PE NTAX®IL--=.=LE =.::::.:NSE=-=---=S &===-=------.l INDEX _________________________________________________ THE PENTAX SYSTEM ................................................................ ................................ 1 A NEW PERSPECTIVE ON PHOTOGRAPHY ..............................................•............. 3 CHOOSING YOUR SMC PENTAX LENSES ................................................. ............. 4 STANDARD LENSES ................ .................................................................................... 8 ULTRA·WIDE·ANGLE LENSES .................................................................................... 9 WIDE·ANGLE LENSES ..................................................•.................•............................ 10 TELEPHOTO LENSES .....................................•............................................................. 12 ULTRA·TELEPHOTO LENSES ...................................................................................... i6 ZOOM LENSES .................. .................... ........................................................... ............. 20 MACROPHOTO LENSES .......•................... .. ................................................................. 26 SPECIAL PURPOSE LENSES ....................................................................................... 28 LENS SPECIFICATIONS •........•...........•................................................................ .......... 30 FLASH SYSTEMS ...............................•.......................................................................... 35 MOTOR DRIVE & WINDER SYSTEMS ...................................................................... 46 REMOTE CONTROL SYSTEMS .................................................................................. 52 CLOSE· UP ACCESSORIES ........................................................................................... 58 DATA BACK SYSTEMS ................................................•.................. ............................. 66 FILTERS ............. ....... .....................................................•..•.............................................. 68 CASES & BAGS .. ........................... _...............•........... .................................................. 72 FOR CRITICAL EXPOSURE MEASURING .............................•.....•............................. 74 FINDER SYSTEMS ...................................... .....................................................•.......•.... 76 OTHER ACCESSORIES ................................................................................................. 80 THE PENTAX SYSTEM A Pentax 35mm SLR camera is much more than a superior photographic tool: it is the starting point for an exceptionally comprehensive and ver­ satile system of photography. Used with any Pentax 35mm body, the complete range of Pentax lenses and accessories can help the photo­ grapher to capture the most inaccessible images, to produce the most specialized creative effects. The extensive line of over 50 SMC Pentax lenses offers an extremely broad choice of photographic perspectives. Focal lengths range from a 15mm ultra wide angle to a 2000mm super telephoto, and there is a wide choice of zoom, macro and special-purpose lenses. Pentax accessories are available to fit every photographic need. There is • complete collection of equipment for close-up and macro work. There are interchangeable viewfinders, eyepieces and focusing screens. There is a sophisticated system of flash accessories and an infrared remote con­ trol system. There is a complete line of filters, power cords, cases, straps and other accessories. The Pentax System offers the photographer unlimited creative pos­ sibilities. 1 • LENS SYSTEM . 2 A NEW PERSPECTIVE ON PHOTOGRAPHY The beauty of the Pentax system is thai it sees down to just 0.2% per lens surface. The result is <lnd records Images the naked eye nevCr could. a dramatic improvement in both color fidelity Imagine viewing 180 degrees of ., p.lnoramic and brightness und the elimination of flure and landscape "I a glance. Or zeroing in on a single ghost images. In multH!lement zoom lenses, human subwct from a hundred y<lrcis away. Or SMC ca n increase bri gh tness up to 50 % over freezing fas tcr-than-the-eye motion ill point­ conventional lens coatings. Pcntax's ultra-mod­ blank T.lngC'. ern production techniques. stringent quality The Pentax system of Interchangeable lenses control and SMC technology combine to mOlke can make c.lch of these possibilitics - and m.my I'entax len ses unexcelled tools for the am .. tc ur or more - a reality. Pentax makes over 50 inter­ professional. changeahle lenses for use with any Pent,lx 35mm Make the most of your Penta x camera with a SLR . Some are siand.ud lenses that see much the carefully selected system of Pentax lenses. way the human eye does. O thers sec the world in a different way. from macro to wide angle to telephoto. There is also an excellent selection of zoom and speCial applic" lion lenses. Among th e newest Pentax lenses is the • '''',,{hl /rllllsm!JSr,ltI It'ltlr S"po-M" II,-CtllIl"'R IS In "mA~m.!!. 99 .'1",,_ Pent.lx A Series. These lenses have special corrt!'pmldrng/y_ gIIlSS-Io-", 5urfflcr 1.'(lre/IOII " /I mrrr t) l"~ contacts for automiltic aperture control and programmed automation. Pcntax M Series lenses Me u p tll hOOk shorter and much li ghter than their standard counterparts, cmd while designed fo r use WIth compact M-scries ca meras. can al so be used to advantage with larger models. All Penti'lx lenses have the exclusive Super­ Multi-Coating (SMC). a remarkable seven-layer lens coating process that cuts the reflection ratio 3 - CHOOSING YOUR SMC PENTAX LENSES 1. Points For Consideration 3. Camera-To-Subjcct Distance, Focal Th(' four points most frequently consid ered Length And Image Size when choosing lenses Me the fo ll owing: When the ramcra· to·subject distance is changed a. Foc.d length/angle of vIew in proportion to the focal length, image size b. Maximumapertun: re mllins constanl. For example, when the same (. Oimc.-nsionc;. and weight subject is photographed fro m 10 meters with .1 d. Price SOmm lens, 27 meters with a 13Smm lens, and 2. The Re lationship Between Image Size 5.6 meters with ,1 28mm lens, image size \'v ill be And Focal Length the same. When camcra-to·subject distnncc remains con­ 4. The Relationship Between Focal Length stant, image size (magnifica tion) is depe ndent And Angle of View upon foca l length. The sho rter the focal length of a lens. the w ider For example, when a 135mm lens is used, the the angle of view; the longer the focal length of imi'lge wLl I appear 2.7x larger than that of a a lens. the narrower the angle of view. 50mm standard lens used ,,' the S.1 llle distance. For example, a 28mm wide-angle lens has an Long fO(<11 length lenses (longer th"n approx. angle of view o f 75° while a 24mm wide-angle 5001m) arc referred to as TELEPHOTO LENSES. lens has an angle of view of 84 C1. The anglc of When.1 28mm lens is compi'fcd to a SOmm lens, view is ISO for a l35mm telephoto le ns, but it is image siz'e o r milgnificalion is O.56x thai of the 12° for a 135mm telephoto lens, but it is 12° for standard lens. tn other words, the image will a 200mm telephoto lens. appear slightly larger Ihan 112 the image p ro· 5. The Need For Telephoto Lenses duced by the 50m01 lens. The reason for usi ng a At times. it is impossible to approach the subject 28mm lens IS not to deliberately shrink image close enough to obtain i't satisfa ctory image size. size, but (as explained later) 10 increase the angle Of course, the negative can be cropped a nd of view. It is for th is reason that lenses with a greatl y enlarged, b ut it is an unsatisfactory foc., 1 le ng th shorter th"n approx. 50mm are solution because of the resultant loss of sharp­ ca ll ed WIDE-ANGLE LENSES_ ness and increase in grain. It IS at just such .:I 0 4 tllne Ih,ll the need for a telephot o lens mosl The key to success. in any field, IS to adv<1n cc it c1e.uly mamfests itself. step at .1 ti me. 6. The Need For Wide-Angle Lenses Those lenses considered to be ultra-wide-.lngle When photographing.l group of peop le indoors, are the 24mm. and 15mm; w e can also include II IS sometimes impossible to include everyone, the 16mm Fish-eye. Lenses representing ultra­ even if you stand in the furthest corner of the telephoto are the 300mm. 400mm. SOOmm , and rOOm . Similarly, II is often impossible to pholO­ IOOO mm focal length. graph il large church, for example. or a panoramic Thus. the clever beginner will select the 28. o r c:ccne with the SO mm standard lens. On s uch an 35mm as his firs t Wide-angle and the 85.120. or occasion the need for ,1 Wide-angle lens is 135mm as his (irst telephoto lens. stro ngly felt . 9. What About Lens Speed? 7. Which Should I Purchase First, A Wide- The maximum aperture of a lens is often referred Angle Or A Telephoto Lens? to as the "speed" of a lens. An fl2 lens. fo r Before attempting to make the above decision. it example. is said to be "fa ster" than an ff 4 lens is nccesstlry tu usc the SOmm st.mdard lens for since faster shutter speeds are usually used at about three months. After this period. it will larger lens openings; just how much morc or less become clear to you which need is greater by light enters the lens, when fl2 is compared to simply aski ng yourself which type of situation other maximum apertures, is indicated in the you most frequently encounter, No.5 or No. 6 chart on page