The Pentax K-5 is a follow up to the ground up design and release of the Pentax K-7. While in many ways the Pentax K-7 was a significant upgrade to any DSLR Pentax had previously released, sharing a great deal of technology with the 645D, it wasn’t the break through in image quality that was expected from a $1300 flagship.

The K-5 came rather quickly on the heels of the K-7, which is not believed to have been a strong seller due to it’s minor IQ upgrades over the K20D, and inferior in high ISO image quality to the less expensive K-x

Does the K-5 remedy those issues and set itself above other Pentax models and the competition?

Construction and Control Layout

The external control layout and menu is almost identical to the K-7 with a few improvements. If you are new to the Pentax system please see my my thorough long term review of the K-7 for detailed information on the handling of the K-5 and K-7 menu systems.

The K-5 retains the adjustable “live” info menu. Pressing the info button can be used to quickly change many settings without menu diving. These include: lens corrections, highlight and shadow corrections, ISO settings, file format and compression, Shake Reduction, and more.

Although the K-5 is more compact and lighter than the competition, the K-5 still retains a feeling of heft and solid construction.

Nikon and Canon answered the Pentax K-7 with their own compact professional grade weather sealed DSLRs the following product cycle, the upgraded Pentax K-5 is still smaller than similar offerings from any brand. It is 1.3 oz (38g) lighter than the D7000 and slightly less than a half pound lighter than the 7D (174g). As a matter of fact, the K-5 is still the smallest fully weather sealed DSLR on the market. With sealing on par with Canon and Nikon’s top of the line offerings, it happens to be among the least expensive sealed cameras as well.

The biggest external control changes to the K-5 is the user customizable RAW+ button. Unlike previous incarnations of this Pentax first, the RAW+ button is now able to be user selectable from a list of canned functions in the menu system. Now entirely what Pentax photographers were asking for in a fully customizable button, the K-5 takes a step in the right direction.

While I have not had a chance to test the K-5 below about 25F, I regularly used the K-7 in temperatures as low as 10F, well below the “cold proof” rating of the camera. Though the camera is quite compact, it is easy to use wearing light glove liners. Using the K-5 with thicker gloves might be a problem due to the smaller size, but I believe this is offset by the benefits of a compact professional grade camera system during year round shooting.

As with the K-7, the control layout is mostly well thought out, and people with average to slightly large hands should have no problems operating the K-5 efficiently.

I mentioned this with the K-7, but it bears repeating. I am not happy with Pentax removal of the lock latch on the SD card door that was on both the K10D and K20D. It’s quite easy to open the door accidentally when removing it from a camera bag, or just handling the camera. Once open your weather sealed DSLR is no longer sealed. Beyond that, it also inactivates the camera, creating moments of occasional panic. Despite the door opening without any legitimate effort, good luck removing the SD card. It’s a tight fit for average hands and just doesn’t seem to want to be removed. I’d advise gaffer taping the door shut with a big SD card loaded if you shooting in extreme conditions. The tape won’t add much hassle to removing the card, but it will assure your camera remains sealed.
Menu System

The K-5 continues with the tabbed menu system we first saw on the K-7. Rather than scrolling pages up and down and side to side, the menu system uses tabs, scrolling pages side to side like a book rather than a web page. I am not sure if this is faster, but it is arguably easier to keep track of where you are once you become familiar with the system.

The menu system remains fairly complex, but is also improved over the K-7 in several ways.

First, it allows you to set whether the pages return to the start each time you press the menu button, or whether you return to where you left off. While this doesn’t completely solve all issues, one I found it helped with was formatting memory cards. As with the K-7, format is found in the middle of the row of tabbed pages. Quickly formatting multiple cards was a chore before this option.

Second, as mentioned above, the RAW button on the side of the lens mount now has been given more functionality which is adjustable via the button customization menu tab.

Options for this include:

• RAW-JPEG-RAW+JPEG
• exposure bracketing mode
• digital Preview
• electronic level activation
• composition adjust mode

For this reviewer, those happen to be the settings I’d most like to have buttons for. This in essence returns the bracketing button that was removed from the K-7. However, if shooting landscapes from a tripod, both the electronic level and composition adjust modes could be useful on a regular basis.

I also like the fact that in auto focus point select mode you now have to press the OK button for 1 second to enter the menu system. Since I rarely use the scene/color or white balance modes, I don’t mind the longer press to get into the menu. Bear in mind this only works in focus point select mode. In center point or auto select, pressing the four way controller instantly brings up the settings menus of the pressed button.

Battery Life

The battery of the K-5 seems to have improved back to K10D levels, if not significantly better considering the added strain of bigger files (longer write times), live view and video. The K-7 did seem to improve with firmware updates and/or battery break-in period, but the K-5 was still noticeably better than it’s predecessor. Unofficially,I seem to be able to capture over 12GB of images per battery. This is about what the K10D/K20D was capable of.

The K-5 continues to be able to use all K-7 accessories, including the DLi-90 battery and optional BG-4 battery grip that allows for AA batteries, or a second DLI-90 battery. There is still a real advantage to using AA Lithium batteries for extreme cold weather photographers, or those who travel off the grid for extended periods.

Flash

One of my few gripes with the K-5 is it retains Pentax now standard 1/180th flash sync. This is a slightly under-spec’d flash sync for a camera of this level. While the K-5 P-TTL hotshoe does support High Speed Sync, as well as wireless flash control, the mechanical 1/180th of a second from a camera with a 100,000 actuation 1/8000th second shutter seems low. However, unlike many DSLRs in it’s price range, the K-5 does allow the on camera flash to control wireless P-TTL flash. The biggest downside of a low mechanical sync speed remains the inability to perform daylight sync. HSS is effective for short ranges, but requires a dedicated accessory flash. In addition, the lack of a higher mechanical sync speed means that RF radio flash transmitters have much less value. A camera of this level should have a 1/250th or 1/320th or 1/500th flash sync.

CMOS and Shutter
The K-5 ends Pentax relationship with Samsung for it’s CMOS sensors found in the last two flagship DSLR models. With the K-5, Pentax returns to Sony sensors, which it has been able to achieve it’s best IQ from over several generations of cameras. The K-5 shares the same 16MP sensor found in Nikon’s D7000, and Pentax has once again figured out how to tweak a Sony sensor to give it a slight edge over the competition in image quality.

Improvements of the K-5 over it’s predecessor don’t end at the CMOS and processing engine. One of the initial strong points of the K-7 was it’s ultra quiet, yet durable shutter, which this reviewer remarked should lead to improved IQ. However, that shutter suffered from serious vibration issues at certain mid range shutter speeds that were not present in previous models. This was counter intuitive to the sound the shutter made, and it was some time before this reviewer noticed the issues. As a matter of fact, I would have probably assumed it was user error if these issues weren’t thoroughly tested by independent analysis. Of course, these issues aren’t readily apparent as they only came into play during very specific conditions, when all other variables for image degradation were already addressed. And even then they can be mitigated to some degree by bolting the camera down to a stout tripod. Nevertheless, this problem was only an issue a very small percent of the time to most photographers. Because it was the shutter itself, and not the mirror, using mirror prefire or mirror lockup had no benefit.

The shutter on the K-5 has fixed this problem, and forgetting about the superior image quality from the 16MP Sony CMOS, this alone should lead to a significant improvement in photos taken at shutter speeds between 1/50th to 1/160th of a second when shooting from a tripod using mirror up mode for optimal sharpness.

LCD Screen

The K-5 LCD is apparently identical to the K-7’s wonderful display. However, Pentax list it at 3 inches and 921,000 pixels vs the K-7’s 3in and 920,000 pixels. The viewing angle on both cameras is 170 degrees horizontally and vertically. Viewing angle and resolution are more than capable of utilizing the Live View fully. Furthermore, zooming in to check critical focus is now extremely accurate and clear at much higher magnifications. The K-5 retains an active orientation sensor which allows you to view images in Live View in the correct orientation regardless of camera position. A useful feature for composing images from a camera mounted on a tripod’s inverted center column.

The K-5 maintains the ability to color calibrate the LCD that was initially introduced on the K20D. This allows photographers to have seamless color from capture to printing.
Live View and Sensor Shift
The Live View of the K-5 continues an evolution from it’s introduction on the K20D and it’s full activation on the K-7. Though mostly similar to the K-7, the K-5 makes enough improvement to be notable.

The K-5 Live View has a dedicated button that allows you to enter Live View while keeping either optical or digital preview assigned to the DOF preview switch.

Using the K-5 on a tripod with Live View is a landscape shooter’s dream. While on a tripod, I was able to compose using the on-screen grid, and adjust my focus at high magnification, all while never having a perfectly clear angle on the camera viewfinder. Additional features in live view mode include a live histogram, and highlight/shadow “blinkies”.

One issue with Live View that carries over from the K-7 is that the metering isn’t extremely accurate with the mirror up when shooting in manual mode. I’m not quite sure what causes this, but if you flip meter and then flip the mirror up, your meter will show the exposure to be off. However, it will be fine when you capture the photo.

While shooting panoramas I was able to use the Live View as a pseudo mirror lockup, which was much more effective than Pentax’s 2-second mirror pre-fire, or even the somewhat unnecessary true MLU also found on the K-7 shooting modes menu. In Live View, the mirror is up, and the camera can fire multiple shots in succession without any gap. When shooting a panoramic this allowed me to shoot frame after frame without mirror vibration and without the time gaps caused by mirror pre-fire. This is important in scenes with movement, like clouds or sun.

Additionally, the Live View mode can be used to auto bracket images without the mirror coming back down between images, a boon for HDR shooters, or landscape photographers.

Included in the Live View functionality is composition adjustment via sensor shift. The K-7 was the first DSLR to feature in camera sensor shift, and is partially a byproduct of in camera Shake Reduction. The K-5 retains this ability, and though it seems like a throw in spec filling feature, it can prove quite useful in real world situations when shooting from a tripod.

The ability to shift a few millimeters will not allow you to abandon a shift lens, but it does work quite well for micro adjustments using the 100% view of the LCD in Live View. Shifting the sensor a millimeter or two is much more accurate than trying to adjust even the most precise tripod head. This again is another feature best appreciated with the camera securely locked down to a tripod.

One annoying aspect of Live View is that while in this mode the LCD blacks out till the image is written to the card. This is actually quite frustrating when shooting in RAW. Even with lens corrections turned off, this takes a second or two. During the blackout you can shoot more but you are shooting without either an optical or digital viewfinder, at best you are hoping to get correct framing and focus.

Level

The K-7 introduced a level function to Pentax DSLR’s. The K-5 improves upon it. As with the 645D, which shares a great deal of technology with the K-7/K-5, the K-5 now has a multi-axis level. Tilt (up and down) and roll (side to side). This level is pretty useful for non critical work, though I wouldn’t throw your bubble levels away just yet. Specifically, if you are shooting panoramas on rotating head, you will want to use a more visible level.

As a matter of fact, I really only find the level useful in Live View mode, where it clearly displays both axis. Unless I am missing something the optical mode is only capable of a single axis display. The problem with using Live View as a main means to level the camera is 1) you are wasting battery 2) you are heating the sensor which might become a problem in extremely warm weather.

Regardless of limitations, the level is on the K-5 is a nice upgrade and something that is always available. It’s yet another useful feature that might get passed over when looking at the specifications.
AF Modes, Speed and Accuracy

Pentax auto focus has always been a game of give and take. Deadly accurate but painfully slow in comparison to the competitions offerings of any given generation. The K-5 retains a very basic auto focus system, lacking techno features like color tracking, it’s also not extremely fast on lower EV. However, it always has been extremely accurate in capturing both moving and still subjects that were not beyond it’s comfort zone. That is to say, if a Pentax SLR can focus on it, it will be sharp.

Although the K-5 still 1-2 generations behind Nikon and Canon’s upper end offerings, the K-5 improves on the K-7 in several ways.

First, it adds the option to select either the 5 center points or all 11 sensors. For tracking when shooting sports or action, the 5 point or center only mode would offer better results without the input of the perimeter sensors. The 5 point mode splits the difference between the bare bones single point center method and the full array. I like this option a lot and am glad it was added.

Second, Pentax has found a way to remove it’s famous Pentax confirmation stutter and still keep images in focus. Now it seems when it focuses, it hits it’s focus point and is ready. On cameras prior to the K-7, this confirmation stutter was much more pronounced.

While in AF-S mode, the K-5 is quick and accurate. In single shot mode you will rarely, if ever, get an out of focus shot that isn’t user error. The camera focuses faster and in lower light than prior Pentax models but not significantly faster than the K-7. Part of the focusing improvement in low light is the focus assist beam. This has always been a feature I like, but all too often was tied to the built in flash. Starting with the K-7, Pentax placed the focus assist beam externally and independent of the flash. Even without the assist beam on, the K-5 does well in low light situations.

In AF-C mode, the K-5 is able to keep up fairly well with movement. Difficult to say if it does a drastically better job than the K-7, but it certainly seems Pentax has improved it’s tracking algorithm in the SAFOX IX+ AF system.

Please note that the lenses I used for gauging auto focus were either DA/FA Limited primes, older screw drive zooms, or a 1st generation DA* 50-135mm f/2.8. The hybrid nature of the 50-135mm focusing system made it much slower than pure SDM lenses. Also, the short throw of the DA Limited lenses makes them quite fast in focus with almost any Pentax DSLR. So, I’m really not using lenses that would probably perform significantly better or worse on any of the recent Pentax offerings.

Auto focus in Live View is another improvement on the K-5. While Live View AF is still not ready for full time use, it is a significant improvement over the K-7. I’m sure when the next model comes out I will look back on this statement and cringe, but it is almost lightening fast for a mirrored SLR.

Live View focus now zooms in on the AF point selected and contrast focuses in about 1 second. You could say the K-5 is 2X as fast at mirror up focusing.
Not fast enough to shoot anything moving, it is plenty fast when shooting any sort of static or extremely slow moving subject. With the K-7 it was often faster to manually focus in Live View mode, with the K-5 auto focus is works quite well.

The K-5 retains the K-7’s ability to either use contrast or phase detect AF. With phase detect the mirror drops down to focus. This was faster on the K-7 and I actually used it, but on the K-5 there is no advantage and this will most likely be the last Pentax DSLR to have the feature unless I am missing a use for it.

There is also a face detect feature and tracking feature in the Live View. The K-7 also had these features. I don’t notice face detection to work any better with the K-5, but tracking seems to work better. This isn’t surprising based on the overall snappier auto focus in Live View.

Metering

The K-5 retains the same 77 zones metering of the K-7. I felt the metering to be nearly identical on both cameras. I found the camera to be pretty conservative in trending toward underexposure in bright conditions. This isn’t new to DSLRs, and because it seems relatively consistent, I don’t consider it to be a flaw or even a nuisance. Simply go +1/3 on the EV comp or manually add 1/3 stop when metering, or if shooting at low ISO just accept the slight underexposure and adjust in post process. Most likely DSLR makers are doing this to protect the highlights, and JPEG shooters will probably appreciate the exposure bias, while RAW shooters will find it initially annoying.

One of the nice things about Pentax interface and ergonomics is how easy metering in any mode can be. The spot meter on the K-5 was my favorite mode. The meter is accurate at evaluating tones, and the subjective nature of matrix metering was removed. The Pentax “Green” button is still prominent on the K-5 -this button makes shooting in manual on a DSLR an absolute breeze.

For example, while spot metering, set the aperture you need for proper depth of field, and simply point the spot meter at a mid-tone and press the green button. If you have your program shift setup properly in custom functions, it will adjust the shutter speed only for proper base exposure. No endless scrolling of the control wheels to get back to a base exposure -you can adjust from there with a few turns of the wheel.

Overall, no matter what metering mode you choose to use, the K-5’s meter is absolutely stellar.

Shooting Modes

The K-5 has the same shooting modes as the K-7. These include the usual Green mode, P, Sv, Tv, Av, TAv, M, B, X, and of course the custom USER mode. The mode selector dial on the K-5 locks out. This is somewhat annoying at times, occasionally it is appreciated. There have been many times my mode dial got moved just enough that it locked the camera out, causing some concern.

The Sv and TAv modes were unique to Pentax upon their release with the K10D. TAv is a shutter/aperture priority mode that uses the ability of a digital SLR to use ISO as a 3rd on-the-fly variable in exposure. The photographer sets shutter and aperture and the camera chooses the ISO to maintain the exposure. Sv is the opposite: the photographer sets the ISO and the camera selects the exposure values.

While most cameras have a “Green Mode” of some form, Pentax is the only company to take it to all modes. By no means does this Green Mode impede the photographers ability to make the decisions, however, it does make getting around the exposure matrix a bit easier. In any mode the photographer can press the K-5’s Green Button, and the camera will return to a base exposure based on the meter reading. This mode is effective in manual mode where it allows for rapidly going from aperture priority to shutter priority or anywhere in between. Pressing the Green Button will only affect the program line in priority modes (speed or depth). In manual mode the Green Button will only change the shutter or the aperture based what the photographer has chosen as a priority.

The USER mode is a custom setting that allows the photographer to create a custom shooting mode. Virtually everything on the K-5 can be set in this mode and stored until needed. For instance, if you want to auto bracket at 2 stops, with a 2-second self timer at ISO 100, all you have to do is select the settings, and save to user. Anytime you want to use those settings simply select user and the camera is ready to shoot.

For JPEG shooters who like to minimize time post processing on the computer, the K-5’s in-camera HDR mode will prove to be an interesting feature. I wasn’t particularly impressed with the images, which are derived from 3 JPEGs but I also didn’t find them disturbingly poor. It’s unfortunate that the HDR mode cannot record RAW+JPEG, which would allow advanced photographers to utilize the in-camera HDR for immediate use, as well as have a copy of the RAW files for later conversion in a program like Photomatix Pro. Additionally, the K-7’s in-camera HDR feature still requires a tripod, and it isn’t particularly fast. Expect your camera to be idle for about 10-15 seconds while the HDR is created. This seems to be a feature that would get more use on the K2000 or K-x.

While talking about the in-camera HDR ability, I should note one of the nice features on the K-7 (as well as prior top tier Pentax DSLRs) is the 2-stop bracket ability, which is extremely useful for creating high quality HDR images. Many cameras priced at or below this level lack this feature making shooting properly spaced HDR brackets much more work.
Bracketing and Frame Rate

Pentax was really able to move up in frame rate over the last 2 generations. While most Pentax shooters aren’t looking for a sports camera, the ability to shoot at a higher frame rate certainly has it’s advantages.

The K-5 has 7fps high mode, with a 24 frame buffer. Even if you don’t shoot sports or action, a higher frame rate can be useful for bracketing.

In terms of bracketing, the K-5 offers some nice options. You can do the standard 3 or 5 frame bracketing between ⅓ and 2 EV per image, or you can do a simple 2 frame bracket at (+) or (-).

If it isn’t immediately clear why this simple two frame bracket might be useful, those shooting landscapes using a digital GND technique will love it.

The two frame bracket simplifies the issue of wasted card space by allowing you to properly meter the foreground, lock in that exposure and then the second shot can be taken at -2 EV. If and HDR image isn’t your goal, this mode is actually a time saver, a battery saver and a shutter saver.

Video

The K-5 steps up video to full HD in either 25 or 30fps. It also has 720P in 25fps and VGA options. With a sealed DA* lens attached to the camera, I can imagine the video mode would be quite useful for adventure sport films.

The K-5 also has an external microphone jack, an essential accessory for serious filming.

While Pentax has yet to enable fully manual control in video mode on any camera, you can set the aperture to automatically adjust, or be manually set for creativity.

Video I shot with the K-5 seemed quite good, limited only by my own ignorance of video capture techniques.
Shake Reduction

The K-5 continues to feature in camera Shake Reduction (SR). At this point it is widely accepted that both in camera SR or lens based stabilization both work equally well in most situations encountered by most people. However, each system has unique advantages. For Pentax and it’s core market, smaller, less expensive optics are producible without in-lens stabilization. At the same time Pentax is able to offer a superior optical design below the cost of the competition’s lenses. It is not, however, a one sided affair. There are advantages to in lens stabilization, especially with longer lenses.

The level of SR benefit is largely determined by the users ability to steady the camera and so there is quite a bit of variability to what each individual will achieve. Generally speaking, most systems are capable of consistently gaining about 2 stops and in some cases 3 stops. I’ve found this to be the case with Pentax sensor based SR. Count on about 2.5 stops on average, but don’t be shocked to get 1.5 or 3.5 stops on occasion.

The K-7 introduced a third axis of rotation on the sensor, which enabled wide angle lenses to better make use of the in camera SR. The K-5 retains this upgraded SR system and I did not notice any significant difference in the K-5 vs the K-7 in SR efficacy. I think perhaps we have reached a point where SR has fully matured.

Viewfinder

The K-5 sacrifices a bit of magnification to offer 100% FOV in the viewfinder. This is a feature that wasn’t particularly important when shooting film since mounted slides didn’t give you 100% of the frame in the printing or viewing process. With digital you have the ability to print 100% of the captured image if you choose. Having 100% viewfinder coverage is a nice feature, but it could be argued that when using the viewfinder some photographers would rather have the extra magnification. Of course, you can always turn on the LCD for 100% coverage, and with the sensor shift, getting those pesky distractions out of the frame edges is almost too easy.

Overall, the K-5 view finder, as with previous Pentax flagship DSLR’s, is perhaps as good as can be achieved with an APS-C camera.
Dust Removal

The first time you use the K-5 dust removal system it’s evident it is redesigned over first generation cameras like the K10D and K20D. Gone is the old “clunk” where the sensor literally shook using the SR system. The DRII system uses a high frequency vibration of the low pass filter. I never found dust to be problematic on the K10D or K20D, but the K-5’s removal mechanism seems significantly improved. So improved that during my time with the K-5 I rarely had to use a blower, even with the more frequent lens changes of this prime shooter.
White Balance

Most photographers shooting the K-5 will probably be shooting RAW format and not particularly concerned with critical white balance (WB) at time of exposure. However, with the addition of video modes on the K-5, WB takes on a new importance. I found the WB to be generally good, if not nearly perfect. I really didn’t notice any troublesome situations where the white balance failed consistently, if at all. For those with critical in-camera white balance needs, such as video, the K-5 maintains the WB fine tuning found on previous models.
ISO and Overall Image Quality

Although Pentax seemed to always do extremely well at tweaking the high ISO capabilities of existing Sony sensors, the new 16MP Sony sensor in the K-5 seemed to be a breakthrough in itself.

With an ISO range of 80-51,200 the K-5 moves gracefully from landscapes and studios to dingy corner bar stools without missing a beat. In fact, the K-5 actually seems to improve slightly at higher ISO, whereas the K-7 seemed to degrade rapidly.

Subjectively, the overall image quality is outstanding! At low ISO the K-5 has wonderful dynamic range, exceeding that of the K-7 and K20D. At high ISO the images are clean. You will have no problems putting this camera on 400, 800 or 1600 and obtaining clean images.

A side benefit of the low noise levels on this camera, photographers will be able to have much more leeway in pushing exposures or pulling in highlights without muddying up the exposure.

When using the highlight and shadow corrections (dynamic range expansion), that first debuted on the K20D, the K-5 was the first camera I felt like I was really not losing anything. Even though the K-7 fixed the K20D shadow noise issues at ISO 200 in the expanded range mode, it always seemed like my images were not quite as good as with the DR mode off. Granted, I knew there was no such thing as a free lunch and never used this setting unless shooting in extremely contrasty light, it still wasn’t quite perfect. The K-5 has almost eliminated any noticeable IQ loss shooting with the DR expansion mode on. However, this still isn’t a setting I would use while setup on a tripod under ideal lighting, I still don’t believe this lunch is entirely free.

Compared to Nikon, Canon and Olympus
Prior to the K-7, the Olympus E-3 was the only metal bodied, fully weather-sealed DSLR on the market for under $1500. The K10D and K20D were great values, costing hundreds less than anything comparable, but not quite on par with that level of build. Things like the shutter, frame rate, and body materials made those cameras just slightly inferior even if only in specification.

The current generation of competition for the K-5 is quite a bit more stiff. Not only does Pentax have to battle with Olympus in this space, but now it has Canon and Nikon’s offerings to fend off.

Compared to the E-5, the K-5 has a larger sensor, better high ISO performance and higher resolution at low ISO. The movie mode on the K-5 is superior to the E-5. However, the E-5 does have a few advantages. The shutter is rated for 50% more exposures, and the auto focus system is lightening fast, perhaps the fastest of any brand. Olympus is also the only other brand with an extensive line of professional grade lenses built around it’s smaller sensor. Finally, the E-5 is arguably the only other camera sealed as tightly as Pentax offering.

Compared to Nikon, the K-5 now has a legitimate direct competitor in the D7000. Both are weather sealed, though the K-5’s sealing is probably a step up. The D7000 is slightly larger but about the same weight. On specifications alone they are very similar. Both offer 100% viewfinder, Nikon offers 6fps while the K-5 offers 7fps. Video modes are similar as is final image quality in RAW. Both cameras use the same sensor. It would certainly come down to ergonomics and photography genre when choosing between these two cameras.

Compared to Canon, the K-5 matches up best against Canon’s aging 7D. I’m quite certain Pentax influenced Canon into this sealed compact DSLR professional market and Nikon followed suit. The 7D is significantly larger than the K-5 but specs are quite similar. The 7D has a slightly faster frame rate 8fps vs. 7fps with an equal buffer in RAW. Most other specs are quite similar, but specs alone don’t make a camera. Canon’s 18MP sensor is aging and not quite on par with the current Sony 16MP sensor found in the K-5. Pros of the Canon 7D over the K-5 lie mostly within Canon’s immense lens catalog options and superior system build out options. However, Pentax holds some advantages in compactness and cost of building a weather sealed and image stabilized system. Also, since the ergonomics of Canon are completely different from Nikon and Pentax, some might prefer the Pentax layout as well.

For non-Pentax shooters, the K-5 should be appealing because it is smaller than similar cameras from other manufacturers: more compact, lighter, built better and possibly better sealed due to the fact it’s sealing is on par or superior to other flagship SLR’s. It’s also the beneficiary of a ground up lens system designed for APS-C sensors. Smaller, lighter, more affordable and optically on par with any system, the DA* lenses are a bargain.

With the affordable Pentax DA* lenses sealed to match the K-5, you would have a rugged all weather kit capable of shooting seamlessly in monsoon or sandstorm without missing a frame.

Pairing a K-5 with a Pentax DA* 16-50mm f/2.8 and DA* 60-250mm f/4 would be a very nice fully weather sealed 2 lens adventure kit for under $3000. Adding a 10-17mm fish eye or a 14mm f/2.8 for a little more field of view on the wide end still keeps the kit around $3500.

Alternately, for about the same price, pairing a K-5 with a set of DA* Limited primes would offer a high quality compact kit. A DA 15mm Limited, DA 21mm Limited, DA 35mm (1:1) Macro Limited and DA 70mm Limited would make for an excellent travel kit. Freakishly compact, you and your kit would be capable of breezing past airport security, free from worries your expensive camera gear will have to leave your sight to be gate checked -even on the most crowded flights.

As a matter of fact, the above mentioned DA Limited kit is very capable of neatly fitting into a smaller Pelican/Hardigan case, completely protected from drops and dunks.

Conclusion

After reviewing the K-7, I didn’t think it was a perfect camera but I did love the fact it was a finished K20D. Image quality, aside from the shutter vibration issue, was about equal to the K20D in all aspects, even with some improvements. At the time of the K20D release, I felt Pentax missed a chance to capitalize on the K10D’s world wide success and the buzz it created. Neither the K20D nor the K-7 were exceptional cameras, but both were excellent cameras. Unfortunately, Pentax had a rapid upgrade cycle following the K10D and released an extra generation of camera. Had Pentax released the K-7 following the K10D, I believe it would have been truly appreciated for the breakthrough it actually was, in both ergonomics and feature set. Then the K-5 would have still fit in as a worthy upgrade based on the breakthrough in image quality alone.

The K-5 is a definite buy for a Pentax shooter looking to replace an aging flagship. As a matter of fact, it’s not unreasonable for a K-7 owner to be looking at this camera with a great deal of lust. While the handling, build and features are mostly unchanged, the K-5 bumps the image quality up well beyond the capabilities of the K-7.

It took Pentax two generations of finding it’s footing between the K10D and K-5, but I truly believe the K-5 is the sort of camera you can buy without any sort of regrets, even when the next generation flagship is released.

While I also said this about the K-7, the K-5 is the first camera that is fitting of having a FA/DA Limited lens mounted to it. The difference between the two cameras, of course, isn’t the design or build, it’s the top grade image quality at all ISO’s that finally makes use of the rendering abilities of those Limited lenses. The K-5 is truly a camera without compromises!

It’s still not quite a digital MX or LX, perhaps we’ll have to wait for a mirrorless camera to get that, but the outstanding IQ of the K-5 more than makes up for any minimal shortcomings.

Where to Buy

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