In summary
Like the K50 and K-S1, the K-S2 will suit a wide range of photo enthusiasts with different levels of expertise. It has enough new features to justify it as an upgrade to a Pentax K-30, K-50 or K-S1 and the pricing, traditional interface, comfortable grip and solid build quality make it suitable for novice photographers who are stepping-up from a compact digicam.
Its weatherproof body (which the K-S1 lacks) makes it a good choice for bushwalkers and wildlife photographers (and any other photographers who take pictures in environments where dust and moisture are present). And there are enough Pentax weatherproof lenses to assemble a kit to suit most potential users.
Aside from the weather-resistant sealing, the replacement of the anti-aliasing filter over the image sensor with an ‘AA Filter Simulator’ makes the Pentax K-S2 stand out from similarly-priced competitors. Both are unusual in sub-$1000 DSLRs and both have been brought in from higher-specified Pentax cameras.
The built-in sensor-shift stabilisation provides a further advantage over competing models from other manufacturers by eliminating the need for stabilised lenses. This means lenses for the camera can be lighter, more compact and cheaper than equivalent lenses from companies like Canon and Nikon, which have opted for lens-based stabilisation.
More experienced photographers will also benefit from the use of the ‘open’ DNG.RAW file format for raw file capture. Finally, for the generation of photographers who need to be ‘connected’, support for Wi-Fi is available and easy interfacing with a smart device is provided through built-in NFC.
The new Clarity Enhancement function helps to bring out details and textures in JPEG shots. It’s not available in the Multi-Exposure, Interval Composite and Star Stream modes and has restrictions in the other multi-shot drive modes but is usable with all the other shooting modes, including for movie recording.
Finally, keen astrophotographers will enjoy the Interval Composite and Astrotracer functions. The former stacks images recorded in time-lapse mode to capture star trails, while the latter matches the camera’s built-in stabilisation with the movements of celestial bodies to produce clear long exposures.
Full review
Announced in early February, 2015, the 20-megapixel Pentax K-S2 replaces the K50 and is a small step up from the entry-level K-S1. Like the K50, it’s one of the few in its class with a dust-proof, weather-resistant body. It also comes with a more up-to-date AF system, extended movie recording and a vari-angle monitor as well as built in support for Wi-Fi and NFC. The K-S2 will be offered in black, white and black with an orange base plate.
The three colour options for the Pentax K-S2. (Source: Ricoh Imaging.)
The K-S2 is currently on sale in four formats: the body only, with the Pentax 18-50mm WR RE lens, as a twin-lens kit with the Pentax 18-50mm WR RE and 50-200mm WR lenses and with the Pentax 18-135mm WR extended zoom lens. The review camera was supplied with the DA 18-135mm f/3.5-5.6ED AL[IF] DC WR lens, which is reviewed separately.
Who’s it For?
Like the K50 and K-S1, the K-S2 will suit a wide range of photo enthusiasts with different levels of expertise. It has enough new features to justify it as an upgrade to a Pentax K-30, K-50 or K-S1 and the pricing, traditional interface, comfortable grip and solid build quality make it suitable for novice photographers who are stepping-up from a compact digicam.
Its weatherproof body (which the K-S1 lacks) makes it a good choice for bushwalkers and wildlife photographers (and any other photographers who take pictures in environments where dust and moisture are present). And there are enough Pentax weatherproof lenses to assemble a kit to suit most potential users.
Aside from the weather-resistant sealing, the replacement of the anti-aliasing filter over the image sensor with an ‘AA Filter Simulator’ makes the Pentax K-S2 stand out from similarly-priced competitors. Both are unusual in sub-$1000 DSLRs and both have been brought in from higher-specified Pentax cameras.
The built-in sensor-shift stabilisation provides a further advantage over competing models from other manufacturers by eliminating the need for stabilised lenses. This means lenses for the camera can be lighter, more compact and cheaper than equivalent lenses from companies like Canon and Nikon, which have opted for lens-based stabilisation.
More experienced photographers will also benefit from the use of the ‘open’ DNG.RAW file format for raw file capture. Finally, for the generation of photographers who need to be ‘connected’, support for Wi-Fi is available and easy interfacing with a smart device is provided through built-in NFC.
The new Clarity Enhancement function helps to bring out details and textures in JPEG shots. It’s not available in the Multi-Exposure, Interval Composite and Star Stream modes and has restrictions in the other multi-shot drive modes but is usable with all the other shooting modes, including for movie recording.
Finally, keen astrophotographers will enjoy the Interval Composite and Astrotracer functions. The former stacks images recorded in time-lapse mode to capture star trails, while the latter matches the camera’s built-in stabilisation with the movements of celestial bodies to produce clear long exposures.
What’s New?
The sensor and PRIME M II image processor are the same as those in the K-S1, which we haven’t reviewed, so we’ll devote a section in this review to covering them. Also unchanged are the shooting modes, shutter speeds, continuous shooting speeds and buffer memory. The metering and flash functions in both cameras are the same and so is the optical viewfinder.
New features include:
1. The weatherproof body and kit lens.
2. Improvements to autofocusing via the latest SAFOX X 11-point system in which nine points are cross-type for high-speed AF. The AF operating range has also been extended by two f-stops for low-light shooting.
3. Extension of the stabilisation system to include rotational compensation.
4. Replacement of the fixed monitor with a vari-angle screen (although its size and resolution are unchanged)
The K-S2, white version, shown with the vari-angle monitor extended. (Source: Ricoh Imaging.)
5. Addition of a second ‘e-dial’ to the front panel to complement the rear panel e-dial on the K-S1.
6. Addition of an external microphone jack on the left hand side panel.
7. Extension of the movie mode to include a new 4K resolution setting
8. Support for UHS-I compatible SD/SDHC/SDXC memory cards
9. Addition of an electronic level display.
10. Built-in Wi-Fi functionality with a dedicated Wi-Fi button plus easy NFC connectivity. Wireless remote control of the camera through a smart device’s touch-screen for capturing and viewing images, providing access to shutter speed and aperture settings, EV compensation, white balance and ISO sensitivity as well as focusing and triggering the shutter.
Build and Ergonomics
The Pentax K-S2 claims to be the most compact weather-sealed DSLR to date but it’s still a fairly hefty handful, thanks to a generous grip, large viewfinder and vari-angle LCD monitor. The adjustable monitor is a first for Pentax DSLRs and the K-S2 is also the first to include built-in Wi-Fi. Unusually for an entry-level camera the K-S2 has a pentaprism viewfinder with 100% frame coverage instead of the cheaper and lighter pentamirror that doesn’t cover the full frame.
Front view of the Pentax K-S2 with no lens fitted. (Source: Ricoh Imaging.)
Design-wise, the K-S2 is a radical departure from the more curvaceous K-S1, with its multitude of embedded LED lights. The new camera has the ‘classical’ DSLR styling, with more controls, mostly located on the top and rear panels.
Its body is squarer than the K-50 and the slope at the front of the grip isn’t as steep. But most controls are in the same places and the lights that characterised the K-S1 have been reduced to a simple green ring light around the shutter button and another blue on that appears briefly around the central button on the arrow pad when the camera is switched on.
The front panel is dominated by the lens mount, which protrudes roughly 10 mm and carries the lens release button on the grip side, where it’s reachable by your middle finger. There’s an LED AF-assist embedded in the upper section of the front panel between the grip and the base of the pentaprism housing. An IR remote control receiver is embedded in the lower section of the grip.
The top panel of the K-S2 with an 18-50mm kit lens fitted. (Source: Ricoh Imaging.)
The shutter button and surrounding power on/off/movie mode switch sit well forward on the grip moulding, with the front e-dial just below them and easily reached by the user’s index finger. Immediately aft of the shutter button are the EV compensation and ‘Green’ buttons, the latter being used to re-set the selected value to the default position.
The mode dial sits close to the viewfinder housing with the Wi-Fi button beside it. The standard shooting modes ““ including two programmable User settings and an ‘Advanced HDR’ mode ““ are selectable from this dial. There’s no lock for the mode dial but its detents are stiff enough to minimise the chance of accidental re-setting.
The viewfinder is the standard pentaprism unit with 100% field of view coverage and interchangeable focusing screen. The pop-up flash is integrated into the top of the pentaprism housing and raised by pressing a button on its left hand side.
The rear panel of the K-S2 with the monitor reversed onto the camera body. (Source: Ricoh Imaging.)
Just below the mode dial is the rear e-dial, which is used for changing camera settings and can be used in conjunction with the front e-dial. Level with it on the left hand side of the pentaprism housing is the LV button, which does double duty as a switch to Live View shooting and acts as the delete button in playback mode.
To the right of the rear e-dial is the AF/AE lock. Just below it is a small thumb rest and embedded LED for indicating image processing. The playback button sits between this LED and the regular arrow pad, which has directional buttons for accessing the ISO, drive, white balance and flash sub-menus. Below the arrow pad are the Info and Menu buttons.
The memory card has its own compartment on the right hand side panel. Just below it is the interface terminal compartment with ports for HDMI and USB connections plus a tightly-fitting rubber cover. The microphone terminal is located behind a similar cover on the left hand side panel.
The rechargeable battery fits into a compartment in the base of the grip. It’s CIPA rated for approximately 480 shots/charge, which is modest for a DSLR camera. The metal-lined tripod socket is aligned with the lens axis and located in the centre of the base plate.
Sensor and Image Processing
The sensor in the K-S2 appears to be the same chip as used in the K-S1, with a total of 20,420,000 photosites and 20.12-megapixel effective resolution. Its resolution is slightly lower than the flagship K-3 II but not enough to represent a serious deficiency. However, unlike the K-3 II, which produces 14-bit raw files, raw files captured with the K-S2 have 12-bit depth like other entry-level cameras.
As in the K3 models, there’s no optical low-pass filter in front of the sensor. But the K-S2 includes Pentax’s switchable anti-aliasing filter simulation, which was introduced with the K-3 and lets users switch in moirø© suppression when it’s needed.
Partnered with the sensor is the PRIME M II image processor, which is also used in the K-3 II and enables the camera to support an ISO range from 100 to 51200 and continuous shooting at up to 5.5 frames/ second. The camera’ buffer memory can accommodate up to 30 large/fine JPEG or nine raw frames.
Like other Pentax DSLRs, the K-S2 can record JPEGs, raw files and RAW+JPEG pairs and offers the choice between the ‘universal’ DNG and proprietary PEF raw file formats. Four JPEG sizes are supported Large, Medium, Small and Extra Small, each with three compression levels. The table below provides approximate file sizes.
|
Image size |
Quality |
*** |
** |
* |
|
5472 x 3648 |
RAW |
34.18MB |
||
|
JPEG |
15.15MB |
6.70MB |
3.41MB |
|
|
4224 x 2816 |
JPEG |
9.09MB |
4.04MB |
2.08MB |
|
3072 x 2048 |
JPEG |
4.78MB |
2.18MB |
1.17MB |
|
1920 x 1280 |
JPEG |
1.95MB |
0.94MB |
0.55MB |
Video
Video options are pretty standard; the K-S2 can record Full HD 1080p clips at 30, 25, or 24 frames/second using the MOV codec with H.264 compression or HD 720p clips with a higher frame rate of 50 fps. Stereo soundtracks are recorded via the built-in stereo microphone. Alternatively, you can attach an external mic via a 3.5mm jack in the left side of the camera body, an unusual feature in an entry-level DSLR.
The camera’s menu allows the audio recording levels to be adjusted. But, like other entry-level Pentax DSLRs, the K-S2 has no wind filter.
Most shooting modes can be used for recording movie clips, albeit with some restrictions on the functions users can control. However, Shutter-priority and Sensitivity-priority AE aren’t available and the camera defaults to P mode when an unusable mode is selected. Movie recording times are limited to 25 minutes or 4GB, whichever comes first.
Time-lapse recording is available via the Interval Shooting drive mode, which includes an option to record time-lapse movies with 4K resolution (along with the standard FHD and HD options. There’s also an innovative Star Stream movie mode, which can be used to record star trail movies using interval capture.
Wi-Fi with NFC
The in-camera Wi-Fi connectivity with Near Field Communications (or NFC) makes it easy to link the camera with Android smart devices. Pentax provides a free Image Sync app for both Android and iOS systems, which enables the K-S2 to be controlled remotely from the camera via a live view feed on the smart device’s screen.
Users can adjust functions like the shutter speed, aperture, EV compensation and ISO sensitivity and select various drive modes. Live View shooting can be switched on and off and users can view thumbnails of the last image captured. If the camera is set to AF mode, touch focusing is also possible from the connected smart device’s screen.
Users can also choose where captured images will be stored, with options including Album, Application, Gallery or Camera Roll. Uploading to social networks is done via the smart device.
Playback and Software
Essentially, nothing has changed since the K-30 (insert link). No software was provided with the review camera, which wasn’t a problem as raw files from the K-S2 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.
Performance
We ran two sets of Imatest tests on the review camera because the first set, captured with the smc DA 18-135mm f/3.5-5.6 ED AL [IF] DC WR lens produced results we considered below standard for the camera. (The smc DA 18-135mm f/3.5-5.6 ED AL [IF] DC WR lens is reviewed separately.) The second set, recorded with the same smc DA 18-55mm f/3.5-5.6 AL WR lens as we used for our tests with the K-3 II camera, yielded more credible results so we’ve used them for our assessment.
Like other Pentax DSLRs, the review camera’s default Custom Image setting was Bright, which tends to boost colour saturation and contrast in JPEG files, although raw files are not affected. In line with our normal practice of capturing images that reflect the actual colour and tonal balances, we re-set the camera to the Natural position and left it on that setting for the remainder of our tests.
Despite the change of lenses, we feel the K-S2 is capable of producing better image quality than we found with our Imatest tests. We found differences between centre and edge-of-frame resolution, which were probably mainly caused by the lens.
In our Imatest tests the centre areas of raw files from the review camera were almost capable of meeting expectations for the sensor’s 20-megapixel resolution. However, JPEGs fell short and resolution declined steadily as sensitivity was increased. The graph below shows the results of our tests across the camera’s ISO range.
Long exposures after dark contained no obvious noise at sensitivities up to ISO 1600. By ISO 3200, slight softening was was visible and it became more noticeable as sensitivity was increased. Noise became just noticeable at ISO 6400 and granularity was evident at ISO 25600 but enough detail was preserved and colours remained sufficiently accurate at ISO 51,200 to make shots usable as small output sizes.
The built-in flash was relatively weak and tended to under-expose shots at ISO settings up to 3200. Beyond that point images became increasingly softened and with the top two ISO settings both softening and granularity were apparent. Exposure levels were largely correct from ISO 6400 on.
Autofocusing was generally fast and accurate in all light levels we tested and, with the 18-135mm lens it proved fast enough to photograph birds in flight. An example is provided in the sample images section below.
When the viewfinder was used for framing shots we found no instances of hunting. This assessment was confirmed by our timing tests (see below). But hunting was common in Live View mode in poorly-lit and low-contrast situations. Our tests also confirmed autofocusing in Live View mode was noticeably slower.
Auto white balance adjustment was similar to the K-3 II’s, with shots taken under fluorescent lighting showing slight warming and shots taken in incandescent lighting retaining an orange cast. Flash exposures were virtually free of colour casts and, although the pre-sets made imperfect corrections all but the tungsten pre-set came close to neutral colour rendition to require minimal correction. Fortunately, there’s plenty of scope for in-camera tweaking of colour balance.
Video quality from the review camera was similar to the clips we shot with the K-3 II and autofocusing speeds in movie mode were similar. The AF motor is noisy enough to be recorded in movie clips if focusing changes or the lens is zoomed during recording. Otherwise soundtrack quality was acceptable. Attaching an accessory microphone would probably address this problem.
Our timing tests were carried out with the same 16GB Panasonic SDHC U1 Class 10 card as we used for our review of the K-3 II. The review camera powered-up ready for shooting in roughly one second and we measured a consistent capture lag of 0.1 seconds, which was eliminated by pre-focusing.
Shot-to shot times averaged 0.45 seconds without flash and 2.3 seconds with. It took 1.3 second on average to process each JPEG file, 1.5 seconds for a DNG.RAW and 2.1 seconds for a RAW+JPEG pair.
When the high-speed setting was selected in the continuous shooting mode, the review camera recorded 28 high-resolution JPEGs in six seconds. It took 8.7 seconds to process this burst.
Ten DNG.RAW frames were recorded in 2.1 seconds before capture rates began to slow. It took 9.8 seconds to process this burst. Swapping to RAW+JPEG reduced the burst depth to seven frame pairs, which were recorded in 1.3 seconds and took 8.6 seconds to process.
Conclusion
The K-S2 has a lot to recommend it: high resolution, body-integrated stabilisation, a bright viewfinder with 100% coverage, fast autofocusing, the ability to accept external flashguns and microphones and plenty of user-adjustable controls as well as some interesting and potentially useful functions. It also has the potential to deliver high-resolution images, although that wasn’t realised in our tests.
The review camera was the second of two 20+ megapixel cameras we reviewed simultaneously, each being supplied with different kit lenses. Based on our Imatest results, we conclude that neither of these lenses was capable of handling 20-megapixel resolution.
Issues associated with kit lens performance are becoming an increasing challenge for camera manufacturers. With resolution above 20-megapixels, photographers have come to expect sharper, clearer pictures and greater potential to enlarge and crop images. The resolving ability of lenses is critical to achieving these objectives and, sadly, some kit lenses fall short.
Our recommendations, therefore, as the same as those provided with our review of the K-3 II: the camera is worth considering if its features and control layout meet your requirements. But if high-resolution images are a priority, you should invest in a better-performing lens.
Pentax doesn’t offer as many to choose from as Canon or Nikon, but options are available from third-party manufacturers like Sigma and Tamron. Sigma lenses are distributed in Australia by local Pentax distributor, C.R. Kennedy & Company so it should be possible to bundle the camera body with a lens of your choice (although that lens may not be weather-sealed).
Because the K-S2 is new to the market, there is currently very little discounting in Australia. Buying off-shore could save you a few dollars, provided you take the cheapest shipping option and don’t include insurance. But you will lose the Australian consumer protection and warranty so it’s better in the long run to shop locally. Choose a specialist camera store where you can try out different lenses with the camera.
SPECS
Image sensor: 15.6 x 23.5mm CMOS sensor with 20.42 million photosites, no AA filter and hardware moirø© suppression; (20.12 megapixels effective)
Image processor: PRIME M II
Lens mount: Pentax KAF2 Mount
Focal length crop factor: 1.5x
Image formats: Stills ““ JPEG, DNG RAW, PEF RAW (12-bit) , RAW+JPEG ; Movies – H.264 MOV
Image Sizes: Stills ““ 3:2 aspect: 5472 x 3648, 4224 x 2816, 3072 x 2048, 1920 x 1280; Movies: [Full HD] 1920 x 1080 at 30/25/24 fps; [HD] 1280 x 720 at 50 fps, 4k with Interval Movie mode
Image Stabilisation: Mechanical Sensor-Shift Shake Reduction (CIPA: 3 stops average, 4 stops max); Electronic stabilisation in movie mode
Dust removal: SP coating and CMOS sensor vibration
Shutter (speed range): 30 to 1/6000 seconds
Exposure Compensation: +/- 5EV in 1/3EV steps (+/-EV for movies)
Exposure bracketing: 3 exposures across +/- 3EV
Other exposure options: Multi-exposure, HDR capture, interval shooting, interval composite, interval movie recording
Self-timer: 2 or 12 seconds delay
Focus system: SAFOX X phase detection with 11 focus points, 9 cross-type
Focus modes: Single AF (AF.S), Continuous AF (AF.C), Auto select AF (AF.A)
Exposure metering: 77-segment metering with Multi, Centre and Spot patterns
Shooting modes: P, Sv, Av, Tv, TAv, M, B, Auto-Pict, Advanced-HDR, Scene modes
Scene presets: Portrait, Landscape, Macro, Moving Object, Night Scene Portrait, Sunset, Blue Sky, Forest, Night Scene, Night Scene HDR, Night Snap, Food, Pet, Kids, Surf & Snow, Backlight Silhouette, Candlelight, Stage Lighting, Museum
Custom Image Modes: Bright, Natural, Portrait, Landscape, Vibrant, Radiant, Muted, Bleach Bypass, Reversal Film, Monochrome, Cross Processing
Digital Filters: Extract Colour, Replace Colour, Toy Camera, Retro, High Contrast, Shading, Invert Colour, Unicolour Bold, Bold Monochrome
Colour space options: sRGB and Adobe RGB
ISO range: Auto, ISO 100-51200 in 1/3EV steps
White balance: Auto, CTE, Cloudy, Colour Temperature, Daylight, Flash, Fluorescent, Fluorescent (Cool White), Fluorescent (Day White), Fluorescent (Daylight), Fluorescent (Warm White), Manual, Multi Auto WB, Shade, Tungsten
Flash: P-TTL built-in flash; GN 12 (ISO 100), flash synch at 1/180 seconds
Flash modes: Auto, Flash On, Hi-Speed Sync, Manual, Off, Second-curtain Sync, Slow Sync, Wireless; Red-eye Reduction is available
Flash exposure adjustment: -2 EV to +1 EV (in 1/3 EV steps)
Sequence shooting: Max. 5.4 shots/sec.
Buffer capacity: Max. 30 Large/Fine JPEGs, 9 RAW files or RAW+JPEG pairs
Storage Media: SD, SDHC, SDXC cards (Compatible with UHS-I standard)
Viewfinder: Optical pentaprism with 100% coverage, 0.95x magnification, 20.5 mm eyepoint, dioptre adjustment of – 2.5 to +1.5 m; Natural-Bright-Matte III screen (interchangeable)
LCD monitor: Vari-angle 3-inch TFT colour monitor featuring an air-gapless structure with an AR coated, tempered-glass front panel; 3:2 aspect ratio, 921,000 dots
Playback functions: Single frame, multi-image display (6,12, 20, 35, 80 segmentation), up to 16x magnification (Quick magnification available), Rotating, Histogram (Y histogram, RGB histogram), Bright area warning, Detailed information, Copyright Information (Photographer, Copyright holder), GPS information (Latitude, Longitude, Altitude, Time (UTC), Direction, Folder Display, Calendar Filmstrip Display, Slide Show
Interface terminals: Mini HDMI, USB2, Eye-Fi, IR, Wi-Fi (IEEE 802.11b/g/n), NFC, external microphone jack
Wi-Fi function: IEEE 802.11b/g/n, 2412 MHz – 2462 MHz (1-11 ch), Wi-Fi / WPA / WPA2, Infrastructure mode
Power supply: D-LI 109 Rechargeable Li-ion Battery Pack; CIPA rated for approx. 480 shots/charge
Dimensions (wxhxd): 122.5 x 91.0 x 72.5 mm
Weight: Approx. 668 grams (body only); grams with battery and card
TESTS
Based on JPEG image files captured with the smc Pentax-DA 18-55mm f/3.5-5.6 AL WR lens.
Based on DNG.RAW image files converted into 16-bit TIFF format with Adobe Camera Raw.
SAMPLES
All sample images and movie clips were captured with the smc Pentax-DA 18-135mm f/3.5-5.6 ED AL [IF] DC WR lens, which was supplied with the review camera.
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
Auto white balance with flash lighting.
30-second exposure at ISO 100 at f/5.6, 40mm focal length.
13-second exposure at ISO 800 at f/5.6, 40mm focal length
5-second exposure at ISO 6400 at f/7.1, 40mm focal length.
4-second exposure at ISO 12800 at f/8, 40mm focal length.
2-second exposure at ISO 25600 at f/11, 40mm focal length.
2-second exposure at ISO 51200 at f/16, 40mm focal length.
Flash exposure at ISO 100, 78mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 800, 78mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 6400, 78mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 12800, 78mm focal length, 1/125 second at f/5.6.
Flash exposure at ISO 25600, 78mm focal length, 1/125 second at f/8.
Flash exposure at ISO 51200, 78mm focal length, 1/125 second at f/11.
135mm focal length, ISO 200, 1/125 second at f/6.3.
115mm focal length, ISO 200, 1/200 second at f/5.6.
135mm focal length, ISO 3200, 1/60 second at f/5.6.
135mm focal length, ISO 1600, 1/50 second at f/5.6..
120mm focal length, ISO 800, 1/80 second at f/5.6.
Still frame from Full HD movie clip recorded at 1080 30p.
Still frame from Full HD movie clip recorded at 1080 25p.
Still frame from Full HD movie clip recorded at 1080 24p.
Still frame from HD movie clip recorded at 720 50p.
Additional image samples can be found with our review of the smc Pentax-DA 18-135mm f/3.5-5.6 ED AL [IF] DC WR lens.
Rating
RRP: AU$925; US$549.95 (body only); AU$1250 (as supplied, with 18-135mm WR lens)
- Build: 8.8
- Ease of use: 8.5
- Autofocusing: 8.7
- Still image quality JPEG: 8.2
- Still image quality RAW: 8.5
- Video quality: 8.3
