Pentax Lenses User Manual

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PENTAX JC series LENSES AND ACGESSORIES
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COMPLETE SYSTEM OF PHOTOGRAPHY
INDEX
The new family of 26 SMC Pentax lenses ...................rencierececanieróeacien 2
The advantages of interchangeable lenses .......................eseeviesenieneenes . 3
Super-Multi-Coating: Why SMC Pentax lenses
are the finest in the world ......... ha 9
Choosing your SMC Pentax lenses.. CO reee “e
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Super-wide-angle lenses .................e..eee.eseroveoncrcocercarenerne rene 9
Wide-angle lenses ETE TE EE EE EE EE EE EE EE EE EE EE EE EE EEE EE EEE EEE EE EEE EE EE EE EE EE EEE EEE 10
Standard NONE sr Cr a A 12
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Zoom lenses .......... ee Hea ha D
Macrophotographic lenses.. CRI ED ARANA ARA Ue 22
Specifications of SMC Pentax lenses................—r.===..=cendaceiica bere ntare 23
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THE NEW FAMILY OF 26 SMC PENTAX LENSES
THE ADVANTAGES OF
INTERCHANGEABLE LENSES
THE UNIQUE BAYONET MOUNT OF THE
PENTAX K2, KX AND KM ALLOWS
INSTANT AND PRECISE LENS
INTERCHANGEABILITY.
Today, the single-lens reflex (SLR) offers maximum
versatility and handling ease, for focusing is done
directly on the large, bright focusing screen of the
viewfinder which shows exactly what will be
recorded by the film.
Among the many benefits of an SLR are the facts
that ultra-close-up (macro) photography and
accurate through-the-lens metering are readily
accomplished. But the most notable advantage of
all is that the lenses are freely interchangeable. It
is for this very reason that SLR's are now widely
used throughout the world.
INTERCHANGEABLE LENSES ARE
ECONOMICAL.
If you were to purchase a wide-angle and a
telephoto lens in addition to the standard lens of
your camera, you would effectively own three
cameras: a wide-angle lens camera, a standard
lens camera, and a telephoto lens camera. Each
additional lens you purchase is equivalent to
purchasing an additional camera. Thus, inter-
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changeable lenses offer the user considerable
savings. Not only are interchangeable lenses
economical, but they permit one to instantly
change from wide-angle to telephoto, for example,
on the same roll of film.
This is not to imply, however, that you should
purchase as many lenses as possible. It is only
to help you realize and take advantage of the
enormous capabilities of your Pentax camera. The
purpose of this booklet is to assist you in selecting
the SMC Pentax lenses best suited to your needs.
SUPER-MULTI-COATING: WHY SMC
PENTAX LENSES ARE THE FINEST IN
THE WORLD
A lens is an amazing device for capturing light rays.
However, even under normal conditions a
significant percentage of those rays may be lost
through internal reflection — reflections within
the lens that cause ghosts, flares and an overall
dulling of the picture.
To combat this, Asahi Pentax applies a 7-layer
chemical coating to most glass surface of
every SMC Pentax lens. Thanks to this Super-
Multi-Coating, internal reflection is reduced to less
than 0.2%. Contrast is heightened, details are
brightened, colors are truer — and flares and ghost
images are practically eliminated. No wonder SMC
Pentax lenses are now recognized by professional
photographers as being among the finest in the
world.
CHOOSING YOUR SMC PENTAX LENSES
1. POINTS FOR CONSIDERATION
The four points most frequently considered
when choosing lenses are the following:
a. Focal length/angle of view
b. Maximum aperture
c. Dimensions and weight
d. Price
2. THE RELATIONSHIP BETWEEN IMAGE
SIZE AND FOCAL LENGTH
When camera-to-subject distance remains constant,
image size (magnification) is dependent upon focal
length.
For example, when a 135mm lens is used, the
image will appear 2.7x larger than that of a 50mm
standard lens used at the same distance. Long focal
length lenses (longer than app. 50mm) are referred
to as TELEPHOTO LENSES.
When a 28mm lens is compared to a 50mm lens,
image size or magnification is 0.56x that of the
standard lens. In other words, the image will
appear slightly larger than 1/2 the image produced
by the 50mm lens. The reason for using a 28mm
lens is not to deliberately shrink image size, but
(as explained later) to increase the angle of view.
It is for this reason that lenses with a focal length
shorter than app. 50mm are called WIDE-ANGLE
LENSES.
3. CAMERA-TO-SUBJECT DISTANCE,
FOCAL LENGTH AND IMAGE SIZE
When the camera-to-subject distance is changed in
proportion to the focal length, image size remains
constant. For example, when the same subject is
photographed from 10 meters with a 50mm lens,
27 meters with a 135mm lens, and 5.6 meters
with a 28mm lens, image size will be the same.
4. THE RELATIONSHIP BETWEEN FOCAL
LENGTH AND ANGLE OF VIEW
The shorter the focal length of a lens, the wider
the angle of view; the longer the focal length of
a lens, the narrower the angle of view.
For example, a 28mm wide-angle lens has an angle
of view of 75” while a 24mm wide-angle lens has
an angle of view of 84”. The angle of view is 18”
for a 135mm telephoto lens, but it is 12° for a
200mm telephoto lens.
5. THE NEED FOR TELEPHOTO LENSES
At times, it is impossible to approach the
subject close enough to obtain a satisfactory
image size. Of course, the negative can be
cropped and greatly enlarged, but it is an
unsatisfactory solution because of the resultant
loss of sharpness and increase in grain. It is at just
such a time that the need for a telephoto lens
most clearly manifests itself.
48
6. THE NEED FOR WIDE-ANGLE LENSES
When photographing a group of people indoors, it
is sometimes impossible to include everyone, even
if you stand in the furthest corner of the room.
Similarly, it is often impossible to photograph a
large church, for example, or a panoramic scene
with the 50mm standard lens. On such an occasion
the need for a wide-angle lens is strongly felt.
7. WHICH SHOULD | PURCHASE FIRST, A
WIDE-ANGLE OR A TELEPHOTO LENS?
Before attempting to make the above decision, it
is necessary to use the 50mm or 55mm standard
lens for about three months. After this period,
it will become clear to you which need is greater
by simply asking yourself which type of situation
you most frequently encounter, No. 5 or No. 6
mentioned before.
8. WHAT FOCAL LENGTH LENS SHOULD |
PURCHASE FIRST?
It would be inadvisable for a beginner, who is
accustomed to using only the standard lens, to
suddenly purchase an ultra-wide-angle or ultra-
telephoto lens, for the enormous difference in
angle of view would most likely confuse him. The
key to success, in any field, is to advance a step at
a time.
Those lenses considered to be ultra-wide-angle are
the 24mm, 20mm, and 15mm; we can also include
the 17mm Fish-eye. Lenses representing ultra-
telephoto are the 400mm, 500mm, and
1000mm focal lengths.
Thus, the clever beginner will select the 28 or 35
mm as his first wide-angle and the 85, 105, 120,
or 135mm as his first telephoto lens.
9. WHAT ABOUT LENS SPEED?
The maximum aperture of a lens is often referred
to as the “speed" of alens. An f/2 lens, for
example, is said to be “faster” than an f/4 lens
since faster shutter speeds are usually used at
larger lens openings; just how much more or less
light enters the lens, when f/2 is compared to other
maximum apertures, is indicated in the chart below.
For example, if a picture is taken with an f/2 lens
at 1/2 (diaphragm completely open), and the same
picture is taken with an f/4 lens at f/4, only 1/4 of
the amount of light will reach the film with the
f/4 lens. Therefore, the shutter speed must be 4x
longer to compensate for the loss of light. Of
course, if both of the above lenses are used at the
same aperture, for example f/8, the amount of
light reaching the film will be exactly the same.
f 1.2 14 2 2.5 2.8 3.5 4 45 56 8
Maximum Approx. Approx.
Aperture 2.8x 2x 1 2/3x 1/2x 1/3x 1/4x 1/5x 1/8x 1/16x
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Generally speaking, if one desires to take pictures
indoors, with the camera handheld and without
the use of a flash unit, an f/2 or “faster” (f/1.4,
f/1.2) lens will be required. For brightly-lit
interiors, an f/2.5 or f/2.8 lens should suffice. If
the lens is just to be used outdoors, a maximum
aperture of f/3.5, f/4, or f/4.5 will be sufficient.
Thus, if you wish to purchase an SMC Pentax
35mm lens, you have a choice of an f/2 or f/3.5.
Similarly, if you wish to buy a 135mm lens, you
can select from the f/2.5 and f/3.5 lenses.
10. DIMENSIONS AND WEIGHT
Eighteen of the SMC Pentax lenses are so compact
and lightweight that they do not require the use of
a tripod. For handheld lenses, you can choose
from the 17mm Fish-eye to the 200mm telephoto.
Also included is the 45 ~ 125mm zoom lens.
11. PURCHASING TWO LENSES
SIMULTANEOUSLY
a. Wide-angle and telephoto. If two lenses are to
be purchased simultaneously, the most common
choice is that of a wide-angle and a telephoto.
However, depending upon the needs of the
individual, some users prefer to select two
wide-angle or two telephoto lenses.
Among those selecting a wide and tele, the
most usual procedure is to select a focal length
that is relatively close to the standard lens (and
consequently easy to handle). Thus, for the
wide-angle, the 35mm is most popular, and for
the telephoto lens, the 85, 105, or 120mm is
usually chosen.
For those wishing to travel light, the 85mm and
35mm are often used while the standard lens
is left at home.
Although we can not say it is the best choice
for everyone, those seeking optimum flexi-
bility often choose to use a 28mm and 135mm
lens along with their standard lens.
. Two wide-angles. The most frequently selected
pair of wide-angle lenses is the 35 and 28mm
set, although a new trend exhibited by camera
enthusiasts favoring wide-angle lenses is to
select the 28 and 24mm focal lengths.
. Two telephotos. For those who favor telephoto
lenses, the 135 and 200mm combination proves
to be most popular. For maximum versatility
the following combinations are recommended
(they are listed in order of usefulness for the
average amateur): 85 & 135mm, 105 &
150mm, 120 & 200mm. Not only is the 85mm
moderate telephoto lens ideal for portraits, but
it also excels as a lens for scenics whenever the
angle of view of the standard lens proves too
wide.
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d. Whatever your choice, a wide and tele, two
wide-angles, or two telephotos, it would be a
good idea to first purchase the focal lengths
that are relatively close to the standard lens.
Extreme (ultra) wide and tele lenses are much
more difficult for the beginner to master than
are their moderate focal lenath cousins.
12. SPECIAL NEEDS.
a. Macrophotography. For those who are chiefly
interested in macro (close-up) photography
there are the 50 and 100mm macro lenses.
b. Versatility with a single lens. For versatility
without the need to change lenses, the 45 ~
125mm and 85 ~ 210mm zoom lenses are ideal.
с. When traveling abroad. When going abroad
and desiring to keep weight down to an absolute
minimum, the 28mm lens is ideal as it can
encompass picturesque buildings and
panoramic landscapes.
d. For sports events. The 135 and 150mm lenses
are very useful at sports events.
13. THE WORLD OF INTERCHANGEABLE
LENSES
For those who have mastered the standard,
moderate wide, and moderate tele lenses; for those
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who wish to capture dramatic “close-ups” of wild
life, or fill the frame with the slowly sinking sun;
for those seeking new and fantastic perspective; in
a word, for those who wish to be introduced to
new worlds of photographic expression, there are
the SMC Pentax 300, 400, 500, and 1000mm
ultra-telephotos, as well as the 17mm Fish-eye,
135 ~ 600mm telephoto zoom, and 15 and
20mm ultra-wide-angle lenses to choose from.
£
FISH-EYE LENS
SMC PENTAX FISH-EYE 17mm f/4
The world's most efficient fish-eye lens with a
maximum brightness of f/4. The angle of vision is
approx. 180°, enabling you to view and focus
through the viewfinder without keeping the reflex
mirror flipped up.
SUPER-WIDE-ANGLE LENSES =;
SMC PENTAX 15mm f/3.5
An aspherical ultra-wide-angle lens, compactly
designed and free of distortion. Provides excellent
contrast, and permits full aperture metering with-
out loss of clarity. Four filters are built in: UV,
Skylight, Ÿ2 and O2.
SMC PENTAX 20mm f/4
Relatively small-sized ultra-wide-angle lens, with a
BB8mm screw-in filter diameter. Useful for almost
every kind of wide-angle photography, especially
landscape shooting where the emphasis is on
perspective effect.
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SMC PENTAX 24mm f/3.5
An ultra-wide-angle lens that adds to the versatility
of every Pentax K Series camera. Compact and
light in weight, it enables you to view and focus
at an 84° angle of vision without keeping the
reflex mirror flipped up.
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‘WIDE-ANGLE LENSES
SMC PENTAX 28mm f/3.5
A wide-angle lens, designed to meet the most
exacting professional requirements. Ideal for
architecture, fast-action and artistic photography.
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SMC PENTAX 35mm f/2
One of the fastest wide-angle lenses ever produced.
It provides edge-to-edge sharp resolution at full
aperture, making it the perfect lens for photo-
graphing large groups, buildings, sports events and
other large spectacles.
SMC PENTAX 35mm f/3.5
A medium speed lens with unusually high
resolution. Extremely useful for scenic, industrial
and architectural photography. Compact and light
in weight.
108
STANDARD LENSES
smc PENTAX 50mm #/1.2
A superlative standard lens, created out of Asahi
Pentax's rich experience in the field of optical
technology. Excellent in contrast and resolution,
and suited for almost all picture-taking needs.
smc PENTAX 50mm f/1.4
A high-speed 7-element optic with higher light
transmission for higher-contrast and clearer color
pictures. With a brightness of f/1.4, it is especially
effective for night scenes and interiors where
brightness is a “must”.
SMC PENTAX 55mm f/1.8
A high-performance, all-round lens for both color
and black-and-white photography. It reduces flare
and boosts contrast to a degree beyond what has
previously been possible in optical technology.
120
TELEPHOTO LENSES
SMC PENTAX 85mm /1.8
Creates a soft-focus effect in the areas just beyond
the depth-of-field. Ideal for portraiture, indoors or
out, The moderate distance required between the
photographer and the subject makes this lens
particularly excellent for pictures of children,
animals, night time street scenes, illuminated
buildings, and for theater and ceremonial pictures.
smc PENTAX 105mm f/2.8
A medium-length telephoto lens, with well-
corrected aberrations. Light in weight and easy
to carry and operate. Recommended for =
scenery, portraiture, news photos and other
moderate telephoto effects.
smc PENTAX 120mm /2.8
Extremely versatile, light-weight and compactly
designed. Useful for snapshots, portraiture and
other kinds of telephotography.
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SMC PENTAX 135mm f/2.5
One of the fastest of the SMC Pentax telephoto
lenses. Well-balanced and light-weight with an
unusually short lens barrel. Ideal for night scenes,
theater shooting, sports and snapshot portraits.
Highly effective for color photography.
SMC PENTAX 135mm f/3.5
Produces a brilliant image over the entire picture
area even with the diaphragm fully open. As this
lens allows the camera to be hand-held, it is ideal
for close-ups of inaccessible animals, plants,
architectural details, etc. which must be taken
from a distance. Recommended as an excellent
choice for your first telephoto lens.
148
SMC PENTAX 150mm f/4
Having three times the focal length of the standard
lens, this lens is particularly suitable for shooting
subjects which require an intermediate angle
between the 135mm and 200mm lenses. Compact
and light-weight, this lens looks and handles like a
135mm lens, and is only 7mm longer. Excellent for
candid shots, scenics, sports, news events, stage
photographs, nature, etc.
SMC PENTAX 200mm f/4
Very light-weight, suitable for hand-held picture
taking, compact and easy to use. Excellent for
wild-life, sports and action photography.
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TELEPHOTO LENSES
smc PENTAX 300mm f/4
Light enough for hand-held shooting, this lens
provides spectacular telephotographic effects.
Even with the diaphragm fully open, aberrations
are reduced to a minimum. Gives needle-sharp
resolution to every picture.
16 ®
SUPER-TELEPHOTO LENSES
smc PENTAX 400mm f/5.6
Ideal for professionals especially for outdoor sports,
news and night-life photography. For a lens with
a focal length of 400mm, it is extremely compact
and light in weight.
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SMC PENTAX 500mm f/4.5
Compact, light-weight and small-sized for such a
high-performance lens, this powerful long-focus
lens brings the inaccessible within reach. The
image is bright enough to make composing and
focusing easy, and produces edge-to-edge coverage
with very high resolution.
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SMC PENTAX 1000mm f/8
Pulls in subjects which are too far away even to be
seen by the naked eye. The ultimate in fine optics
for the photographer who specializes in news,
sports, scientific and wild-life photography. Fast,
accurate focusing with manual diaphragm.
Furnished with built-on lenshood and rigid
wooden tripod.
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ZOOM LENSES
SMC PENTAX zoom 45 ~ 125mm 1/4
A multi-purpose lens capable of doing the work of
half a dozen lenses: 50mm standard, 55mm
standard, 45mm semi-wide-angle, 125mm
telephoto, etc. Zooming ratio is up to 3:1, and a
broad focal length of 45mm to 125mm can be
achieved in spite of its relatively short barrel.
Useful for a wide scope of photographic
assignments: landscapes, action shots, portraiture,
travel shots, etc.
SMC PENTAX Zoom 85 ~ 210mm #/4.5
Zooming and focusing are done in one action, so
you get the kind of speed that's so essential to
zoom shooting. Offers a zoom ratio of 2.5 and
focal calibrations of 85, 100, 120, 135, 150, 180,
210 with optional positioning at any point within
this range. This lens alone takes the place of an
entire group of interchangeable lenses which are
most commonly used.
208
SMC PENTAX zoom 135 ~ 600mm #/6.7
Provides remarkable sharpness and contrast for its
zooming ratio. The single action zooming of this
lens makes it highly useful for professional sports,
press and wild-life photographers.
® 21
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MACROPHOTOGRAPHIC LENSES
SMC PENTAX MACRO 50mm f/4
Designed originally for excellence in macrophoto-
graphic work, this highly versatile lens can also be
used as a standard focal length lens. In combination
with a Reverse Adaptor K, it can also provide
greater-than-life-size magnification.
SMC PENTAX MACRO 100mm f/4
Suitable for close-up and macrophotography, as
well as normal shooting. Especially useful for
shooting nature pictures, for reproduction work
and for portraiture. Because of its longer focal
length, this lens provides greater magnification
than the Macro 50mm f/4.
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Fish-aye a SMC Pentax Fish-Eye 17mm [/4 22 1 02 0.66 180 64. 5x34 234 8.19 Bl
Super- wide-angle # SMC Pantax 16mm 1/3.56 22 13 FA 0.3 1.0 111 BOxB15 550 19.25 BI
6 SMC Pentax 20mm f/4 22 12 FA 0.25 0.8 Ва 53x57 300 10.5 58
E SMC Pentax 24mm f/3.5 22 a РА 0.26 08 84 63x46 5 248 868 58
Wide-angle ® SMC Pentax 28mm 1/3.5 22 в FA 0.3 1.0 75 63х47 261 914 52
® SMC Pentax 36mm f/2 22 ë FA 035 1.2 62 63x56 283 9.9 52
6 SMC Pentax 35mm 1/3.5 22 5 FA 035 12 62 63х 35.5 161 5.64 52
Standard © SMC Pentax 50mm MZ 22 7 FA 045 1.5 46 BEX 4B 5 385 1348 52
& 5MC Pentax BOmm 1/14 22 7 FA 0.45 1.5 46 63x 41.5 265 9.28 52
a 5MC Pantax 55mm #/1,8 22 6 FA 045 15 43 63x 39 221 7.74 52
Telephoto a SMC Pentax B5mm 1/18 22 в FA 0.85 2.76 28 64x56 331 11.59 52
E SMC Pantax 105mm 1/2 8 32 5 FA 1.2 4 23 B2 5x63 294 10.29 52
s SMC Pentax 120mm 1/2.8 32 5 FA 1.2 4 21 625x745 355 1243 52
as SMC Pentax 135mm 1/25 32 6 FA 1.5 5 18 675x858 470 16.45 58
E SMC Pentax 135mm 1/35 32 4 FA 1.5 5 18 62.5x87.5 325 11.38 52
E SMC Pentax 150mm 1/4 32 5 FA 1.8 E 17 62.5x96 338 11.83 52
Supor-telephoto — 6 SMC Pentax 200mm 1/4 32 E FA 2 65 12 65137 516 18.06 58
s SMC Pentax 300mm 1/4 32 7 FA 4 13 8 85x188 942 32.87 77
& SMC Pentax 400mm 1/5.6 45 5 8 27 6 85x277 1240 434 77
E SMC Pentax 500mm 1/4,5 45 4 M 10 35 5 126.5x440 3330 116.6 52
& SMC Pentax 1000mm 1/8 45 5 м 30 100 2.5 143x738 5250 183.8 52
Zoom e SMC Pentax 456 = 125mm 1/4 22 14 FA 15 5 50.520 69127 612 21.42 67
® SMC Pentax B5~210mm f/4.5 32 11 FA 356 12 28-11 675x2175 739 25.87 58
6 SMC Pentax 135—600mmf/6.7 45 15 M в 20 18—4 105x582 4070 142.5 52
Macro E SMC Pentax Macro 50mm f/4 32 4 FA 0.234 0.77 46 63x54 241 B.44 52
6 SMC Pentax Macro 100mm 1/4. 32 5 FA 0.45 1.48 24.5 GE x 81.5 370 12.86 52
® = Open-aperture metering lenses. ® = Stop-down metering lenses. FA = Fully-automatic. M=Manual. Bl =4 filters built-in.
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ASAHI PENTAX ACCESSORIES:
TO BROADEN YOUR PHOTOGRAPHIC HORIZONS
To help you get the most out of the Asahi Pentax camera you've just bought,
on the following pages you will find descriptions of the broad range of accessories
Pentax offers. By selecting various items from these pages,
you can actually tailor an entire “Pentax System™ to your own particular a X
photographic needs. And naturally if you have any questions or LK
problems, your Asahi Pentax dealer is always ready to help. e! SODA
268
FILTERS
Filters have an important function in photography.
They affect some of the light rays which pass
through to the film so that the color or nature of
this light is changed.
Filters may be classified roughly into three groups:
(1) filters for black-and-white films, (2) filters for
color reversal films, and (3) filters for all color
(reversal and negative) films.
The principal filters for black-and-white films are:
UV, Y2, O2, R2, and YG, Principal filters for
color reversal work are: Skylight, Cloudy, and
Morning and Evening. Available for all color films
are: filters for flash and filters for photoflood.
Applications —
UV (ultra-violet) filter — absorbs (or holds
back) ultraviolet light rays (invisible to the
human eye) and reduces distant haze in the
picture. This filter is often kept on the lens
constantly for protection.
Y1 (pale yellow) filter — slightly absorbs blue,
emphasizing the contrast between the blue sky
and white clouds.
Y2 (medium yellow) filter — has a stronger
effect than Y 1, bringing out the white of the
clouds.
02 (orange) filter & R2 (red) filter — have
stronger correction of blue than the Y2, giving
the maximum sky/cloud contrast.
The R2 filter is absolutely necessary for
infra-red photography.
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58mm Standard ® . #
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67mm Standard * . .
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77mm Standard * . ..
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® YG (yellow green) filter — slightly darkens the
sky and all red tones. Recommended for
outdoor portraits as this filter darkens flesh
tones slightly.
Of the above filters, the Y 2 and 02 are a “must”
for landscape photography.
e Skylight filter — absorbs blue and ultra-violet
light rays. Preferable for landscape photography
when the bright sky is to be toned down while
the foreground requires no correction.
Note: The Skylight filter may be very useful
for color photography. But remember that the
color rendering abilities of a film vary
according to its brand.
e Cloudy — suitable for use on cloudy days to
lighten excess blue.
e Morning & Evening — suitable for use at sunset
and sunrise to lighten excess red.
® Filter for flash — used to bring light from a
flash into balance with daylight film. It should
not be used with a color flash bulb, sealed in
blue glass.
* Filter for photoflood — used to bring photo-
flood lighting into balance with daylight film.
It should not be used with a color photoflood
or photospot.
286
SMC Filters
SMC filters are multi-layer coated as precisely as
are SMC Pentax lenses themselves. They never
impair the performance of these lenses, nor do
they ever cause a loss of sharpness or contrast.
They are very useful aids for photography.
SMC filters are available in four sizes: 52mm (UV,
¥2, 02, R2, Skylight, Cloudy), 58mm (UV, Y2,
02, Skylight), 67mm (UV, Y2, 02, Skylight) and
77mm (UV, ¥2, 02, Skylight).
Polarizing Filter
Light is polarized’ when it is reflected from the
surface of glass, water or any other high-gloss
medium. The light from the sky, particularly at
an angle of 60° — 90° to the position of the sun,
is also polarized. A polarizing filter reduces or
eliminates surface reflections when photographing
subjects behind glass, under the sea, etc.; it also
darkens blue skies without affecting the rest of
the scene. This type of filter can be used very
effectively for color photography. (You can
examine the actual effect of a polarizing filter by
attaching one to a Pentax camera and looking
through the viewfinder as you adjust the filter.)
e 29
LENSHOOD K
The main purpose of a lenshood is to shield the
lens from the light outside the picture area, which
might otherwise cause unwanted reflections inside
the lens.
In addition, a lenshood protects the lens against
dust, dirt and finger marks: it even helps keep out
rain. Therefore, this lens accessory is often used
simply for lens protection.
Using a spring mechanism, Pentax lenshoods fit
directly onto the rim of the lens. They will not
slip off easily, even if the camera is handled
roughly.
Round lenshood Standard lenses
Square lenshood Standard lenses
Square lenshood 20mm f/4, 24mm f/3.5
Square lenshood 28mm f/3.5, 35mm f/2,
35mm f/3.5
Round lenshood 85mm /1.8, Macro 100mm
f/4, 105mm t/2.8
Round lenshood 120mm /2.8, 136mm
f/3.5, 150mm f/4
Round lenshood Zoom 45 ~ 126mm f/4
Round lenshood 135mm f/2.5, 200mm f/4,
Zoom 85 ~ 210mm f/4.5
308
CLOSE-UP LENSES
An SMC Close-Up Lens can be threaded into the
front lens frame of an SMC Pentax lens for crisp
macrophotography. The entire range gives you the
convenience of automatic diaphragm setting and
open-aperture metering.
These attachment lenses are available in the
following types:
_— da
S40 50mm f/1.4 495 ~ 29cm 1/7.9~1/3.7
525 50mm f/1.4 34 — 24,.5ст | 1/4.9 — 1/2.8
T80 85mm #/1.8 91.6~50.5cm 1/9.4 ~ 1/4.2
T160 135mm f/3.5 175 ~ 89.5cm 1/11.9 ~ 1/49
T95 200mm f/4 114 ~ 84cm 1/48~ 1/26
AUTO EXTENSION TUBE SET K
The Auto Extension Tube Set K consists of three
different rings, which can be used either individually
or in combination. Magnifications up to life-size
can be provided by attaching the #3 ring to the
SMC Pentax Macro 50mm f/4 lens. This set allows
you the convenience of automatic diaphragm
setting and open-aperture metering.
*e 31
MANUAL EXTENSION TUBE SET K
The Manual Extension Tube Set K is identical
with the automatic one except that it provides
manual diaphragm settings and stop-down
metering.
HELICOID EXTENSION TUBE K
The Helicoid Extension Tube K provides variable
tube extension for close-up work. Magnification is
0.3x to 0.7x with the 556mm lens.
52mm REVERSE ADAPTOR K
The 52mm Reverse Adaptor K is used to put the
52mm lens into reverse position. (Reversing the
lens is advisable for copying, especially when life
size or greater magnifications are required.) This
unit is designed so that one side fits onto the front
frame of a 52mm lens and the other side fits onto
the bayonet mount of a Pentax K2, KX or KM.
It permits manual diaphragm setting and stop-
down metering. (This set is not useful for low
magnifications.)
328
AUTO BELLOWS K & SLIDE COPIER K
The Auto Bellows K can be extended from 38mm
to 170mm. This unit has a lens-reversing system,
double cable release for operating the automatic
diaphragm and a measuring scale that indicates
how far the bellows has been drawn out.
The tripod receptacle is movable. The Auto
Bellows K has a minimum extension of 38mm;
the minimum magnification is 0.67 with a 55mm
lens.
The Slide Copier K attaches to the Auto Bellows
for quick, accurate slide duplication and partial
slide magnification.
Bellows Unit K
Compactly designed, the Bellows Unit K can be
extended from 32mm to 130mm. This unit does
not permit automatic diaphragm setting, nor is it
used with the Slide Copier K. The tripod receptacle
is movable. With a 55mm lens this unit provides a
minimum magnification of 0.56x.
34 e
Slide Holder 1x, K
The slide holder 1x, K serves the same purpose as
the Slide Copier K of the Auto Bellows K. When
used with an Auto Extension Tube K or Extension
Tube K, this unit allows the standard lens or Macro
50mm f/4 lens to make slide duplication with 1x
magnification. The cost of such slide duplication
is less than that of copying the original picture
onto transparency film.
MICRO-MOVING ATTACHMENT
When close-ups are to be made with a large
magnification (e.g., 5x or more), focusing can
easily be done by using the Micro-moving
Attachment for precisely setting the position of
the lens, or extension tube. This device is also
useful for making close-ups with a pre-determined
magnification, (If the lens alone is moved for
focusing, it causes a change in magnification.)
Provided with a tripod receptacle.
® 35
AUTOROBO
An automatic electronic flash unit with hot-shoe
contact. This unit has an electronic ‘eye’ which
measures the light reflected from the subject and
automatically controls flash brilliance for perfect
exposure. Guide number is 24 for ASA 100
(manual setting). Angular spread is 50% vertically
and 65° horizontally. Other features of this unit
include the automatic light output stabilizer,
open flash button and 2-step pilot lamp indication.
36 e
COPY STAND M8: IMP
The Copy Stand aligns the camera quickly and
accurately for copy work. It is equipped with a
fine adjustment device which facilitates accurate
focusing.
Model Ill is a fixed type. Model III P is portable,
its base serving asa carrying case when the unit is
disassembled. Each model has an 18% standard
reflector which facilitates exposure measurement.
TABLE CLAMP
The table clamp is useful for fixing the Copy
Stand |ll's leg to a table top less than 6em thick.
52mm COPIPOD
The Copipod is a portable copy stand for a Pentax
camera. It comes with a lens board with 4
calibrated, telescoping legs. Also with pouch case.
CABLE RELEASES
A cable release is a “must” for preventing camera
movement, especially when the camera is being
used on a tripod, copy stand or copipod. This unit
has a locking collar to allow time exposures.
Available in the following three types:
Туре 1 For time exposures, release the shutter
at the speed of B and then lock the
release by screwing in the stopper.
Type Il Loosen the stopper and release the
shutter at B speed; the time exposure is
made automatically.
Long 50cm long, convenient for releasing the
Type shutter from a distance.
= =m
e 37
CORRECTION LENS ADAPTOR e
A clip-on prescription eyepiece designed to offer
a convenience for eyeglass wearers. Specially
ground corrective lens is available in 8 diopters:
—5, —4, —3, —2, —1, +1, +2 and +3.
MAGNIFIER »
The Magnifier affords added convenience in
critical focusing for close-ups, copying,
macrophotography, etc. It slides easily into the
grooves behind the eyepiece. Magnification is 2x.
RIGHT-ANGLE FINDERS ®
The Right-Angle Finder allows the camera to be
used at low angles, for close-ups, on copy stands or
in other positions where it is inconvenient to view
and focus directly through the ordinary eye-level
finder,
Type ll is a deluxe right-angle finder, producing a
brilliant image for horizontal and vertical shots. It
Is convenient especially for candid photography,
since you can face in one direction and take
pictures in another.
EYECUP II
When viewing through the finder, this small rubber
eyecup prevents the light from entering from the
rear, enabling you to view a clearer image.
380
INTERCHANGEABLE FOCUSING SCREENS
In addition to the microprism and split-image
focusing screens, the following three types are
available for the Pentax K2, KX and KM:
® The cross-microprism type is to be used with
a high-speed lens. When used with a relatively
fast lens, f/1.2 to f/2.8, this type of focusing
screen improves focusing accuracy. (It is not
suited for use with f/4 or f/4.5 lenses.)
® The matte screen has neither cross-microprism
nor split-image focusing spot. It is suitable for
lenses slower than f/5.6.
e The photomicrographic type has a cross-micro-
prism spot surrounded by a Fresnel lens on the
ground glass. The cross-microprism area is used
for normal focusing. But when the image is
dark and the depth of field is relatively small,
the spot surrounding the central microprism is
used.
е 39
SPOTMETER Ш
A highly versatile tool for advanced amateurs and
professionals, the Spotmeter measures a hair-
splitting 1° in the center of a 21° viewing field.
It's unsurpassed for selectivity, giving you
complete exposure control under any conditions
and at any distance. Also equipped with IRE scale
useful for television filming.
40e
MICROSCOPE ADAPTOR K
This adaptor is designed to fit the camera body
directly onto a microscope. It can be used with
any microscope having a 25mm diameter tube.
52mm STEREO ADAPTOR &
STEREO VIEWER TYPE I
The Pentax stereo adaptor consists of a stereo
adaptor and a stereo viewer. The stereo adaptor
fits onto the front of a standard lens and splits the
24 x 36mm format into a horizontal-plane stereo
pair of single frame images. The two images can
be lined up and viewed in the stereo viewer. The
Stereo Viewer Type II has adjustable eyepiece.
MIRROR ADAPTOR
The Mirror Adaptor consists of a 45° reflex mirror
which enables the user to take candid or clandestine
shots through a window in the side of the adaptor.
(The front of the adaptor has a dummy lens.) This
Adaptor fits the SMC Pentax 200mm f/4 lens.
42e
MOUNT ADAPTOR K
The Mount Adaptor K fits the new Pentax cameras
and permits screw-mount Takumar lenses to be
used on them. When used with this adaptor, a
screw-mount lens will focus to infinity but it
cannot be used for automatic diaphragm setting
or open-aperture metering.
6 x7 LENS MOUNT ADAPTOR K
This Adaptor fits the new Pentax cameras and
permits a 6 x 7 camera lens to be used with them.
With this adaptor, the lens will focus to infinity
but can only be used for manual diaphragm
setting and stop-down metering.
When used with a super-telephoto lens, this
Adaptor allows the camera to change its positon
vertically or horizontally while the lens remains
on the tripod.
e 43
SOFT EVEREADY CASE ®
This soft camera case is intended to provide the
best protection for the camera, and can easily be
opened for picture-taking. It is available in two
sizes: one for the K2 and one for the KX or KM.
TELEPHOTO LENS CASE FRONT ©
This detachable lens case front is a large-sized top
half for the soft leather camera case. It is designed
to hold a Pentax camera together with a telephoto
lens, and is available in two sizes: one for 85mm
to 105mm lenses and one for 120mm to 150mm
lenses.
SHORT SOFT CASE *
The short soft case, which fits around rather than
over the lens, allows you to use the camera with-
out removing it from the case. It acts to make the
shutter “click” practically inaudible, so it is very
useful for shooting on-stage performers. Thanks to
Its unique style, this case also protects the camera
against rain and snow and even against cold
temperatures.
In addition, this case allows you to focus, advance
film or change lenses without removing the camera
from the case. It comes complete with an exclusive
short cable release.
44 @
STANDARD LENS CASE
The standard case affords great protection for a
standard lens while it is not in use.
SOFT LENS CASE
This black, soft lens case is spacious enough to
hold two or three telephoto lenses. |t is available
in two sizes:
e 80mm (dia.) x 200mm: holds lenses
200mm or smaller
* 80mm (dia.) x 180mm: holds lenses
135mm or smaller
SPEED BAG
This deluxe equipment bag is especially convenient
for travelling. It holds two camera bodies,
additional lenses, filters, film cassettes and other
small accessories. Comes with a removable inside
partition, shoulder strap and pad.
Size: 310mm x 230mm x 145mm.
KIT BAG III
The Kit Bag III is an easy-to-carry bag, spacious
enough to contain a Pentax camera, spot meter, a
few interchangeable lenses, filters and films. It has
a removable partition inside, and is supplied with a
shoulder strap. Size: 285mm x 230mm x 165mm.
e 45
LENS CAP K
Front lens caps should be taken off only when
you are ready to shoot. They can be fitted onto
and removed from the lens just as easily as lens-
hoods. In order to prevent them from slipping
off easily, lens caps use a spring. The only
exceptions to this are: the SMC Pentax 17mm
Fish-eye, 500mm f/4.5, 1000mm £/8, and Zoom
135 + 600 mm f/6.7. Lens caps — one furnished
with each SMC Pentax lens — are available in the
following sizes: 52mm (for standard lenses, 2
28mm f/3.5, 35mm /2, 35mm 1/3.5, 85mm
f/3.5, 86mm f/1.8, 105mm f/2.8, 120mm f/2.8,
135mm f/3.6, 150mm f/4, Macro 50mm f/4 and
Macro 100mm f/4); 58mm (for 20mm f/4,
24mm f/3.5, 135mm f/2.5, 200 mm f/4, Zoom
45 ~ 125mm f/4 and Zoom 85 - 210mm f/4.5);
and 77mm (for 300mm f/4. and 400mm f/5.6).
LENS MOUNT CAP K
Whenever the lens is not attached to the camera
body, a lens mount cap should be fitted onto it
so that dust, dirt or other foreign matter will not
get in. A lens mount cap is furnished with each
SMC Pentax lens.
46
BODY CAP K
A body cap should be fitted onto the camera
body whenever the lens has been removed so that
dust, dirt and other foreign matter cannot get in.
A body cap is furnished with each SMC Pentax
camera body.
49mm — 52mm ADAPTOR
This adaptor permits the use of a 52mm diameter
SMC Pentax filter where normally you would use
a 499mm diameter Takumar lens filter.
52mm —+ 49mm ADAPTOR
This adaptor permits the use of a 49mm diameter
Takumar lens filter where normally you would
use a 52mm diameter SMC Pentax lens filter.
Mote that this adaptor cannot be used for the
SMC Pentax 85mm f/1.8 lens.
FILM MAGAZINE
The film magazine is designed to load bulk film
into the Pentax camera.
® 47
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