Best performance was between f/4.5 and f/6.3 for shorter focal lengths and around f/6.3 at the longer end of the zoom range. The graph below shows the results of our Imatest tests.


       Lateral chromatic aberration remained consistently within and below the ‘low’ band and we found no obvious coloured fringing in test shots. In the graph below, showing the results of our Imatest tests for chromatic aberration, the red line marks the border between ‘insignificant’ and ‘low’ CA, while the green line shows the edge of the ‘moderate’ CA band.



      Note: Like the K-01, the K-30 applies CA-reduction processing automatically when JPEG files are recorded. In-camera distortion correction is also available.
      Subjectively, the K-30 appears to be a more responsive camera than its predecessors. Images were displayed faster in preview mode and during playback and image processing was also noticeably faster, a fact confirmed by our timing tests (see below). Live view shooting was smoother and easier and autofocusing was noticeably faster than the K-01.

      The new SAFOX  IXi+ AF system, which includes an improved light detection sensor and diffraction  lens, also provided faster and more accurate focusing, particularly in dim lighting. In most situations it came close to ““ or bettered ““ the speed of the system in the flagship K-5 model and usually, the K-5’s accuracy as well. Only low-contrast subjects caused the system to flag.

      Autofocusing in Live View mode maintained much of the speed and accuracy of the phase-detection system, although it was noticeably slower than shooting with the viewfinder. The peaking indicator was a valuable aid to focusing more quickly in this mode.

      Image quality with the default ‘Bright’ Custom Image mode was very good, a fact backed up by our Imatest tests, which showed the camera to be capable of meeting (and exceeding) expectations for its 16-megapixel sensor. Colour accuracy was also commendable, despite slightly elevated saturation in warmer hues.

      The review camera’s normal dynamic range appeared able to handle most types of lighting with the default settings. The HDR (high dynamic range) extended the normal range a little at the lower settings but went a bit overboard at HDR 3 (see below). This mode only works with JPEGs.


       A comparison of two shots of the same subject, the left hand side image is taken without HDR processing, while the right hand image is shot in the HDR 3 mode.

      Imatest showed the camera plus kit lens to be capable of meeting expectations for the sensor’s resolution with JPEG files ““ and exceeding them with DNG.RAW files. Resolution was maintained until ISO 3200, after which it declined gradually for   raw files and dropped sharply at ISO 12800 for JPEGs. The graph below shows the results of our tests.



      We found little noise in JPEG files from long exposure tests at night, although colours were   slightly distorted and saturation increased. By ISO 12800 images were noticeably softened. Further softening occurred at ISO 25600, along with increased granularity but images were printable up to A5 size.

      At all but the highest ISO settings, DNG.RAW files stood up very well to editing but generally required little in the way of sharpening or colour adjustments. JPEGs were almost as robust below 6400, retaining plenty of detail and colour depth. There was less room to edit JPEGs at higher ISO settings.

      Flash exposures were fairly evenly balanced across the camera’s sensitivity range, with low ISO shots about 1/3EV darker and high ISO shots the same amount brighter. Slight softening could be seen at ISO 25600. Unlike the K-01, the K-30 adjusted lens apertures as ISO was increased to compensate for higher sensitivity.

      Auto white balance adjustment was about average, with shots taken under fluorescent lighting showing no evidence of colour casts and shots taken in incandescent lighting retaining a slight orange cast. Both pre-sets came close to neutral colour rendition and there’s plenty of scope for in-camera tweaking of colour balance.

      Video quality from the review camera could be classed as acceptable (though not great) and  no better than we found with the K-01. Autofocusing was marginally faster, although hampered by the lack of continuous AF in movie mode.  Pressing the AF/AE-L button enables you to focus slightly faster, at the risk of picking up camera noises in the soundtrack.

      Unfortunately, there’s no jack for attaching an accessory microphone ““ and no wind filter. Given these limitations, audio quality could be considered acceptable, although nothing to write home about.

      Our timing tests were carried out with a 16GB Panasonic SDHC U1 Class 10 card, which is currently the fastest card in our collection.   The review camera powered-up ready for shooting in just over one second, which is reasonably fast.

      We measured an average capture lag of 0.2 seconds, which was reduced to less than 0.1 seconds by pre-focusing. Shot-to shot times averaged 0.4 seconds without flash and 2.0 seconds with. It took 1.1 seconds on average to process each JPEG file, 2.0 seconds for a SRW.RAW and 3.1 seconds for a RAW+JPEG pair.

      When the high-speed setting was selected in the continuous shooting mode, the review camera recorded 10 Large/Super-Fine JPEGs in 1.8 seconds. It took 3.2 seconds to process this burst.

      Ten DNG.RAW frames were recorded in 2.1 seconds and took 7.0 seconds to process. Swapping to RAW+JPEG reduced the burst depth to eight frame pairs, which took 8.7 seconds to process.

       The K-30 merits its Editor’s Choice rating for both its imaging performance and for the generous level of features it provides at an affordable price tag. It’s an excellent camera for photo enthusiasts. The weather-sealed body is a genuine bonus; add in the 100% FOV pentaprism viewfinder, interchangeable focusing screens and high-resolution monitor and you have some valuable professional features at an RRP of only $899.

      Although the AF system isn’t as fast ““ or as versatile ““ as some rivals, most photographers will be able to work with it to obtain sharp, detailed pictures. We’d recommend this camera to photographers who shoot mainly stills and Pentax has a wide range of lenses to cater for most requirements.

      Buy this camera if:
      – You already own a suite of Pentax K-mount lenses.
      – You shoot mainly still photographs and enjoy working outdoors.
      – You want superior high-ISO performance and a high sensitivity range.
      – You would enjoy a camera with lots of creative in-camera adjustments.  

      Don’t buy this camera if:
       – You need a DSLR camera for recording movies.


      Image sensor: 23.7 x  15.7mm  (APS-C) CMOS sensor with 16.5 million photosites (16.3 megapixels effective)
      Image processor: PRIME M  
      A/D processing: 12-bit
      Lens mount: Pentax  KAF2  bayonet mount (usable with KAF3,  KAF2,  KAF, and KA lenses)
      Focal length crop factor: 1.5x
      Image formats: Stills ““ DNG.RAW, JPEG (Exif 2.3), RAW+JPEG; Movies ““ MPEG-4 AVC/H.264
      Image Sizes: Stills ““ 4928 x 3264, 4224 x 2816, 3456 x 2304, 2688 x 1792; Movies: 1920 x 1080 (30, 25, 24 fps), 1280 x 720 (60, 50, 30, 25, 24 fps), 640 x 424 (30, 25, 24 fps)
      Image Stabilisation: Sensor-shift Shake Reduction with rotational compensation (3 stops max)
      Dust removal: Vibration of sensor plus SP  coating on low pass filter
      Shutter speed range: 1/6000 to 30 second (1/3 or 1/2EV steps) plus Bulb
      Exposure Compensation: +/- 5EV in 1/3   and 1/2EV steps
      Exposure bracketing: 3 frames, up to +/- 2  EV  in 1/3 or 1/2 EVsteps
      Self-timer: 2 or 12 seconds delay
      Focus system: SAFOX  IXi+  TTL  phase-detection 11 point (9 cross) wide  autofocus  system (contrast detection in Live View mode);   AF point adjustment: Auto 11 pt, Auto 5 pt, User-Selectable (w Expanded Area AF), Centre; focus peaking indicator
      Focus modes: AF.A  (auto),  AF.S  (single, w focus lock, focus/shutter priority selectable),  AF.C (continuous, w focus/FPS priority selectable), Manual
      Exposure metering: 77-segment TTL  open aperture metering with multi, centre and spot patterns
      Shooting modes:  Hyper Program (P), Sensitivity Priority (Sv), Shutter Priority (Tv), Aperture Priority (Av), Shutter & Aperture Priority (TAv), Hyper Manual (M), Bulb (B), User (U1,  U2), Scene (SCN), Auto Picture (AUTO), Movie
      Scene presets: Portrait, Landscape, Macro, Moving Object, Night Scene Portrait, Sunset, Blue Sky, Forest, Night Scene, Night Scene  HDR  (JPG), Night Snap, Food, Pet, Kids, Surf & Snow, Backlight Silhouette, Candlelight, Stage Lighting, Museum
      Auto Picture Modes: Standard, Portrait, Landscape, Macro, Moving Object, Night Scene Portrait, Night Scene, Blue Sky, Forest
      Picture Style/Control settings: Bright, Natural, Portrait, Landscape, Vibrant, Radiant, Muted, Bleach Bypass, Reversal Film, Monochrome, Cross Processing
      Digital filters: Extract Colour, Toy Camera, Retro, High Contrast, Shading, Invert Colour, Colour
      Colour space options: sRGB, Adobe RGB
      Custom functions: 23
      ISO range: Auto, ISO 100-12800 in 1, 1/2, 1/3 EV steps; expandable to ISO 25600
      White balance: Auto, Daylight, Shade, Cloudy, Fluorescent (D, N, W, L), Tungsten, Flash, CTE;  3 manual and 3 Kelvin presets; copy WB settings from a captured image available; WB fine adjustment: +/- 7 steps A-B axis or G-M axis
      Flash: Retractable  P-TTL  popup flash, GN 12m  (ISO 100), coverage to 28mm  wide angle equivalent; On, Redeye, Slow Sync, Slow Sync + Redeye, Trailing Curtain Sync, Wireless modes; synch speed: 1/180 sec
      Flash exposure adjustment:  -2 to +1EV  in 1/2EV steps)
      Sequence shooting: Max. 6 frames/second for 30 JPEG or 8 raw
      Storage Media: SD,  SDHC,  SDXC memory cards
      Viewfinder:   Pentaprism with 100% FOV coverage,  0.92x magnification  (w  50mm  f/1.4  at infinity), -2.5  to  +1.5 dpt dipotre adjustment, Natural-Bright-Matte III focusing screen (interchangeable)
      Monitor: 3.0-inch  TFT  colour LCD with 921,000 dots, brightness/colour adjustment and AR coating
      Data LCD: No  
      Playback functions: One Shot (no data, basic data, full data, color channel histogram, bright/dark indication, copyright info), Multi Image Display (4, 9, 16, 36, 81 thumbnails), Magnification (up to 16x, scrollable, quick magnification), Image Rotation, Calendar Filmstrip, Display, Folder, Slideshow, Select & Delete, Movie Playback (no data, basic data, full data), Save RAW Data From JPG (if available in buffer memory)
      Interface terminals: USB 2.0 hi-speed, AV out, cable switch, video out: PAL/NTSC
      Power supply: D-LI109 rechargeable lithium-ion battery; CIPA rated for approx. 480 shots; D-BH109 AA battery holder for 4 batteries  
      Dimensions (wxhxd): 128.5 x 96.5 x 71.5  mm
      Weight: Approx. 590 grams (body only)

      RRP: AU$899, US$899 (with 18-55mm kit lens)
      Distributor: C.R. Kennedy & Company; (03) 9823 1555;


      JPEG image files







      Raw image files converted into 16-bit TIFF format with Adobe Camera Raw.







       Auto white balance with incandescent lighting.


       Auto white balance with fluorescent lighting.


      30-second exposure at ISO 100; 20mm focal length at f/4.


      25-second exposure at ISO 800;20mm focal length at f/4.5.



      10-second exposure at ISO 6400;20mm focal length at f/6.3.


      8-second exposure at ISO 25600;20mm focal length at f/13.


      Flash exposure at ISO 100; 55mm focal length, 1/40 second at f/5.6.


      Flash exposure at ISO 800; 55mm focal length, 1/40 second at f/5.6.


      Flash exposure at ISO 6400; 55mm focal length, 1/40 second at f/5.6.


      Flash exposure at ISO 25600; 55mm focal length, 1/40 second at f/5.6.


      18mm focal length, ISO 400, 1/6 second at f/10.


      55mm focal length, ISO 400, 1/8 second at f/10.


       Portrait; 48mm focal length, ISO 400, 1/50 second at f/5.6.


      Close-up in the Macro Scene mode: 55mm focal length, ISO 200, 1/500 second at f/7.1.


      Close-up in aperture-priority AE mode; 55mm focal length, ISO 200, 1/800 second at f/5.6.


      Strong contre-jour lighting; 18mm focal length, ISO 100, 1/400 second at f/11.


      Dynamic range (without HDR processing); 48mm focal length, ISO 100, 1/200 second at f/7.1.


      Stabilisation test: 55mm focal length, ISO 800, 0.4 second at f/8.


      18mm focal length, ISO 100, 1/400 second at f/9.


      18mm focal length, ISO 25600, 1/50 second at f/3.5.


      40mm focal length, ISO 100, 1/30 second at f/4.5.


      Still frame from video clip recorded at 1920 x 1080 pixels.



       Still frame from video clip recorded at 1280 x 720 pixels.


      Still frame from video clip recorded at 640 x 480 pixels.


      RRP: AU$899, US$899 (with 18-55mm kit lens)

      • Build: 8.8
      • Ease of use: 8.5
      • Autofocusing: 8.0
      • Still image quality JPEG: 8.8
      • Still image quality RAW: 9.0
      • Video quality: 8.5