As we mentioned in our first roundup of photo apps, the mobile photography app market for both Google’s Android OS and Apple’s iOS has expanded in ways few could foresee. The convenience and ease with which images can and are being shared as well as the incredible diversity of features that apps offer, has made the smartphone one of the most popular picture-taking devices of recent times. 

But, with almost 12,000 photography apps in Apple’s app store all vying for your attention (and cash), finding the most suitable one to fit your particular need can be taxing to say the least. A similar issue faces prospective purchasers of apps for Google’s rapidly expanding Android Market, too.

In our last article we focused on apps that enhance picture taking on smartphones. This time we’ve chosen to look at and highlight apps that serve to enhance photography with any camera, not just your mobile device. None of the apps we’ve looked at here add functionality to the handset’s camera, instead they exploit the wide-ranging capabilities of the smartphone, or tablet, as a mini computer to aid photographers as tools. 

This roundup is not meant to be exhaustive, and is intended only as an introduction to the variety of apps that are currently available. Where an app isn’t offered for both Android and iOS platforms, where possible, we’ve included a rival with similar functionality. 

The Photographer’s Ephemeris - $4.99 (Android) $8.99 (Apple iOS) 

The Photographer’s Ephemeris (TPE) is a sun and moon calculator, which integrates with your phone or tablet’s geolocation functionality to show you where, and when sun and moonlight will fall on the scene in front of you. 

The Photographer’s Ephemeris harnesses the power of Google maps to show the position of both the Sun and Moon as they rise and set for any given date (past or present) and location. This allows you to plan your shoot based on the direction of the light – something that is hugely beneficial for landscape and architectural photography.

That doesn’t just mean where to set up for the best sunsets. Knowing the track of the sun and moon allows you to work out what will be bathed in light and what will be in the shade, days, weeks or even months in the future both during the day and at night. The Photographer’s Ephemeris is available on both iOS and Android, and while you can’t beat smartphones for portability and convenience, because TPE only displays a 2 x 1 3/4 inch map on the handset’s screen it works best with the greater screen real estate of a tablet.

Sun Surveyor - $6.49 (Android – Apple iOS underway)

Sun Surveyor’s map view offers similar functionality to its main
rival, The Photographer’s Ephemeris (see above), while the 3D
compass module (shown here) with its predictive paths for the
Sun (and Moon as an option) is a rather neat extension.

Sun Surveyor offers similar prediction and tracking capabilities of both the sun and moon as The Photographer’s Ephemeris and more besides. Indeed, there’s quite an assortment but the 3D compass option, complete with a handy slider to alter the position of the Sun, for a given time of the day, stands out as a helpful way of predicting and visualizing the shadows throughout the day. There’s an option to show the Moon as well and the feature is available offline.  

You can’t overlay the 3D compass over Google maps but you can in 2D, complete with the sun and moon positions for the finding the best locations to take photos, much like TPE. You can even email a screen-grab along with a summary of the details (ephemeris) to a colleague or client maybe.

A novel but handy Augmented Reality option combines the 3D spherical compass with the handset’s built-in camera image. This gives a view of the Sun (or Moon) along with the predicted path so you can check to see if obstacles might affect the light. Our only slight concern during our time with this app was that the overlaid grid oscillates a fair bit even when the phone handset was held steady. In all other respects, though, this app is as equally compelling as its more expensive rival The Photographer’s Ephemeris.

Also worth a look: Sun Seeker: 3D Augmented Reality Viewer $5.99 (iOS), LightTrac ($4.99) (iOS/Android), and Sundroid Pro $1.99 (Android). 

iScoutLocation $9.99 (Apple iOS)

More suited to professional than casual users, iScoutLocation is a fully-fledged database app that allows you to create, organize and share location-specific information, notes and photos. 

iScoutLocation features a large number of customizable fields suitable for offline input but also boasts the convenience of adding location data directly from the web. Constant Wi-Fi or cellular access can quickly drain batteries, but this app conserves power by only periodically accessing the web for GPS coordinates. If you’re organizing a complex photo-shoot with models and assistants or even scouting for a movie, the option to share a highly detailed account of the location is a formidable asset.

We were slightly dismayed at first by the sheer volume of data that can be added. At first glance it might look like you’re facing a lot of work, but actually many of the fields can be populated from pull down lists. And, of course, you need only elaborate as and when required. 

iScoutLocation is one of the more expensive photography tool-type apps in the App Store, and obviously has very specialist appeal. As this app is currently only available for the iPad it has a limited audience, too, but it is good value nonetheless and definitely worth considering if you’re an imaging professional working on location.

Also worth a look: Pocket Scout $2.99 (iOS) 

Easy Release $9.99 (Apple iOS / Android)

Easy Release is an application designed to replace paper model and
property release forms using a customizable interface and ’tap to agree’
functionality.

This app simplifies the management as well as the distribution of model and property release forms by replacing paper. As you might expect, it has some rather clever additional functionality, including using the iPhone’s touch-sensitive screen for photographer, model and witness signing, as well as the option for the TC’s to be displayed and output in several different languages (Android has some restrictions), an invaluable feature if travelling abroad. We also like how the app forces parental consent for minors. 

But, while this app can import details from the contacts list, add a company logo and even take to snap using the iPhone’s built-in camera, we are not so keen on the photo being automatically cropped into a square. We found it’s a bit restricting when photographing various forms of ID, such as a driver’s license or passport (though that’s not so bad for portraits). 

Fortunately, the model and property forms can be customized and, by copying and pasting from an email attachment, you can even import a made-to-order contract. As the name suggests this app is easy to use (albeit easier still on the larger screen of a tablet), has few real shortcomings, and is an essential purchase for any working photographer looking for more protection than the usual ‘editorial’ or ‘private/personal’ rights use. 

Also worth a look: Photographer’s Contract Maker $2.99 (iOS), free but limited use (Android) / Contract Maker Pro $4.99 (iOS) $9.99 (Android). 

MediaPad Pro $14.99 (Apple iOS iPad only) 

MediaPad Pro is a portfolio application that allows photographers to quickly create a fully-customizable portfolio of images and audio/video files.

This elegant app differs from the more typical portfolio apps out there currently by virtue of support for a wide range of media content, including (obviously) stills, but also video and audio clips. Not only that, but you can also display websites, with the idea being you can highlight your web-presence from within the app without having to exit and use a browser.  

As well as the customizable interface, which allows you to upload and use your own branding if you have it, MediaPad Pro has a rather neat Guest Book – this registry can be turned off if desired but it allows those visitors to add comments as well as their email, which could come in handy. 

Files are added via iTunes but it’s recommended to resize images first, limiting the usefulness of the app’s zoom option. Unlike some rivals, there’s no limit to the number of uploads or categories and you can’t add sub-sets but arguably this isn’t a serious limitation. If you’re making a high value pitch MediaPad Pro’s tightly integrated control can help keep you and your client focused on your content. Unfortunately, there’s no support for Flickr (or similar services), which seems like an oversight. 

Portfolios created using MediaPad Pro look great on the iPad, but we’d love to see a version compatible with the more portable iPhone, and indeed for the Android platform. 

Also worth a look: Foliobook ($9.99) (iPad), PadFolios ($9.99) (iOS) and Portfolio ($14.99) for iPad. 

PhotoBuddy $1.99 (Apple iOS)

Photobuddy is a useful general-purpose photography application which is
designed to help you master depth of field, exposure and white balance,
amongst many other functions. 

Something of a ‘swiss army knife’ photography app, Photobuddy is a very useful little application with a lot to recommend it for both novices and professionals alike. 

Photobuddy has a well-designed modular interface that includes a wheel-type selection of exposure values, a great graphic for depth-of-field calculations and all important hyperfocal distance settings, plus a handy Sun and Moon phase calculator showing the time and duration of sunrise and sunset for any given time and location.

We also like the Diffraction Limit and Angle of View calculators. You need to be a bit nimble with your digits on the iPhone, but with a proliferation of sensor sizes both of these are essential reference for professionals using a variety of camera formats. Most popular models are included (as well as some unexpected additions), and there’s an option to add a user-defined model.

There are some simple tools as well. We like the Bulb Timer with its countdown feature (of up to 14 hours) and sound prompts, though we would have liked to see an option to display the timer in red or green to limit the brightness at night. If your math is poor, the app includes a simple Flash Calculator and if extreme close-ups are your thing, this app will even determine the exposure factor required for bellows extension – handy if your camera’s meter doesn’t work in stopped-down mode. There’s a lot to like about Photobuddy, and at just $1.99 it’s a bargain.

Photo Tools Pro $2.80 (Android)

While the user interface isn’t quite as slick-looking or perhaps
quite as easy to use as the iOS only PhotoBuddy, Photo Tools
is a useful equivalent for Android users.

Photo Tools Pro for Android (not to be confused with its namesake Photo Tools Pro for Apple iOS, a different app from a different developer) offers at least as much functionality as the iOS-only Photobuddy, if perhaps not in quite so attractive a package. Depth of field and hyperfocal distance calculators are included as is a tool for calculating field of view, however the latter works for a given subject distance instead of at infinity.  

There are plenty of other useful tools available within the app including a moon phase and exposure calculator, stopwatch/timer and multi-exposure and time-lapse calculators to name just a few. Amongst the most appealing are thoughtful touches such as location data (via GPS or network), weather forecasts, and check lists – there’s a particularly extensive wedding shoot check list preinstalled as an example. Photo Tools might be a touch buggy and not as attractive-looking as some rivals but it more than makes up for that with useful features. If you don’t mind looking at a few ads, a free version, simply called Photo Tools is also available. 

Also worth a look: PhotoCalc $2.99 (iOS), and the following standalone apps iExposure Free (iOS), Depth of Field Explorer  $2.99 (iOS) and Photographic Light Meter Free (Android).

ShutterSnitch $15.99 (Apple iOS) 

ShutterSnitch allows you to transfer images from an Eye-Fi card,or wireless file transmitter attached to your camera, using your wireless network. 

Although most DSLR photographers won’t need to use wireless transmitters (such as the Nikon WT-4 or Canon WFT-E series) day to day, there are a few compacts with this wi-fi built-in, and you can of course add wireless functionality to a huge range of cameras using an SD memory card-based Eye-Fi card.

After setup (which can be time-consuming) ShutterSnitch can be used to view and, more importantly, zoom into images as they’re taken (albeit with a slight time delay, depending on resolution and file size). For that reason, smaller JPEGs work best but ShutterSnitch can accept raw files too, if you’re prepared to wait. 

Geo-tagging incoming photos is a nice touch and support for Apple’s Bonjour makes transfer between iOS devices simple. We’d love to see an update to allow ShutterSnitch to control your camera as well, but for the meantime ShutterSnitch is a great app for remote viewing and image transfer.

MoPhotos $2.99 + $5.99 Pro License (Android)

MoPhotos allows you to upload images captured on an
Eye-Fi memory card to your Android device, geotag them
using your phone or tablet and share them on Facebook and
Twitter.  

Unlike ShutterSnitch, MoPhotos only works with an Eye-Fi card, but you don’t need Wi-Fi to transfer images to your Android device – you can can also upload files directly using Eye-Fi’s tethered ‘Direct Mode’. Once you’ve imported your shots, options include geotagging, viewing EXIF data and sharing images via numerous social media sites (Facebook, Flickr, Google+ and more) as well as via email or Bluetooth. 

Although this app is aimed at casual users it does include some tools that would appeal to professionals and photojournalists. Of particular interest is the option to view and edit IPTC data. The editable fields are extensive, and to save adding text there’s a neat ‘Copy to Next’ image option. Yet more versatility can be added with an optional (paid) Pro license allowing transfers to multiple Dropbox and FTP sites. 

There are a few shortcomings though. You can transfer raw and JPEG files to your Android device but you can’t zoom in to confirm focus and raw files can’t be viewed by the software. As always when wireless networks are involved, setting everything up can be tricky as well. For all that, MoPhotos has plenty of potential, and we look forward to see it develop.

Also worth a look: Eye-Fi Free (iOS / Android). For sharing wirelessly between computer and handset take a look at PhotoSync $1.99 (iOS) and Photo Transfer App $0.99 (Android). 

MovieSlate $24.99 (Apple iOS)

MovieSlate is a film and video production app that helps you log and make notes on footage as it is shot. 
Designed as a traditional slate and clapperboard, MovieSlate can export your notes and logs in various
formats, which amongst other things allows you to upload data into several video editing programs. 

MovieSlate is not a photo app as such, but a tool for videomaking. Now that HD video is becoming standard in compact, mirrorless and DSLR cameras more and more photographers are shooting movies and if you’re serious about it, MovieSlate is well worth a look.

As well as the essential clapboard feature, with its visual and audio cues, the slate has multiple fields for logging the production data (some of which can import data from the iPhone’s address book) and time coding which allows wireless syncing with other iOS devices. At $24.99 it’s a little pricey, but considering the amount of functionality we don’t consider it overpriced. 

Of course, the average HD video enabled DSLR or CSC user is unlikely to have a need for the majority of the advanced features this app provides but if you want to get serious about video, you’ll love the depth of functionality that MovieSlate offers. MovieSlate runs extremely well on the iPhone, though it operates – and looks – better on the larger screen size of the iPad. 

Also worth a look: SL DigiSlate $9.99 (Android), iFilmSlate $2.99 (iOS) and Clapboard Slate $2.99 (iOS). 

Joanne Carter is the Founder and Editorial Director of TheAppWhisperer.com,  a Professional Photographer and Associate of the British Industry of Professional Photographers, BIPP, as well as a Professional Journalist, specializing in Technology.

I hope Olympus survives this if only because I like their product, and loosing such an important player will further erode an already diminished field of camera makers.

Of course, one can’t help but wonder, as you say, how many others are playing the same game. Olympus may simply be the tip of a very unstable iceberg, and sawing off the tip may expose bigger trouble lying just under the surface.

Jump to:

• Press Release
• Specifications

Press Release:

SLR Magic expands its micro four thirds lineup with new ultra wide angle lens

Hong Kong, China (November 11, 2011)  - SLR Magic expands the micro four thirds lens lineup with the new SLR Magic HyperPrime 12mm F1.6 ultra wide angle lens. With this latest addition, the portfolio of lenses for the micro four thirds system is now comprised of five focal lengths. The world’s fastest lens in this focal length, the SLR Magic HyperPrime 12mm F1.6 will be available in November 2011.

The field of view of this new HyperPrime Lens corresponds to a 24mm lens in 35mm format and this ultra fast wide angle of view opens up many new creative composition opportunities, particularly in the fields of interior, architectural and landscape cinematography and photography. Additionally, an ultra fast max aperture of F1.6 makes the SLR Magic HyperPrime 12mm F1.6 ideal for available-light photography. 

We place our highest priority in the development of all HyperPrime lenses to fulfill the demands of professional cinematographers and photographers. The design and build of the SLR Magic HyperPrime 12mm F1.6 is solid and reliable.

The SLR Magic HyperPrime 12mm F1.6 will be available from authorized SLR Magic dealers end November 2011.

SLR Magic HyperPrime 12mm F1.6 specifications

The proof is in the pudding
Show me the images produced with the lens

“We place our highest priority in the development of all HyperPrime lenses to fulfill the demands of professional cinematographers and photographers.”

Why did it suddenly become first person?

The text between the product image and the spec table is a press release from the company.

Created this video in which I used the 12mm a lot. It was the pre-production model of the 12mm with the green ring, luckily SLR magic decided to remove it from future models! It was a pain when using filters. Great wide lens, although I would have liked the focus ring in front.
http://vimeo.com/31256823

“The design and build of the SLR Magic HyperPrime 12mm F1.6 is solid and reliable.”

Why do Chinese companies always feel the need to remind us that their products are reliable? Hm……….

Interesting. Thank goodness they went away from the chartreuse ring on the front.

The corner quality of this lens is really miserable. If you’re into MFT for low light video work, maybe this lens makes some sense. But for wide angle still photography, the Olympus prime is the lens to get.

I don’t see any problem with corner sharness…
http://www.flickr.com/photos/hhackbarth/6315274442/sizes/o/
Where did you get that idea from?

The way I see it, CA is a much bigger issue.

is “SLR Magic” a bad translation? its just as bad a name as lens baby, no one is going to take it seriously.

If it does the job better than any lens in it’s class who cares if they name it dog poop.

Yeah, if this all-metal bodied large-aperture prime wideangle optic delivers perfect Bokeh, fine resolution, contrast and colour neutrality, you could call it “osama bin laden” for all I care … it is what it DOES that matters!

I must admit I have never heard of “perfect” bokeh. I guess everything else is downhill after that.

Lens Baby was developed by an American and is an American company.

The fact that you know the name implies that you also know what their “specialty” products are.

That being said, is the name actually “good” or “bad”?

Jooger, that’s your opinion. No everyons.

I think it’s just a CCTV lens with a wide angle converter stuck to the top of it. Genius though I must say (in the fact that the less-informed will buy it, and SLR Magic will make $$$). Shouldn’t cost more than $299 though, but most likely will.

-Craig
www.taxidinner.com

Price is determined by the quality that the lens offeres and not by how it is made. If it is good quality then people will pay the price, if its not good people will not. Hardly matters how they made it. Considering that the lenses that Canon, Nikon, Panasonic etc sell are mass produced unlike this lens, it is very likely that the manufacturing cost per lens to those companies would not be very high either.

Yeah, what world are you living in. Not all the time. You do not always get what you pay for. Buyers, are not all informed, but best be. Personal preferences differ too.

No, factory claim it’s an original design. Even if they had reused elements from other lenses, the body design doesn’t really support the “cobbled from bits” notion.

random78 says:
Price is determined by the quality that the lens offeres and not by how it is made. If it is good quality then people will pay the price, if its not good people will not. Hardly matters how they made it.

Not true. Some buy things just because they are handcrafted wonderfully. you just can say: if the buy it, they buy it

ps: Is it really “SLR” magic?

Would someone really walk around with something inscribed with as cheesy name as “SLR Magic”? Seriously!?

So cameras are nto for photography but a fashing statement? Sucks to be you…

Too bad there isn’t a dislike button.

I’ve been using SLR’s for years and I could care less what is inscribed on the lens. I still use a 30 year old lens from a 3rd party manufacturer on modern bodies.

The results are far more important than whatever name is inscribed on a lens.

If you’re that worried, cover it with a red Leica sticker, put a Canon lens cap on the front, put a Nikon strap on the camera, and wear a shirt that says “My other camera is a Pentax 645D”. Then you’ll be able to hang out with the cool photographers again.

It would have been nice to see it mounted on something as its hard to visualize the scale.

See here:
http://www.eoshd.com/content/4435/slr-magic-noktor-12mm-f1-6-gh2

Seb Farges has three great video tests with this lens with one comparing it with the Oly 12mm F2.0 !
http://vimeo.com/30233622
http://vimeo.com/30165718
http://vimeo.com/30097165

I tried out a pre-production version of this lens. I really like it. Not something you can compare to the typical ultra-light auto-focus m4/3 lenses. While it has its limits, it does produce great photos, which is what counts for me.

well if it can’t be compared to the ultralight, ultraslow, ultraboring m4/3 zooms, that’s a great start.

Now for the fast zooms. Still waiting, waiting, waiting.

Looks suspiciously like the classic Leitz 50mm M-series Summicron.

I was thinking it looked like a Vivitar 28/2.8 from the 1970s. Appears to be reasonably sharp, too. But 11 ounces is substantial on m4/3. For low light, I think I’d rather just take a D700 and not have to worry about noise or quality.

Good luck finding a lens for your D700 of comparable focal length that is that fast and will focus six inches from your sensor! At any price. Not to mention being able to use it confidently at 1/8″ on a Pen body. Photography is full of compromise and this lens pushes one boundary.

A 24/2.8 on the D700 is easily available and lets in more photons per second for the same angle of view. This equates to more shallow DOF, too. Minimum focus distance of Nikon’s 24/2.8 is worse, at 12″.
However, the Sigma 24/1.8 comes to mind – but that will be a bit larger. Given the ease of operation of the AF/AE lens on the D700 compared to the all manual “SLR Magic” lens, this might be the better compromise.

re: JensR
Your still using FF camera? MF is where its at. Lets in more light and even more blur….Lets ignore price and size because people don’t care about those things right? Leica M2 plus 70mm f2.5. (in small text: 30+ grand and 5+lbs)

Junk D700 and FF cameras ;P

@deep7 What’s wrong with the excellent Nikon 24 1.4G? A superb lens. Don’t forget on m43 camera the above lens is not a 12mm lens, but a 24mm.

@Mssimo Have no idea what your talking about. Nikon D700 is one of the best, most popular Nikons ever made, with gorgeous IQ. My 5D Mk II is FF, and I am “still” using it. In fact I just bought it, and it’s great. The Leica your thinking of is the S2 and it’s excellent. Why? Do you have one or are you just mentioning random cameras?

How would anyone take you seriously with idiotic statements like “junk D700″? Have you ever used one?

Ohh, might finally be able to replace my 14mm 2.5.

This will be a nice match for (1) color (2)size and (3) weight on my G2! The Olympus 12mm in silver looks terrrible on the G2 and is too small for a good ergonomic feel. IMO. And I wouldn’t worry about image stabilzation on a 24mm equiv. lens.

The price (about half of the Oly 12mm someone mentioned??) is certainly a nice consideration.

Interesting brand name when they actually make lenses for the anti-SLR

MSRP, mi nina-Chavezes?

I think that they are very smart in targeting low-budget film makers. Autofocus is basically useless, and mechanical focus is ideal. There’s much less competition with this sect than ordinary photography, and I think that it’s growing.

Not to mention the aperture ring is stepless and both aperture and focus rings are super-smooth. It does work nicely for video

simply fantastic video shot by Seb Farge with this lens
http://vimeo.com/30097165

Hmm, I noticed some vignetting, though.

I assume it was shot wide open, so vignetting is expected and IMO adds to the IQ for the subject material. I don;t worry about vignetting at all when shooting very fast lenses wide open; I usually add vignetting to the type of images I tend to shoot at these apertures anyway.

I think, if I got it right, Seb’s vignetting came with an ND filter fitted. I found any filter vignettes – you need a larger filter on a step-up ring. Without a filter, there is vignetting until you stop down but it’s more gradual than what shows in that video.

This is essentially a 24mm f/3.2 lens in terms of FOV and depth of field. Goes to show you can have really fast shallow DOF glass on 4/3 like a 24mm f/1.4 camera for 35mm SLRs.

the aperture is unnafected by the crop factor.

In terms of exposure, crop factor does not affect aperture but it’s effective DOF is simply because the image is cropped.

DoF is irrelevant, bokeh is much more important factor.

@rescuer..read again, he stated “in terms of FOV and DOF” and he’s right.

The ability to focus very close has a massive impact on D.O.F. It becomes razor thin and the background completely blurs out. I’d post a link to show you but dpreview won’t let me, sorry.

my nikkor 24/1.4g focuses down to 22cm from the sensor.. for m43, the equiv distance would be 11, which this isnt

In terms of DOF and FOV, this is basically a 17mm f/2.2 on Super 35. It’s really no slouch, especially not for the price…

More details and a short review here: http://3d-kraft.com/

Looks like a fun lens to add to the collection. I already have the awesome 12mm F/2.0 so not sure if this worth it to me, but at nearly half the price it might be something for others to consider.

c. $499

Cost?

Perfect365’s patented imaging and facial recognition technology offers one touch cleanup with accurate, natural results. Style makeup templates are included for varying looks with the ability to fine-tune according to the user’s unique style. The technology also allows for amazingly organic feature enhancements.

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K-5: An Overview
While I consider the K-5 to be a semiprofessional camera, Pentax is modest and calls it a “high-end prosumer design.” I don’t like the word “prosumer” because it conjures up images that seem antithetical to the kinds of pros and aspiring professionals to whom this camera would appeal. The K-5 offers a 16.3-megapixel CMOS sensor that measures 23.7×15.7mm and, by contrast, the 18-megapixel Canon EOS 60D’s sensor is 22.3×14.9mm. While this is just a “silly millimeter,” it translates into a 1.5 multiplication factor instead of 1.6, and everybody knows bigger is better, especially when it comes to controlling noise during long exposures and high ISO settings, like the K-5’s 80 to 12,800 range that’s expandable to 51,200.

Many of you know my take on “expandable” settings (I don’t like ’em because of the noise they typically produce) so I prepared a blog post (http://bit.ly/fsTHbf) that explains my reasoning for those who haven’t read my previous rants on this topic. Images I made at ISO 12,800 were noisy, but when shifting to 6400 the noise was markedly reduced. Using noise reduction software, such as Nik Software’s (www.niksoftware.com) Dfine on the ISO 6400 shots sharply decreased noise levels.

Some of the K-5’s professional features are obvious. It has a rugged stainless steel chassis surrounded by a magnesium-alloy body that’s fully weather sealed and coldproof. (Pentax Imaging USA is located in Golden, Colorado, where it’s been known to be cold and snowy.) The penta-prism viewfinder has a 100 percent field of view and 0.92x magnification along with a 77-segment metering system that delivered on-target automatic exposures. The body has a built-in Shake Reduction (SR) stabilization system that works with all of the 24 million lenses that Pentax has produced over the past five decades and many of these high-quality manual focus lenses are available at bargain prices on eBay and used camera shops.

Another pro feature is a fast (up to) 7 frames per second (fps) continuous mode that lets you capture action shots. The K-5’s maximum shutter speed is a fast 1⁄8000 sec and an X-sync speed of 1⁄180 sec. Yes kiddies, in contrast with many cameras in its price range, the K-5 has a real jumping-up-and-down and pro-like PC (Prontor-Compur) connection built right into the body. The built-in pop-up flash has a Guide Number of 43 (in feet at ISO 100) and will cover a 28mm (equivalent) lens. Flash modes include on, redeye, slow sync, slow sync + redeye, trailing curtain sync, and flash exposure compensation from up to 2 EV in half stops, plus and minus.

And of course there’s video capture. The K-5 offers widescreen 1080p HD video capture at 25 fps with sound input via a built-in microphone or through an external 3.5mm stereo microphone jack. If you’re even the tiniest bit serious about video you already know you’ll need an external microphone. The camera’s built-in HDMI port lets you output high-definition images and video and sound. If you’re in any doubt about what kind of video quality can be produced with Pentax SLRs, take a look at Uncle Jack, a short witty film (http://bit.ly/apG9Bs) that was shot using the 14.6-megapixel Pentax K-7.

For still capture, the K-5 offers a choice of two Raw Capture modes: you can choose PEF (Pentax Electronic File) or Adobe’s 14-bit DNG that’s especially useful if you have an older version of Photoshop because the DNG format is easily read by all recent versions of Adobe Camera Raw. Pentax doesn’t leave you out on a limb though and includes its own Digital Camera Utility 4 software that provides an amazing amount of control over massaging either PEF or DNG files. There’s even a dedicated Raw button on the front of the camera permitting easy switching back and forth between Raw and JPEG formats without having to dive into camera menu settings.

Quirkiness extends to its choice of Exposure modes, too. In addition to all of the modes that you might expect, there’s the Sensitivity Priority (Sv) mode that selects the optimum aperture and shutter speed for a selected sensitivity and can be shifted in 1⁄2 or 1⁄3 steps via Custom Functions. The Shutter Aperture Priority a.k.a. TAv mode automatically selects the appropriate exposure for a user-selected shutter speed and aperture. Is this too many Exposure modes? You can ignore them if you like (I did) or take advantage of them if you prefer.

This kind of design philosophy is based on maximizing the camera’s capabilities to suit the kinds of photographs that you make.

Another group of Digital Filters can be applied to the image post-capture (Toy Camera, Retro, High Contrast, Sketch, Watercolor, Pastel, Posterization, Miniature, Base Parameter Adjustment, Monochrome, Color, Extract Color, Soft, Starburst, Fisheye, Slim, HDR, and Custom). These filters can be accessed by pressing the playback button, displaying the image you want to change and pressing the down arrow on the four-way controller.
© Joe Farace

Out In The Real World
Although it has a chunky feel, the Pentax K-5’s ergonomics are pretty good with the exception of the memory card slot and door that, when open, can make removing an SD card occasionally difficult for people with normal to large hands. Yet, when Mary borrowed the SLR to shoot images at a car show, she told me it “instantly felt comfortable in her [small] hands.”

Special effects? The K-5 has you covered six ways from Sunday starting with Custom Image modes that can be accessed by a four-way controller on the camera’s back. Effects include Bright, Natural, Portrait, Landscape, Vibrant, Muted, Monochrome, Reversal Film, and Bleach Bypass, all of which can be tweaked on the SLR’s 3” LCD screen. Monochrome mode includes adjustments for filter effects (green, yellow, orange, red, magenta, blue, cyan, and infrared), toning (sepia, warm/cool), high/low key, contrast, and sharpness (regular and fine adjustment scales). The K-5 lets you capture in Raw+JPEG mode and shoot two files at the same time, one in untouched color and the other in any Custom Image mode. Many of the filters can also be applied after capture, making the K-5 the in-camera tweaker’s favorite.

Not satisfied? There are three built-in and three customizable Cross Processing filters available for JPEG-only capture. The K-5 also offers built-in HDR capture and fires three consecutive shots that are stored in a buffer and then combined into one saved JPEG photograph. The good news is that all five HDR different Capture modes widen the exposure gamut, bringing out detail in your images. The bad news is while it achieves those goals, I wouldn’t call the results “HDR.” While you can use the camera’s Digital Filters (Toy Camera, Retro, High Contrast, Extract Color, Soft, Starburst, and Fisheye) during capture, unlike Olympus’ Art Filters you cannot apply them during Raw+JPEG capture so that you get one untouched image and one “filtered” one. The downside—and this is true for the HDR capture and Digital Filters, too—as soon as you make an exposure the camera starts processing the data and you have to wait…and wait. To be fair, Olympus cameras are like that as well.

If that’s not enough image manipulation, the K-5 offers multiple exposure settings in most of its Capture modes, including Green, Program, Sv, Tv, Av, TAv, M, Bulb, X-sync, and Movie. The camera has a built-in electronic level with a tilt scale display on the LCD panel and there are also 27 Custom Functions, making the K-5 the most customizable digital SLR that I’ve ever tested. And like any well-behaved SLR these days, the K-5 gives you one-button Live View mode.

Since the Pentax K-5 body does have a PC connection for a studio flash sync cord I wanted to see how the camera worked in a studio setting. The lighting for both sessions used a Flashpoint 620M (www.adorama.com) monolight with a Westcott (www.fjwestcott.com) 7-foot White/Black parabolic umbrella placed at camera left and a Flashpoint 320 also at camera left. For these sessions, I used the smc DA 50-200mm f/4-5.6 ED WR lens and it not only produced sharp images but also gave me flexible in-camera cropping options. More importantly, the camera just felt “right” in this environment and was fun and easy to use.

A Pentax K-5 body sells for $1399.95, and while there are less expensive 16-megapixel (or more) cameras available, you won’t find a better one than this. Its rugged construction and seemingly infinite capture options make it a great camera for hobbyists as well as aspiring pros who are already into the Pentax system via one of their awesome entry-level cameras such as the K-x (see the May, 2010, issue of Shutterbug). The inclusion of a PC connection shows that Pentax Imaging is serious about building a camera for serious photographers. If that describes you, you won’t find a better, more versatile SLR around.

SanDisk Extreme Pro SDHC UHS-I Card
SanDisk’s (www.sandisk.com) Extreme Pro SDHC UHS-I memory card features Ultra High Speed (UHS) technology based on the SD 3.0 specification. The card comes in 8GB, that I used for this test, up to 32GB capacities, with prices ranging from $109.99 to $349.99. All of the cards have the new UHS Speed Class 1 video class rating, offering 10MB/sec minimum sustained write speed capable of recording HD 1080p video or 3D content. The card’s fast read speeds also reduce waiting times when transferring content from the card to a computer. The card achieves maximum performance in UHS-enabled cameras such as the Nikon D7000 but it’s also compatible with the Pentax K-5. Extreme Pro SDHC cards are water-, temperature-, shock-, x-ray-, and magnet-proof and backed by a lifetime limited warranty. The card includes RescuePRO media recovery software that lets you recover any images lost because of accidental deletion.

Limited Silver Edition
Pentax always had a penchant for building limited edition cameras and all of them have been interesting, so it’s no surprise that there’s a Limited Edition Silver version of the K-5. Along with the silver K-5, Pentax announced three DA Limited Edition Silver lenses, including the 21mm f/3.2 AL, 40mm f/2.8, and 70mm f/2.4. Each lens features a high-quality silver finish that’s applied to the lens barrel, hood, and cap. To improve handling, this special edition model comes with an exclusive grip that’s thicker than the standard K-5’s. In addition, shock-resistant, scratchproof reinforced glass protects the LCD monitor and the status panel on the camera’s top panel. Priced at $1699.95 (body), like all limited edition cameras, it is in short supply.

For more information, contact Pentax Imaging Company at: www.pentaximaging.com.

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The series is available in three sizes in black: DSLR Video Fastpack 350 AW, DSLR Video Fastpack 250 AW and DSLR Video Fastpack 150 AW. For more information on this series and other products, please contact Lowepro or visit www.lowepro.com.

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• Accessories
• Classic Historical Cameras
• Software Computers
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• Lighting
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• Film Processing

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• David B. Brooks
• Jon Sienkiewicz

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• Outdoor Tips
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• Talking Pictures
• Picture This!
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