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The best Pentax lenses in 2024: our top lens suggestions for your Pentax DSLR

These are the best Pentax lenses to extend your DSLR system, whether you have an APS-C model or a full frame K-1 II

Best Pentax Lenses

Telephoto zooms

Wide-angle zooms, standard zoom upgrades, macro lenses, portrait lenses.

If you're shooting with a Pentax DSLR, we've picked out the best Pentax lenses for you to choose. From portable budget lenses to the bigger, professional-oriented zooms and primes, the Pentax stable consists of all sorts of different lenses. In this guide, we've chosen the best of the best, based on our reviewing experience with Pentax gear. 

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Originally, all Pentax DSLRs used APS-C sensors. This changed with the introduction of the full-frame Pentax K-1, and later its successor the K-1 Mark II . This means there's a mixture of full-frame and APS-C lenses bearing the Pentax name, and which one you choose will depend on which DSLR you're using. If you've opted for a crop-sensor model like the Pentax K-3 Mark III , then you'll want to focus on APS-C lenses. We've marked which is which throughout this guide. 

Pentax has been making K-mount lenses for a long time – almost 50 years in fact – and the best ones are very good indeed, able to rival those made by Canon , Nikon and Sony . Most of the lenses you'll see on this list are Pentax-made, as not many third-party manufacturers offer K-mount lenses. There are still options from Sigma , but with the independent lens maker having announced it will stop supporting the Pentax K mount , most of your choices are going to be Pentax-branded. 

That's absolutely fine though. Pentax makes great lenses, at all different focal lengths, for a range of different budgets. Before we get to the main list, let's take a look at what makes Pentax lenses special. 

Pentax lens features

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Pentax was a very early adopter of built-in stabilisation for its DSLRs, which it refers to as sensor-shift SR (Shake Reduction). This means that Pentax users don't have to worry too much about lens-based stabilisation, as they're likely to have it in their cameras. In turn, this frees up the lens-makers to concentrate on optical quality, and  many current Pentax lenses have aspherical and extra-low dispersion glass elements, along with advanced coatings for superior light transmission. 

Some older Pentax lenses rely on mechanical autofocus drive rather than AF motors. If you want fast and quiet autofocus as a priority, look out for acronyms like SDM (Supersonic Direct-drive Motor), DC (Direct Current motor) and PLM (Pulse Motor) in the lens names. Many also offer a handy Quick-Shift focus feature that allows full-time manual focus override – useful if autofocus isn't up to a particularly challenge scene. If, however, you're not too bothered about fast autofocus, then the older lenses are often cheaper.

Some Pentax lenses have a WR (Weather-resistant) construction to guard against dust and moisture, as well as an SP (Super Protect) coating on the front element, to repel grease and water. 

For the ultimate in performance and durability, Pentax offers Star-series lenses, their premium build commanding premium purchase prices. These tend to be prime lenses, though as we'll see, a zoom will sometimes earn this designation if it's good enough. 

We've divided our list of lenses up into categories, with suggestions for the best telephotos, standard zooms and wide-angles, as well as lenses for specialist applications like macro and portraiture. So, let's get started with the best Pentax lenses!

A telephoto is almost always the first ‘extra’ lens people get for their DSLRs and it's ideal for fans of wildlife and sports photography. Some of Pentax’s kit lenses for its APS-C format DSLRs actually offer pretty good telephoto reach already, like the 18-135mm zoom which gives an effective range of 27.5-207mm in full-frame terms. For action sports and wildlife photography, however, that’s likely to come up a bit short, so this is where the next three lenses come in.

Best Pentax lens: Pentax 55-300mm f/4.5-6.3 DA PLM WR

1. HD Pentax DA 55-300mm f/4.5-6.3 ED PLM WR RE

Our expert review:

Specifications

Reasons to buy, reasons to avoid.

A sublime balance of price and performance, this zoom lens for Pentax APS-C DSLRs earned a glowing write-up in our review. It's impressively lightweight for a lens with this much reach, weighing in at 442g and stowing down to just 89mm in length. This means it's small and light enough to take everywhere with you. Of course, it wouldn't matter at all if the lens weren't capable of delivering the goods, but its resolving power impressed us when we tested it – sharpness is best around 100mm, but generally pretty good all around.

The light weight, good performance and modest cost of this lens means it's one that any Pentax user shouldn't hesitate to pick up and throw in their kit bag. It basically fulfils the function of a 70-300mm with a bit more latitude at the wide end, meaning it'll prove highly useful for walkaround photography, for sports and action, and for plenty of other applications. 

Best Pentax lens: HD Pentax-D FA* 70-200mm f/2.8 ED DC AW

2. HD Pentax-D FA* 70-200mm f/2.8 ED DC AW

This high-end 70-200mm f/2.8 zoom (a classic combination for pro photographers) has a star designation (*) in its name, which is usually only given to Pentax's pin-sharp, top-shelf prime lenses. Does it earn it? According to our lab results, yes (just about) – we gave the lens a thorough resolution test, and found it to deliver excellent centre sharpness throughout the zoom range. The autofocus system is swift and quiet, making use of a DC motor, and having Pentax’s ‘Quick-Shift Focus System’ is handy for moments when you want to quickly override the autofocus with manual operation. 

All this sophistication does make the HD Pentax-D FA* 70-200mm f/2.8 ED DC AW a relatively expensive lens. If you're working to a budget, Pentax's cheaper HD Pentax-D FA 70-210mm F4 ED SDM WR could prove an excellent alternative.

Best Pentax lens: HD Pentax-D FA 150-450mm f/4.5-5.6 ED DC AW

3. HD Pentax-D FA 150-450mm f/4.5-5.6 ED DC AW

It might be a big and heavy lens to cart around, but the HD PENTAX-D FA 150-450mm is a powerful enough tele-zoom to be worth a little backache. Mount it on an APS-C Pentax DSLR, and that zoom reach expands to a beefy 225-675mm equivalent, which is more than enough for wildlife, airshows, motorsport and other genres of shooting where practicality dictates a considerable distance between you and your subject.

Of course, all this reach does come with a few compromises. In our review of the lens, we subjected it to lab-controlled resolution testing, and our overall impression of its sharpness and resolving power was: good, but not great. There's also the autofocus, which is powered by a DC motor and is definitely not the fastest on the market. Still, the tough and weather-sealed construction makes it a solid outdoor performer, and that reach means it's one of the most versatile lenses in the whole Pentax stable. 

Ultra-wide zoom lenses are great for capturing sweeping vistas in landscape photography and for shooting indoors, where space is cramped and you have little room for manoeuvre. They’re also great for exaggerating perspective in creative shooting, making close foreground objects really stand out against a rapidly receding background. Here, though, you need to choose an APS-C or a full-frame format zoom to match your camera’s sensor size. If you put a full-frame wide-angle zoom on an APS-C Pentax, you’ll lose the wide-angle effect.

Best Pentax lens: Pentax DA 12-24mm f/4 ED AL IF

4. Pentax DA 12-24mm f/4 ED AL IF

This wide-angle zoom is very robust and well-made, with a very smooth and precise feel to its zoom and focus rings, the latter linking to its Quick-Shift system for manual override. It’s not a WR (Weather-Resistant) lens and lacks a built-in autofocus motor but, for a screw-drive system powered by the camera body, the focusing is remarkably rapid. Compared with many APS-C format wide-angle lenses on the market, this one benefits from a fairly fast f/4 aperture rating, which remains available throughout its entire zoom range. The aperture itself is one f/stop slower than in the newer HD Pentax-DA* 11-18mm f/2.8 ED DC AW, but the 12-24mm is better value unless you really want to specialise in wide-angle photography.

Best Pentax lens: HD Pentax-D FA 15-30mm f/2.8 ED SDM WR

5. HD Pentax-D FA 15-30mm f/2.8 ED SDM WR

Excellent for experts and professionals, this full frame wide-angle zoom completes the ‘holy trinity’ of constant-aperture f/2.8 lenses for full-frame bodies, along with the 24-70mm and 70-200mm lenses in Pentax’s line-up. Typically for this class of lens, there’s a bulbous, protruding front element which is protected by a fixed, petal-shaped hood. This precludes the easy attachment of filters, although Lee Filters markets a specialist adaptor for its SW150 Mark II series. Autofocus is fast and near-silent, driven by a Supersonic Direct-drive Motor, complete with Quick-Shift manual override. Image quality is highly impressive in all respects, with great sharpness and contrast, well-controlled distortion and good resistance to ghosting and flare.

Pentax HD Pentax-DA Fisheye 10-17mm F3.5-4.5 ED

6. HD Pentax-DA Fisheye 10-17mm F3.5-4.5 ED

Do you actually need a fisheye zoom? The Nikon equivalent of this lens makes sense in that it offers either a circular or a full frame fisheye effect depending on the zoom setting, but the Pentax lens delivers a full frame image at both 10mm and 17mm – on APS-C Pentax bodies at least. The zoom function does, however, offer some perspective and compositional choices, which could be useful for interiors.

Optically, this lens is adequate rather than good. No one expects flawless edge-to-edge sharpness from a fisheye, though, and you do get good center sharpness and remarkably even illumination across the frame.

Read our full HD Pentax-DA Fisheye 10-17mm F3.5-4.5 ED review .

Pentax APS-C format DSLRs usually come as complete camera kits which include either an 18-50mm or 18-135mm standard zoom lens. Both are of good quality, with built-in DC autofocus motors and weather-resistant construction. However, they’re not so great in terms of aperture range, dropping from f/4-5.6 and f/3.5-5.6 across the zoom range respectively. So for quality and added versatility, we’ve picked two ‘fast’ standard zooms with a constant-aperture design, making f/2.8 available throughout the zoom range. And for a more travel-friendly option, we’ve also selected an APS-C format superzoom lens with a monster 18-300mm zoom range.

Best Pentax lens: Pentax DA* 16-50mm f/2.8 ED AL [IF] SDM

7. Pentax DA* 16-50mm f/2.8 ED AL IF SDM

It’s been around for a decade but this is a lens that’s designed and built to last. It’s robust with a weather-sealed construction but not overly big or heavy, making it an ideal everyday lens for use with APS-C format bodies. An SP (Super Protect) coating is applied to the front element to repel water and grease, adding to its rainy-day suitability. The SDM (Super Direct-drive Motor) autofocus system is quick and ultra-quiet, and features Quick-Shift for manual override. A bonus over most standard zoom lenses is that this one gives a noticeably wider maximum viewing angle, thanks to a minimum focal length of 16mm instead of the more usual 18mm. 2mm might not sound much but it makes a big difference. The only drawback is that image quality suffers a little at the shortest zoom setting, with noticeable barrel distortion and increased colour fringing. Even so, the relatively fast and constant f/2.8 is great to have, adding versatility for creative shooting.

Best Pentax lens: HD Pentax-D FA 24-70mm f/2.8 ED SDM WR

8. HD Pentax-D FA 24-70mm f/2.8 ED SDM WR

Enthusiast and professional photographers usually prefer constant-aperture lenses, and this latest Pentax standard zoom for full-frame cameras includes three ED (Extra-low Dispersion) elements, one anomalous-dispersion element and three aspherical elements, along with HD coating. As expected, the SDM (Super Direct-drive Motor) autofocus system gives fast and whisper-quiet performance, complete with Quick-Shift manual override. Image quality is gorgeous, with superb contrast and sharpness, rich colour rendition, and smooth bokeh. Distortions and colour fringing are well-controlled, and there’s good resistance to ghosting and flare. All in all, it’s a cracker of a standard zoom.

Best Pentax lens: Sigma 18-300mm f/3.5- 6.3 DC Macro OS HSM C

9. Sigma 18-300mm f/3.5-6.3 DC Macro HSM | C

Lugging around extra lenses can be a chore, especially when you’re travelling. A ‘superzoom’ lens stretches all the way from useful wide-angle coverage to super-telephoto reach, without the need to change lenses. This superzoom from Sigma gives a mighty ‘effective’ range of 28-460mm on Pentax APS-C bodies, yet is slightly lighter than Pentax’s 16-50mm standard zoom. Quality glass includes four top-grade FLD (‘Fluorite’ Low Dispersion) elements along with one SLD (Special Low Dispersion) element. The ultrasonic autofocus system is based on a motor, drive shaft and gearwheels, rather than being a ring-type design. This reduces size and weight but, typical of the breed, the focus ring rotates during autofocus. Superzoom lenses are somewhat notorious for comprising image quality but this Sigma retains very good sharpness throughout almost all of its zoom range, only dropping off a little at the long end.

For revealing the finest levels of detail, you can’t beat a ‘true macro’ lens that delivers 1.0x or 1:1 magnification at its shortest focus distance. This replicates a small object at full life size on the image sensor. When shooting with an APS-C format body, the 1.5x crop factor further boosts the magnifying effect. Although 1.0x magnification might not sound much of a big deal, it enables an incredible degree of enlargement when viewing the resulting images on screen or in print. In the weird world of macro photography, tiny bugs can take on the appearance of alien invaders.

Pentax D-FA 100mm f/2.8 Macro WR

10. Pentax D-FA 100mm f/2.8 Macro WR

Unlike most recent macro lens designs, this Pentax lacks an internal focus mechanism, so it does extend in physical length as you focus closer. On the plus side, like other high-end Pentax lenses, this one is beautifully engineered and finished. It features an aluminum outer barrel, a comprehensive set of weather seals and an SP (Super Protection) coating on its front element to repel muck and moisture. However, it lacks a built-in autofocus motor, instead relying a noisy mechanical drive from the host camera body. Image quality is very good overall and sharpness remains excellent right to the edges of the frame when using an APS-C body. However, corner sharpness is less impressive over the larger sensor area of a full-frame body. Read our full Pentax D-FA 100mm f/2.8 Macro WR review .

Effective portraiture isn’t just about a studio setup where you have full control over the lighting and background. Often, you’ll be shooting under natural lighting in a ‘real world’ environment and, all too frequently, the backgrounds can be overly detailed or cluttered. With a focal length of around 75-85mm on a full-frame camera, and a wide aperture of f/1.4 to f/1.8, you can blur the background with a tight depth of field. The combination also enables a natural working distance between the photographer and portrait sitter. If you’re shooting with an APS-C format camera, a 50mm prime lens with a similarly wide aperture rating gives the same benefits, taking the crop factor into account.

Best Pentax lens: HD PENTAX-D FA★85mmF1.4ED SDM AW

11. HD Pentax-D FA* 85mm f/1.4ED SDM AW

For those using a full-frame Pentax DSLR like the K-1 for portraiture, this is the ultimate lens for you. It's expensive when compared to equivalent lenses from the likes of Canon and Nikon, but this is one impressive lens designed to to meet the highest in-house standards both for current and future Pentax DSLRs. With an ultra-fast maximum aperture of f/1.4, it sports an unusual concave front element, while there are three Super ED (Extra-low Dispersion) elements and an aspherical optical element to suppress aberrations and axial chromatic aberration. The lens has been specially designed to reduce distortion to nearly zero at a focus distance of 4 metres, making it perfect for portraiture. It's certainly a big and heavy lens, but you'll be rewarded with a state-of-the-art lens for portraits.

Best Pentax lens: SMC Pentax-FA 77mm f/1.8 Limited

12. SMC Pentax-FA 77mm f/1.8 Limited

Pentax designed this lens specifically for portraiture and, while it lacks the 85mm focal length and f/1.4 aperture rating of most ‘portrait primes’, it still fits the bill admirably. The combination of focal length and widest available aperture enable a comfortable working distance and a depth of field that’s deep enough to keep most of the face pin-sharp, yet shallow enough to throw the background out of focus. In-focus areas within images really are super-sharp, along with great contrast and lovely colour rendition. Defocused areas look really soft and creamy, and the bokeh remains super-smooth when stopping down a little, helped by a well-rounded nine-blade aperture. Build quality is good, with a full metal jacket and built-in hood, but there’s no internal autofocus motor.

Best Pentax lens: Pentax DA* 55mm f/1.4 SDM

13. Pentax DA* 55mm f/1.4 SDM

This 55mm lens is from Pentax’s premium Star-series line-up. Designed for APS-C format bodies, it has an effective focal length of 82.5mm, which is perfect for head-and-shoulders or half-length portraits. Features include a Supersonic Direct-drive Motor autofocus system, with the usual Quick-Shift manual override and focus distance scale beneath a viewing panel. Shooting wide-open at f/1.4, images don’t tend to be bitingly sharp, but that can be an advantage in reducing the appearance of fine lines and blemishes in skin. Stop down to f/1.8 and there’s a step up in sharpness, while bokeh remains beautifully soft and dreamy, with smooth transitions between focused and defocused areas. There’s no denying it’s a pricey lens, but it’s simply the best-quality option for portraiture with APS-C format Pentax cameras.

Read our full Pentax DA* 55mm f/1.4 SDM review .

Best Pentax lens: SMC Pentax DA 50mm f/1.8

14. SMC Pentax DA 50mm f/1.8

You might be used to portrait primes being hefty, expensive things, but this lightweight lens provides a cost-effective portraiture solution for Pentax APS-C DSLR users. Its 50mm focal length works out to 76.5mm when the crop factor is taken into account, which hits the sweet spot for flattering facial portraiture, and having an f/1.8 aperture gives you plenty of latitude for creating shallow depth of field.

In our review, we felt this lens had found a good niche. It's so lightweight that you can take it just about anywhere, and while sharpness is best in the middle of the range, a little softness at f/1.8 is no bad thing when it comes to portraits – it's an asset if anything. The lens is well-priced too, which goes to excuse some of the more basic features like its noisy, motorless autofocus system. 

How we test lenses

We test lenses using both real world sample images and lab tests. Our lab tests are carried out scientifically in controlled conditions using the Imatest testing suite, which consists of custom charts and analysis software that measures resolution in line widths/picture height, a measurement widely used in lens and camera testing. We find the combination of lab and real-word testing works best, as each reveals different qualities and characteristics.

• The best Pentax cameras • Pentax K-1 Mark II review • Pentax KP review • Ricoh executives think mirrorless photographers will soon return to DSLRs

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Matthew Richards is a photographer and journalist who has spent years using and reviewing all manner of photo gear. He is Digital Camera World's principal lens reviewer – and has tested more primes and zooms than most people have had hot dinners! 

His expertise with equipment doesn’t end there, though. He is also an encyclopedia  when it comes to all manner of cameras, camera holsters and bags, flashguns, tripods and heads, printers, papers and inks, and just about anything imaging-related. 

In an earlier life he was a broadcast engineer at the BBC, as well as a former editor of PC Guide.

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Home » Best Pentax lenses

Best Pentax lenses

Tim Coleman

Trying to work out what are the best Pentax lenses for your APS-C or full-frame DSLR? Tim Coleman picks out some greats to suit all budgets.

Welcome to our exclusive, exhaustive guide to the best Pentax lenses you can buy. Unlike its rivals, Pentax is very much sticking with the DSLR, rather than moving into mirrorless, so it’s a good choice if you are also happy to continue using mirrored technology, or already have some Pentax lenses.

If you like rugged, weatherproof cameras, big, bright optical viewfinders and tactile ergonomics, Pentax kit is for you. Our team of reviewers have regularly given high scores to Pentax lenses for being sharp, well-engineered and ultra reliable – and we’ve picked out the cream of the crop for this guide.

Pentax is certainly a company with a strong tradition. The Pentax K-mount has been going strong since 1976 , when it was introduced for the legendary Pentax K film cameras.

But before we get into that, let’s take a quick look at how best to go about choosing the right Pentax lens for what you want to shoot…

How to choose a Pentax lens

If you’ve browsed Pentax lenses already, you have noticed that they have a heck of a lot of letters in their names, even by lens standards. What does it all mean?

Digital-age lenses by Pentax are denoted with a ‘ D ‘. More specifically, ‘ DA ‘ or ‘ DA* ‘ lenses are designed primarily for APS-C format cameras while ‘ D FA ‘ or ‘ D FA* ‘ lenses are for full-frame.

Despite getting in on the DSLR action early with the APS-C format *ist D in 2003, it would take Pentax another thirteen years to create a full-frame DSLR in the shape of the K-1 in 2016. As such, there are plenty APS-C format lenses to choose from, and a more limited full-frame range.

Those with an APS-C format camera like the Pentax K-70 can use full-frame lenses with a 1.5x focal length multiplier (approx). For example, the professional Pentax-D FA* 50mm f/1.4 SDM AW lens on a Pentax K-70 becomes a 76.5mm lens .

Likewise, attach an APS-C lens to the full-frame Pentax K-1 or K1 II and it’ll work, albeit with a 1.5x crop to avoid vignetting. There’s an in-camera automatic ‘Crop Mode’ for such a set up. However, to get the most resolution out of a lens with the full-frame K-1 or K-1 II, you’ll want a full-frame lens .

In recent lenses, ‘ SDM’/ ‘DC’ / ‘PLM’ / ‘IF ‘ all refer to the autofocus motor. For example, ‘SDM’ denotes supersonic direct-drive motor and is responsible for the high-accuracy and autofocus speed performance.

Pentax also places a high standard on the build-quality and operability of its lenses, with ‘ AW ‘ or ‘ WR ‘ referring to all weather or weather resistance . ‘ HD ‘ and ‘ SP ‘ are lens coatings that reduce flare and protect the lens surface respectively, while ‘ AL ‘ and ‘ ED ‘ are types of lens elements designed to improve image quality.

Every Pentax DSLR made since the Pentax K100D in 2007 features sensor shift stabilisation (‘Shake Reduction’) . As such, modern Pentax lenses do not need to add optical image stabilisation to the mix.

Good news is there’s a heck of a lot of Pentax lenses, covering virtually all genres of photography . We can’t sensibly include all the excellent lenses, so for this round-up APS-C and full-frame lenses are grouped together by focal length; wide, standard, telephoto and super zoom.

Within these categories we include third party options. We also highlight which genres they are particularly suited to, including the likes of macro photography and portraits.

If you’re still building your Pentax setup from the ground up, check out our unmissable guide to the best Pentax DSLRs . Otherwise, read on as we count off the best Pentax lenses you can buy today…

Best APS-C wide-angle zoom: HD Pentax-DA* 11-18mm F2.8 ED DC AW

HD Pentax-DA* 11-18mm F2.8 ED DC AW

HD Pentax-DA* 11-18mm F2.8 ED DC AW lens

At a glance:

  • Aperture range f/2.8 to f/22
  • Weighs 704g
  • 17.5-27.5mm equivalent focal length
  • 82mm Filter diameter
  • In production
  • Price: £1199 / $1396

Like many manufacturers Pentax offers a trinity of f/2.8 zoom lenses, aiming to give professionals and enthusiasts everything they could need. The 11-18mm is the widest of the three, though bear in mind that it’s an APS-C lens, so actually covers an equivalent focal range of 17.5-27.5mm focal length. Professional-grade, with super-sharp optics and HD lens coatings, it’s designed for all weathers and is ideal for landscape photography . The construction consists of 16 elements in 11 groups, including ED (extra low dispersion) elements to ensure minimal distortion.

One of the main advantages of an APS-C system compared to full-frame is that the cameras are lighter, and a good lens will reflect that. As such, the HD Pentax-DA* 11-18mm F2.8 ED DC AW weighs about half of its full-frame equivalent, making it a good choice for those who want a portable setup.

If you can live without the bright f/2.8 maximum aperture, then the Pentax DA 12-24mm F4 ED AL [IF] is a slightly more cost-effective and compact wide-angle zoom lens with slightly further reach.

  • Nice and lightweight
  • Sharp even wide open

Best full-frame wide-angle zoom: HD Pentax-D FA 15-30mm F2.8 ED SDM WR

HD Pentax-D FA 15-30mm F2.8 ED SDM WR lens

HD Pentax-D FA 15-30mm F2.8 ED SDM WR lens

  • Weighs 1040g
  • 23-45mm in APS-C crop mode
  • No filter thread
  • Not in production
  • Price: £1629 / $1446

You’re not exactly spoilt for choice with Pentax full-frame wide-angle lenses. However, the Pentax 15-30mm F2.8, which was launched around the same time as the Pentax K-1 in 2016, is a fine choice.

It’s a reassuringly bulky lens at just over 1kg and being weather resistan t is a solid pairing with a tough camera like the Pentax K1 or its replacement the K-1 II. This pairing is probably the best bet for astrophotographers because APS-C equivalents don’t go quite as wide – though the manual focus Laowa 12mm f/2.8 Zero-D is an excellent full-frame alternative.

Benefitting from a lens construction of 18 elements in 13 groups, this lens is sharp from centre to edges even at the maximum f/2.8 aperture that is available throughout the entire zoom range. What might initially cause confusion to Pentax shooters especially those that manual focus, is that the 15-30mm lens focuses in the opposite direction to every other Pentax lens.

  • Excellent sharpness, even wide open
  • Tough, solid build
  • May be too heavy for some
  • Focus ring direction is reversed, for some reason

Best APS-C portrait lens: smc Pentax-DA* 55mm F1.4 SDM

smc Pentax-DA* 55mm F1.4 SDM lens

smc Pentax-DA* 55mm F1.4 SDM lens

  • 84.5mm equivalent focal length
  • Weighs 375g
  • Quick-Shift focus
  • 58mm filter diameter
  • Price: £599 / $646

Recreating the classic 85mm focal length associated with portraiture , the smc Pentax-DA* 55mm F1.4 SDM is an excellent choice particularly for those with an APS-C camera like the K-3 III , K-5 II or K-70 . This medium telephoto lens offers a flattering perspective and bright f/1.4 maximum aperture with what Pentax claims is a round iris diaphragm up to f/2.8. In short, it’s a buttery-smooth-bokeh-beauty .

Elsewhere, there’s everything that we would expect of a Pentax * lens; an Aero Bright coating that reduces flare, weather-sealing to protect from water and dust ingress, while Quick-Shift focus comes in handy when creating such shallow depth of field portraits and you need to manually override autofocus to tweak focus exactly where you want it. This is portraiture at the next level.

  • Excels at portraiture
  • Useful Quick-Shift focusing
  • Relatively pricey for Pentax

Best APS-C standard zoom: HD Pentax-DA* 16-50mm F2.8 ED PLM AW

HD Pentax-DA* 16-50mm F2.8 ED PLM AW lens

HD Pentax-DA* 16-50mm F2.8 ED PLM AW lens

  • 24.5-76.5mm equivalent focal length
  • Weighs 712g
  • Weather-resistant
  • 77mm filter diameter
  • Price: £1349 / $1296

The HD Pentax-DA* 16-50mm F2.8 ED PLM AW is your classic 24-70mm f/2.8 lens but for APS-C format cameras such as the Pentax K-3 III . If you’re cutting your teeth as a photographer, and limited to one lens only, arguably it’s the most versatile lens around , being popular with events, wedding , portrait and landscape photographers. Pentax also offers a full-frame equivalent for K-1 II shooters, the HD Pentax-D FA 24-70mm F2.8 ED SDM WR.

Technically a 24.5-76.5mm lens , this updated classic lens wearing the Pentax DA* badge boasts a 2x faster and quieter ‘PLM’ autofocus motor compared to the classic version, plus Pentax’s ‘AW’ dust and weather-resistant build and an array of aspherical (AL) and Extra low Dispersion (ED) lens elements for top drawer image quality. It’s a little pricey but can be found for way less than that RRP.

  • Useful, do-it-all focal range
  • Fast, reliable autofocus
  • Sophisticated optical construction
  • On the larger side

Best full-frame portrait lens: HD Pentax-FA 77mm f/1.8 Limited

HD Pentax-FA 77mm f/1.8 Limited lens

HD Pentax-FA 77mm f/1.8 Limited lens

  • Aperture range f/1.8 to f/22
  • Weighs 270g
  • 49mm filter diameter
  • Price: £729 / $696

We could have gone for a number of excellent full-frame K-mount lenses for portraiture, including the HD Pentax-D FA* 50mm F1.4 SDM AW or the HD Pentax-D FA* 85mm F1.4 ED SDM AW, but landed on the charming HD Pentax-FA 77mm f/1.8 limited. And no, that’s not a typo – this is the focal length and not the filter diameter.

The 77mm f/1.8 is part of a trio of ‘limited’ lenses updating FA legacy Pentax lenses more than 20-years old, that also includes the 31mm f/1.8 and 43mm f/1.9.

In this updated version, handling is largely the same which is a good thing. This is a compact all-metal lens (though sadly it’s not officially weather-sealed) with aperture ring and focus distance scale and a clever retractable lens hood. Autofocus is possible via the camera body, though Quick Shift focus is missing so you can’t manually override focus when in auto. Shame. Overall, the experience with this lens is better when manually focusing. What’s also new is the HD and SP coatings that reduce flare in bright light and protect that front lens element, plus the aperture blades are rounded so you get some gorgeous bokeh .

  • Rounded aperture blades
  • High-end element coatings
  • Not officially weather sealed
  • No Quick Shift focus

Best budget Pentax lens: smc Pentax-DA 35mm F2.4 AL

smc Pentax-DA 35mm F2.4 AL lens

smc Pentax-DA 35mm F2.4 AL lens

  • Weighs 124g
  • 0.3 minimum focus distance
  • 53.5mm equivalent focal length
  • Price: £159 / $116

If you’d like an everyday lens that captures your point of view (as you focus your attention), then you can’t go far wrong with the smc Pentax-DA 35mm F2.4 AL. Providing an equivalent focal length of 53.5mm, this tiny lens measures a mere 45mm in length and weighs a nimble 124g, yet boasts a maximum aperture of f/2.4.

Lenses like this can enjoy a simple design yet garner decent image quality – in this case it’s a simple lens construction of 6 elements with an aspherical element to minimise aberrations. You don’t get the same build quality as Pentax * lenses, but why would you in a lens that costs less than £200? Take it out on a walk, make family snapshots and pleasing portraits, it’s a lovely lens. For the same outlay, an alternative is the smc Pentax DA 50mm F1.8 which gives an equivalent 76.5mm focal length.

  • Exceptional value for money
  • Very lightweight
  • Build quality inferior to pricier lenses

Best compact Pentax lens: HD Pentax-DA 40mm F2.8 limited

HD Pentax-DA 40mm F2.8 limited lens

HD Pentax-DA 40mm F2.8 limited lens

  • Weighs 89g and measures 15mm
  • 61mm equivalent focal length
  • 30.5mm or 49mm filter diameter
  • Price: £429 / $396

If you thought the 35mm f2.4 lens was light at 124g, try the HD Pentax-DA 40mm F2.8 limited for size. It’s a ‘pancake’ lens at a feather-light 89g and only 15mm long. There’s a lighter-still ‘XS’ version at 52g and 9mm long which is described as the ‘biscuit’ lens , practically the size of a lens cap and cheaper than the Limited version featured here. Who needs a body cap when you have a pancake lens?!

Both pancake lenses offer a 61mm equivalent focal length and comprise 5 elements in 4 groups. For the extra outlay, the ‘Limited’ version has a metal build, lens hood and accepts threaded lens filters at either 49mm or a curious 30.5mm. Another fine example of an everyday lens, offering that extra quality over a smartphone camera thanks to sharp detail in the centre and more control over depth of field with that f/2.8 maximum aperture.

  • Slim and tiny
  • Metal construction (on Limited version)
  • Sharp centre detail
  • Can be hard to find
  • Simple optical construction

Best APS-C telephoto zoom: smc Pentax-DA* 50-135mm F2.8 ED [IF] SDM

smc Pentax-DA* 50-135mm F2.8 ED [IF] SDM lens

smc Pentax-DA* 50-135mm F2.8 ED [IF] SDM lens

  • Weighs 685g
  • 76.5-207mm equivalent focal length
  • 67mm filter diameter
  • Price: £1079 / $999

Of the f/2.8 trinity of zoom lenses, the smc Pentax-DA* 50-135mm F2.8 ED [IF] SDM is the telephoto option for APS-C format cameras like the Pentax K-3 III . It’s such a versatile focal length and an ideal pairing for those earning money from photography, especially for events and sports, but also portraiture and even landscapes.

A surprisingly compact and lightweight lens with internal focusing that means the physical length of the lens is unchanged, the 50-135mm F2.8 boasts an excellent build quality and is armed with Pentax’s finest lens construction, packing 18 elements in 14 groups that included extra-low dispersion (ED) elements. It’s actually very good value, too. For those shooting full-frame with the K-1 II, the HD Pentax-D FA* 70-200mm F2.8 ED DC AW is the equivalent and appropriate choice. It may be on the more expensive side, but you’ll still get your money’s worth.

Best Pentax macro lens: Pentax-D FA 100mm F2.8 Macro WR

Pentax-D FA 100mm F2.8 Macro WR lens

Pentax-D FA 100mm F2.8 Macro WR lens

  • Aperture range f/2.8 to f/32
  • Weighs 340g
  • 0.3m close focusing
  • Price: £509 / $546

If you’re going to get one Pentax macro lens, it has to be the Pentax-D FA 100mm F2.8 Macro WR. The classic 100mm focal length (which is 153mm on an APS-C camera) provides a decent working distance from tiny subjects while obtaining the maximum 1x reproduction ratio (1:1 life size). Machined aluminium casing, weather-resistant construction, it’s a tough lens for confidently exploring the macro world and whatever conditions it throws at you.

It’s an auto-focus lens with a focus mechanism that also provides a smooth manual focus experience with Quick-Shift focus on board – that’s good news for macro photographers who usually obtain sharp focus initially using autofocus and then tweak manually afterwards. Elsewhere, there are decent third-party alternatives for macro photographers from the likes of Laowa, including the Laowa 25mm f2.8 2.5-5x Ultra-Macro.

  • Tough and well-built
  • “True” macro lens
  • Useful Quick-Shift focus
  • Third-party options are cheaper

Best lens for wildlife: smc Pentax-DA* 300mm F4 ED [IF] SDM

smc Pentax-DA* 300mm F4 ED [IF] SDM lens

smc Pentax-DA* 300mm F4 ED [IF] SDM lens

  • Aperture range f/4 to f/32
  • Weighs 1,070g
  • 460mm equivalent focal length
  • Price: £1179 / $929

For telephoto wildlife photography , a smaller sensor brings several advantages, and this APS-C lens provides an equivalent 460mm focal length with f/4 maximum aperture yet only weighs around 1kg. A full-frame equivalent would be much heavier but also much more expensive. In addition, there’s a little extra depth of field that’ll improve your chances of sharp focus where you want it on far-away subjects.

Sensor format aside, the 300mm F4 lens is solid, with sealed components gaining that ‘AW’ status, plus an inner SDM focus mechanism for quiet and smooth autofocus. A close focus distance of 1.4m enables a 0.24x reproduction ratio so you can get reasonably close, too. If you don’t need as much of a telephoto reach, then the smc Pentax-DA* 200mm F2.8 ED [IF] SDM is an equally impressive lens at a similar price point.

  • Excellent weight-to-reach ratio
  • Really good value for money
  • Close focusing distance
  • Some autofocus unreliability

Best zoom lens for sports: HD Pentax-D FA 150-450mm F4.5-5.6 ED DC AW

HD Pentax-D FA 150-450mm F4.5-5.6 ED DC AW lens

HD Pentax-D FA 150-450mm F4.5-5.6 ED DC AW lens

  • Weighs 2,325mm with hood and collar
  • 86mm filter diameter
  • Close focusing 2m
  • Price: £1979 / $1896

The HD Pentax-D FA 150-450mm for full-frame Pentax cameras filled a large void in the K-mount lens range when it was launched. It’s a particularly popular lens with sports photographers especially those on the sidelines who need that long reach when the action is far-away but the ability to zoom out when subjects move closer. If you opt to use an APS-C camera like the K3-III instead of a full-frame K-1 II, then the focal range is extended to a mammoth 230-690mm.

This is a lens designed to withstand what the elements throw at it, being sealed in 21 places and boasting a solid construction. At more than 2kg it’s a hefty combination when paired with Pentax flagship cameras.

K-mount lens exteriors tend to be simple, but here there are four AF buttons, a three-way switch for quick access to Quick-Shift focus modes, a focus range limiter, zoom lock, plus a rotating lens collar. Throw in HD and SP lens coatings and the premium Pentax optics and the package is complete. The most obvious alternative for APS-C cameras is the smc Pentax-DA* 60-250mm F4 ED [IF] SDM.

  • Lots of physical controls
  • Solidly constructed
  • Premium optical quality
  • Very weighty

Best third-party portrait lens: Laowa 105mm f/2 (T3.2) STF

Laowa 105mm f/2 (T3.2) STF lens

Laowa 105mm f/2 (T3.2) STF lens

  • Aperture range f/2.2 (T3.2) to f/32
  • Weighs 745g
  • Manual focus
  • Two diaphragms
  • Price: £749 / $699

In our review of the Laowa 105mm f/2 STF lens we waxed lyrical about the quality of blur and bokeh in this unique lens primarily designed for portraiture. Like most Laowa lenses, it’s a solid metal manual-focus only lens that stands out from the crowd, in this case featuring an apodization element for what’s called Smooth Trans Focus (STF). There’s also dual diaphragms; a de-clicked 14-blade T-stop aperture and clicked 8-blade f/stop aperture.

In short, STF creates a particularly sharp in focus area and a buttery smooth out-of-focus transition and bokeh . However, portrait photographers using a Pentax DSLR need to know just how hard it is to acquire sharp focus with this manual focus lens and no manual focus assist like you get with a mirrorless camera. It’ll sharpen your own technique as you persist and the focus ring itself handles very well, but the hit ratio of sharp shots will not match an autofocus lens.

Lens flare can be a bit of an issue too, and as an aside there’s no electronic contacts for metadata nor Laowa lens profiles for raw editing . Still, when all the elements come together the results can be spectacular.

  • Beautiful bokeh
  • Satisfying manual focus experience
  • No electronics at all

Read our full review of the Laowa 105mm f/2 (T3.2) STF.

Best third-party super-zoom: Sigma 18-300mm F3.5-6.3 DC Macro OS HSM

Sigma 18-300mm F3.5-6.3 DC Macro OS HSM lens

Sigma 18-300mm F3.5-6.3 DC Macro OS HSM lens

  • Weighs 585g
  • 28-450mm equivalent focal length
  • 1:3 macro capability
  • 72mm filter diameter
  • Price: £370 / $320

If you want an all-in-one travel lens, then the Sigma 18-300mm is a solid third-party option and a sensible kit lens upgrade. The ‘DC’ badge indicates this is a lens designed for APS-C cameras and its 16.6x optical zoom covers the 28-450mm focal range (approx) when attached to a camera like the Pentax K-70 . At 585g only and a fraction over 10cm in length, it’s also a well-balanced pairing with the K-70.

Not only is a wide focal range covered, but macro photographers are well catered for with a close focusing distance of 0.39m and maximum 1:3 life-size reproduction. Attach Sigma’s optional AML72-01 macro filter designed primarily for this lens and you get 1:2 life size shots.

The Pentax version of this lens does not require Optical Image Stabilisation because ‘Shake Reduction’ is provided in-camera . Sigma’s HSM autofocus motor is on board for quick-and-quiet focusing, while the lens construction of 17 elements in 13 groups includes low-dispersion glass.

When stowed away the zoom lock prevents the barrel from extending and avoid potential barrel damage. All in all, an excellent travel lens. Those that aren’t fussed about the wide-angle end here could look at the HD Pentax-DA 55-300mm f/4.5-6.3 ED PLM WR RE as an alternative.

  • Short close-focus distance
  • Balances well with APS-C DSLRs
  • Do-it-all focal length
  • No full-time manual-focus adjustments

Best full-frame travel lens: HD Pentax D FA 28-105mm f/3.5-5.6 ED DC WR

HD Pentax D FA 28-105mm f/3.5-5.6 ED DC WR lens

HD Pentax D FA 28-105mm f/3.5-5.6 ED DC WR lens

  • Weighs 440g
  • 0.22x magnification
  • 62mm filter diameter
  • Price: £569 / $496

Launched alongside the Pentax K-1 that marked the birth of Pentax’s full-frame DSLR range, the HD Pentax D FA 28-105mm f/3.5-5.6 ED DC WR is a low-cost zoom lens for K-1 or K-1 II shooters. Used on an APS-C camera and that focal range becomes 43-161mm.

It may not offer quite the same reach as the Sigma super-zoom lens, but 28-105mm is plenty enough for the majority of scenarios on your travels. It is also a well-built weather-resistant lens that weighs a mere 440g – that’s impressive stuff for a full-frame lens.

As for the design – it’s simplicity personified. There are no switches or buttons, just a large ridge zoom ring and focus ring to get to grips with. Performance-wise, autofocus is snappy and virtually silent, Quick-Shift focus features, and there’s Sigma’s HD and SP lens coating to reduce flare and protect the front lens element. This is a lens that punches above its weight.

  • Affordable for full-frame
  • Tough, but lightweight
  • Simple, effective design
  • Not as broad a range as the Sigma

Further Reading

Best Pentax DSLRS you can buy in 2023 Best lenses for astrophotography in 2022 Best lenses for low light, from just £129 How to check a second-hand lens for faults

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Thoughts on a 3 lens travel kit

By henkc February 3, 2012 in Pentax

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<p>For the past couple of years, my business travelling has all been on a very tight schedule, not leaving much time for photography. As a result, I've taken to travelling with a single lens, either my 16-45 f4 or a 35 f2. I now have a trip coming up where I have a bit of spare time. I've looked at what I have and picked out a 3 lens kit consisting of a Sigma 10-20, the 35 f2 and the 70 f2.4. This covers the focal lengths I like and doesn't involve too much extra weight or bulk.<br>

Anyone tried anything similar?</p>

Link to comment

Share on other sites, markus maurer, michellemandat.

<p>You have a "hole" between 20 and 35mm in my opinion. For me it's the range of most of my pictures in travel. During film decades I used three lenses in travel, 24, 35 and 85 mm or one a 28/105 mm. Now with my Pentax I use 16/45 or 17/70 and exceptionally 55/300. Even a 14 mm Samyang and a Pentax A 100 mm.<br>

All my pictures of a trip in Laos were taken with 17/70 mm Sigma.<br>

I plan to buy a 24 mm with an aperture of f2.<br>

<a href=" http://m.lemandat.free.fr/coppermine/">http://m.lemandat.free.fr/coppermine/</a></p>

<p>I do this a few times a year when I need to travel for my day job. That sounds like a good kit to me. Does it all fit in your small travel bag? I like to go lean with my Crumpler 4 Million Dollar Home and what I can fit in it.<br>

I typically go with just the da15 and da40, but sometimes will also bring my M 100, DA L 55-300, or the Tamron 28-75 2.8 and a flash if I'm going to be taking pics at an event like a cocktail party for clients (I'm the go-to photog for the software company I work for). If I have room I'll also throw the tripod in my suitcase. Often my only photo time is at night on these trips so the tripod is almost a necessity.<br>

But those two Limiteds come along the most. I wouldn't mind adding the da70 Limited to the small kit at some point either!</p>

Thanks for the comments.

@Matt: I'll have a monopod with me.

My tripod is not the most portable in

@Michel: I also thought about the

"hole" there. I'm not too concerned as

I've been fine with only the 35 in the

past. I could always add my M28 f3.5

with no real weight penalty.

If I had to dream up the ideal travel kit

it would probably be a Kr with the 4

pancake Limiteds.

jemal.yarbrough

<p>For a long time I used nearly the same kit:<br>

Sigma 10-20, DA40Ltd, and DA70Ltd. Oftentimes I discovered that I would much rather have a zoom for the middle range focal lengths because sooner or later I was going to drop one of my Limiteds on the concrete or cobblestones. </p>

<p>I just did a trip to Puerto Rico. K20d, Sigma 10-20, Tamron 28-75 2.8, and Sigma 70-300 APO DG. I have to say this was the best 3-lens travel setup I have ever carried. 80% of the time the 28-75 fits the bill. In tight quarters such as narrow streets or in big scenics the 10-20 is perfect. For the very rare times I need to reach out there is the 70-300. </p>

<p>The one thing I am adding is a bean bag. For carry-on travel a tripod is usually a no-no. I keep a little gorilla pod, but with the vertical grip on the K20d and a hefty lens, there are times I just don't trust it. A simple bean bag to help me stablize the camera on a flat surface is what I need, as oftentimes indoors a long exposure is called for.</p>

<p>I just picked up a small gadget bag at a camera show. It has two small padded main compartments<br>

and an outside pocket. My idea is to pick a camera body and lens from my collection and<br>

hang them around my neck, with two other lenses in the bag on my shoulder for walk abouts.<br>

Best regards,<br>

/Clay</p>

<p>I obviously travel quite heavy, my basic three lenses for an important trip are 12-24, 28-70 FA f2.8 and Sigma EX 70-200 f2.8 on two bodies.<br>

Often I add a 300 f4.5 and a 50mm f1.4 or a macro if I expect nature to be a subject. If you do not expect to use teles, then only 12-24 and 28-70 (or a 24-90, as mentioned) should suffice.</p>

mountainvisions

<p>Hank,</p>

<p>I travel like this all the time. Though I opted for the 15mm, 21mm, 35mmT&S or 43mm, and 90mm. So 4 lenses, but about the same bulk and weight to your three, probably smaller without the 35mm T&S.</p>

<p>The biggest advantage of this system over 1 or 2 zooms is that some places have rules in terms of lens length. A 90mm f/3.5 might be just fine but a 28-70 f/2.8 will not be. A half stop on the 3.5 isn't going to kill me. Likewise, I didn't like the bulk of the Sigma as a walk around lens. Much prefer the 21mm with the option to go wide with the 15mm.</p>

<p>The downside is more lens changes, perhaps some missed shots. You can negate this these days by carrying a digital compact that should be adequate for quick shots where you happen to have the wrong lens on the camera -such as a 15mm when you need a 70mm.</p>

<blockquote>

<p>some places have rules in terms of lens length. A 90mm f/3.5 might be just fine but a 28-70 f/2.8 will not be. </p>

</blockquote>

<p>Sorry, I don't understand: to what places do you refer to? Wouldn't a light crop on the 70 do the trick if needed?<br>

My choice of zooms and two bodies is exactly to minimize lens changes, after my first trip with my first digital SLR brought a large number of pictures affected by dust specks.<br>

Basically the 12-24 stays always on the camera with the higher resolution, the 28-70 most of the time on the second, swapped with a longer lens if needed. If I am in a nature-oriented environment, 70-200 on the first and 300 on the other.</p>

<p>Thanks for all the comments. I was thinking about this for 2 reasons. Firstly, I had been convincing myself to buy the DA70 f2.4 and needed to justify this. The quality and image quality of the lens more than justify the purchase. The other reason was that, for a change, I have been able to build an extra day or so into a business trip and am spending two days in Istanbul (Will post results to POTW soon).<br>

I've taken the kit I mentioned with me and it does everything I need. Unfortunately, the Sigma 10-20 which I have always found reasonably good is not in the same league as the FA35 and the DA70. I'm now wondering about an ultra-wide prime (15 f4, 14 f2.8 etc.)</p>

<p> http://www.photo.net/search/?cx=006577976762569540560%3A1n8vmghdzjw&cof=FORID%3A11&ie=UTF-8&q=14mm+15mm+inurl%3A%2Fpentax-camera-forum%2F&filter=0&tbs=&sa=Search+Photo.net&siteurl=photo.net%252Fsearch%252F%253Fcx%253D000753226439295166877%253A0gyn0h9z85o%2526cof%253DFORID%253A11%2526ie%253DUTF-8%2526q%253D15mm%252Bvs%252B14mm%252Binurl%253A%252Fpentax-camera-forum%252F%2526qx%253D15mm%252Bvs%252B14mm%2526sa%253DSearch%252BThis%252BForum</p>

<p>And the 15mm vs. 14mm debate... At F/2.8, the 14mm is double the size and weight- almost 15oz compared to the 7+oz of the F/4 15mm. The 14mm is also about $150 more expensive, too. That's a lot of weight and cash to gain one extra stop of speed (F/4 to F/2.8).</p>

<p>An important attribute of the DA14 is that is focuses closer. So people can better achieve those "small thing in the foreground and big landscape in the background" type gimmick shots that make it to magazine covers.</p>

<p>Henk, I think your three-lens kit sounds just fine. And I do use something similar: DA12-24, FA43, FA77. In fact, I can easily skip the FA43, but since it's so easy to pack...</p>

<p>Robin- the 14mm doesn't have that much better close focus capability than the 15mm. Per the Pentax website, 15mm has .59' (7.08", we'll call that 7"), while the 14mm has 6.72" minimum. (Strange how Pentax Imaging gives two different types of measurements for two of their lenses.) Anyway, the 14mm betters the 15mm by just under 3/8" minimum focusing distance.</p>

<p>I'm pretty sure you were just pointing this out in jest anyway...</p>

<p>I have three Sigmas, since Pentax prices are beyond my means these days. 10-20 f4-5.6, 24-60 f 2.8, and 70-300 f4-5.6. Some minor gaps in there, but they cover most of a 15-450mm equivalent range. Someday for single focal length lenses...</p>

<p> </p>

john_narsuitus

<p>When I need to travel with a light photographic load, I carry a compact camera.<br>

However, when I need to travel with a 3-lens Pentax kit, here is what I carry.</p>

Pentax Spotmatics

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FUJI X WEEKLY

My “ultimate” fujifilm travel kit.

Posted on March 29, 2021 by Ritchie Roesch

pentax travel kit

I recently set out to create an “ultimate” Fujifilm travel kit.

Over the last couple of years, as I’ve collected more and more gear, traveling with my cameras and lenses has become cumbersome, which has lead to frustrations and reduced productivity. More isn’t always better; in fact, less is often more—this is especially true when traveling. I realized that my gear wasn’t nearly as ready for adventure as I was, and I needed to make some series changes to my kit before embarking on my next road trip.

What makes a travel kit bad ? If it’s big and heavy and gets in the way, it’s not good. My travel kit consisted of a backpack camera bag filled with multiple bodies and as many lenses as I could stuff inside. I went to Montana last fall, and in my bag there was an X-T1, X-T30, X100V, and X-M1, plus a handful of lenses, including the Fujinon 100-400mm and Fujinon 90mm, which aren’t small or lightweight. I hardly used any of them, except for the X100V, which I could easily carry with me, and so I did. Because I had it with me, I used it often. The rest of the gear just got in the way—literally, the backpack took up too much space in the car, and it become a point of frustration. I would have been better off just bringing one or two cameras and maybe a few small lenses—gear that might have actually been used.

I was afraid that if I didn’t have a certain camera or lens, I would regret not bringing it, if at some point I thought I might need it. You never know what you’ll need, so it’s better to be prepared, right? What I discovered over the last few trips is that the majority of what I was carrying with me I didn’t use. Or, for some of it, if I did use it, it’s only because I forced myself to use it when it wasn’t really necessary. Having too much gear actually made me want to photograph less, and made me less creative when I did. My best photography most often happened when I had limited gear—perhaps one camera and one lens—and left the rest behind.

What makes a travel kit good ? It should be compact and lightweight, yet versatile. One camera and one lens is often enough, but not always. The X100V is a great travel camera, but sometimes I need something more wide-angle or more telephoto—it’s not always versatile enough, even though it is often my camera of choice. I think two bodies and a limited assortment of lenses in a small bag is good. Small enough to not get in the way. Lightweight. Something that you don’t mind having with you, so you do. A good travel kit strikes a comfortable balance between practicality and petiteness.

I put together what I hoped would be a great kit for travel photography. I was able to put it to the test on a road trip to Arizona—was it actually going to work for me?—and I discovered many good points and a few things that still need to be worked out. Let’s take a close look at this “ultimate” Fujifilm travel kit that I assembled for myself, piece-by-piece.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

pentax travel kit

It might seem strange to begin with the bag, but in my mind it’s just that important. The camera bag needed to be very small, but it also had to be able to hold everything. Finding one that I felt was just the right size and design turned out to be a challenge, but after much research I stumbled across the National Geographic NG2344 Earth Explorer Shoulder Bag, and for only $40! The dimensions of this bag are roughly 8″ x 7″ x 6″, yet I can fit two cameras and six lenses inside. I was thrilled to learn that the bag fit into the middle storage console of my car, so it is completely out of the way on road trips, yet is easily and quickly accessible.

I subdivided the main compartment into four, using the soft dividers to create “hidden” storage under the cameras, which I use for lenses. The bottom-right holds two Fujinon lenses, and the bottom-left holds three third-party lenses. Two cameras fit on top, just as long as the interchangeable-lens camera has a pancake lens attached. The small front compartment holds charging cords, extra batteries, SD-cards, etc., while the two tiny top pockets (which are probably more for looks than anything) hold lens-wipes. While everything is packed in, I don’t feel like it’s overstuffed—there actually is a little room for more, should I need it.

One thing that I don’t like about this bag is that the shoulder strap is permanently attached. I might modify it at some point to make the strap removable, as I think that would improve it. Otherwise, the bag seems pretty darn good for the travel photographer.

National Geographic Earth Explorer Bag Amazon B&H

pentax travel kit

I already owned a Fujifilm X100V, and that camera was going to be in this kit, no doubt about it. The other camera was a question mark for me. It needed to be small yet an interchangeable-lens model. I thought that my X-T30 might be too big, so maybe the X-E3, but it has the older sensor. I really wasn’t sure which camera was going to be the right one. Then Fujifilm announced the X-E4, and I really hoped that it would be the correct camera for this kit, so I immediately preordered it. After several weeks of waiting, and just a couple of days before my Arizona trip, it arrived at my doorstep. And it fit perfectly into the camera bag.

Fujifilm X100V

pentax travel kit

The Fujifilm X100V , which I’ve had for about 10 months, was a birthday gift from my wife. It’s such a great camera and I absolutely love to shoot with it. The X100V has a permanently attached 23mm lens, which is 35mm full-frame equivalent—a very useful focal-length. The compactness of it makes it especially great for travel.

There are some X100V features that are unique in my bag. It’s weather-sealed, has a nearly silent mechanical leaf shutter, built-in high-speed-synch fill-flash, optical viewfinder, and built-in neutral-density filter. I could photograph with this camera 90% of the time and be very happy, but the X100V isn’t always the right choice. It has strengths, but it also has weaknesses that limit its versatility.

If I could only have one camera, it would be the X100V; however, I believe that this camera demands a partner. If you have this camera, you also need an interchangeable-lens option to accompany it. That’s why I have two cameras in my kit, even though the X100V is oftentimes all that I need.

Fujifilm X100V Black     Amazon     B&H Fujifilm X100V Silver    Amazon     B&H

Below are a few pictures that I captured with my Fujifilm X100V on the Arizona trip.

pentax travel kit

Fujifilm X-E4

pentax travel kit

The Fujifilm X-E4 is the smallest interchangeable-lens camera with an electronic viewfinder offered by Fujifilm. The compact size of the X-E4 is an important aspect of this travel kit. I have an X-T30, which is a small camera that’s a little bigger than the X-E4, and it does fit into the camera bag, but barely—it’s much more snug than I want it to be. In a pinch it would work, but the X-E4 is a more comfortable fit, and a better choice because of that.

When the X100V isn’t the right tool, the X-E4 fills in nicely. It adds great versatility to the travel kit. I can go more wide-angle or telephoto by changing the lens. It can store one more film simulation recipe than the X100V. It has some new JPEG features that the X100V doesn’t. Even though 90% of the time the X100V is all that I need, I found myself using the X-E4 much more than I thought I would. It’s a fun camera that’s easy to have with you because of its compact size.

Fujifilm X-E4 Black     Amazon     B&H Fujifilm X-E4 Silver    Amazon     B&H

Below are a few pictures that I captured with my Fujifilm X-E4 on the Arizona trip.

pentax travel kit

In the camera bag I have six lenses—seven if you count the one permanently attached to the X100V. This provides versatility for whatever photographic situations present themselves. The lenses must be small, or else they won’t fit inside the bag.

Would a 100-400mm zoom be nice to have as an option? Yes, for sure! But it’s too big, and it would add a lot of weight—if it’s not going to be used much, it’s not worth bringing along. The Fujinon 90mm f/2 is one of my favorite lenses, but it’s also big and heavy, and not used often enough, so it’s not in this kit. A zoom lens would make a lot of sense, perhaps something like the 18-55mm f/2.8-4, but I prefer primes. My philosophy as I put this travel kit together was smaller is better . Zooms are often smaller than a few primes put together, but are rarely smaller than a singe prime. If a lens attached to the X-E4 made it possibly pocketable, that was a win. The more compact the camera and lens combo is, the more convenient it will be for travel. With those goals in mind, I chose six lenses to place inside my camera bag.

Fujinon XF 18mm f/2 R

pentax travel kit

The Fujinon XF 18mm f/2 R is Fujifilm’s second smallest lens, which makes it a great option for travel. The 18mm focal-length, which is 27mm full-frame equivalent, is very useful—great for walk-around photography and landscapes. This is my primary wide-angle lens in this kit. The 18mm f/2 is a little loud and a bit slow, but it captures beautiful pictures. The compact size and lovely image quality are what makes this lens great.

Most of the time when I want a wide-angle option, the 18mm focal-length works well; however, occasionally I would like something a little wider. I think a 14mm or 12mm lens would be preferable sometimes, but unfortunately there’s not an option that’s small enough for my camera bag—for example, my Rokinon 12mm f/2 is just a little too big. Thankfully, this lens is often a great choice when I want to shoot wide-angle, so it gets used a lot, and is an essential part of this travel kit.

Fujinon XF 18mm f/2 R   Amazon     B&H

Below are a few pictures that I captured with my Fujinon 18mm lens on the Arizona trip.

pentax travel kit

Fujinon XF 27mm f/2.8 R WR

pentax travel kit

The Fujinon XF 27mm f/2.8 R WR was my most used lens on the trip to Arizona. It’s Fujifilm’s smallest lens, so I knew that it would be an essential element of my travel kit, but I didn’t know just how much I’d love using it. The 27mm focal length, which is 40.5mm full-frame equivalent, is the closest to a “normal” lens on Fujifilm X, yet it is slightly wide-angle.

If I wanted to really simplify things, I could be happy just bringing this lens and the 18mm f/2 to pair with the X-E4 (plus the X100V). That would be a lightweight and uncomplicated kit. Expanding the focal-length options with a few other lenses is a nice bonus, but the heart and soul of the camera bag are the two camera bodies and the 27mm and 18mm pancake lenses.

Fujinon XF 27mm f/2.8 R WR    Amazon     B&H

Below are a few pictures that I captured with my Fujinon 27mm lens on the Arizona trip.

pentax travel kit

Fujinon XF 35mm f/2 R WR

pentax travel kit

The Fujinon XF 35mm f/2 R WR has been my most used lens over the last two years. The 52.5mm full-frame equivalent focal-length makes this a slightly telephoto “standard” prime lens, often referred to as a “nifty fifty”. There’s a little redundancy between this and the 27mm, as they’re both “standard” lenses, but the 35mm has some advantages: quieter autofocus, larger maximum aperture, slightly superior optics. Despite that, I found myself using the 35mm f/2 less often than I thought I would.

Because I have the 27mm lens, this lens isn’t an essential part of the travel kit. Since there’s room for it and it’s been a favorite lens of mine for a couple years, I decided to include it anyway. I did use it a little on my trip, but more because I forced myself to and not so much because I needed to. I might rethink its inclusion in the camera bag, but for now the 35mm f/2 lens stays.

Fujinon XF 35mm f/2 R WR Amazon B&H

Below are a few pictures that I captured with my Fujinon 35mm lens on the Arizona trip.

pentax travel kit

Pergear 10mm f/8 Fisheye

pentax travel kit

The Pergear 10mm f/8 Fisheye lens is quite limited in its usefulness, but occasionally it comes in handy, such as when I visited Horseshoe Bend , which demanded an ultra-wide-angle option for the dramatic landscape. The Fujinon 18mm lens wasn’t nearly wide-enough, so the Pergear 10mm came out and did the trick. The strong barrel distortion makes it tough to use, but it’s definitely useable in a pinch.

This compact pancake lens takes up almost no space in the camera bag, so its inclusion is a no-brainer. Even if it was only used a few times, and otherwise remained in the bag unused, it’s worth having around for those rare occasions when this lens comes in handy. It’s so small, lightweight and cheap, it just makes sense to have it in the camera bag, providing a more wide-angle option than 18mm.

Pergear 10mm f/8 Fisheye Amazon

Below are a few pictures that I captured with my Pergear 10mm lens on the Arizona trip.

pentax travel kit

Asahi Pentax-110 50mm f/2.8

pentax travel kit

The Asahi Pentax-110 50mm f/2.8 was the last lens that I added to the travel kit. Why did I include it? Because, since it’s a tiny lens, there was room for it, and I really like how it renders pictures. This lens has a fixed aperture, which makes its usefulness limited, but when I do use it I enjoy the pictures that I capture with it. This Asahi lens is the only vintage lens in this kit.

I wish that I had used this lens more, but it had competition, so I ended up using it less than I should have. Next time I will use it more. This little 75mm full-frame-equivalent lens has a special quality and takes up so little space, so its inclusion in the travel kit should have been obvious. The Asahi Pentax-110 50mm lens is going to stick around awhile.

Below are a few pictures that I captured with my Asahi Pentax-110 50mm lens on the Arizona trip.

pentax travel kit

7artisans 50mm f/1.8

pentax travel kit

The sixth lens in my travel kit is the 7artisans 50mm f/.8 . This fully manually lens is good and all, but there are two reasons why it will be replaced: I already have a 50mm lens that I like, and focusing on distant objects is more difficult than it should be. Otherwise this a decent lens, and it has several advantages over the Asahi 50mm: closer minimum focus distance, larger maximum aperture, adjustable aperture, less vignetting—technically speaking, it’s a superior lens, but it’s missing the great character that is oozing from the vintage Asahi lens.

The reason why I selected this particular lens for this kit is because it’s the smallest 50mm X-mount lens available. I did discover that there’s actually a little more room in the bag for something slightly bigger. Ideally I’d like to replace this with a longer focal-length lens, but at the moment I’m just not sure what it will be, or when I’ll replace it. I do know that the inclusion of the 7artisans 50mm f/1.8 lens in my travel kit won’t last long.

7artisans 50mm f/1.8 Amazon

pentax travel kit

Conclusions

pentax travel kit

How ultimate is my “ultimate” Fujifilm travel kit? It’s not perfect, but it’s significantly better than what I was traveling with before. The bag is ideal. The two cameras are wonderful. There are some excellent lenses to choose from. No doubt about it, this is a really good kit for travel photography.

If anything, it’s the lens selection that’s not quite perfect. I like the 18mm and 27mm. The 35mm is great, too, but a little unnecessary since I have the 27mm. The X100V, with its built-in 23mm lens, is awesome. I like the Asahi Pentax 50mm lens, but it’s not especially practical for everyday photography. The 10mm Fisheye is good to have around, but not especially useful most of the time. Those two lenses take up very little space, so it’s easy to keep them in the bag just in case I want to use them, but I know that I won’t be using either of them all that often. I don’t need two 50mm lenses, so the 7artisans will be replaced.

Should I replace the Fujinon 35mm f/2? If so, with what? The 16mm f/2.8 is the same size, so it’s a logical option, although it creates the same redundancy problem, just at the wide-angle end, which actually might be slightly more practical. Maybe the Fujinon 16mm f/2.8 and the Fujinon 50mm f/2 would be good options to replace the 35mm and the 7artisans models. The 50mm f/2 is a little bigger, but I believe it would fit. The Fujinon 60mm f/2.4 might be an option instead of the 50mm, which would be preferable because it has a longer reach and is also a macro lens, but it might be a tad too big for the bag. Maybe I should consider a vintage model. Or maybe replace two primes with a zoom. There’s a lot to consider, and I think replacing one or two lenses will make this “ultimate” travel kit even better. I’ll let you know when I make that modification, and how it goes.

This trip to Arizona that I recently returned from was photographically so much more pleasant than my other travels over the last couple of years. A small camera bag filled with compact and lightweight gear—a purposeful assortment of cameras and lenses—is a night-and-day difference from the heavy backpack stuffed with everything that could fit that I used to haul around. Practical and petite is preferable when it comes to travel photography. Less is often more. This might not yet be the “ultimate” Fujifilm travel kit, but it’s pretty close, and will only get better.

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43 comments.

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Well i fine write up there, i must say the ultimate kit i had in 2020 was the X100V and the WCL+TCL then i had a fine range that was working to almost everything. Now its the XS10 and the 35mm 1.4 that are doing it and i swear i could use that and the 16mm 2.8 for a year of travel and would be happy. But a no brainer is the X100V and the WCL+TCL!

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One of these days I will try the WCL & TCL. That would be a good small and lightweight kit that’s versatile enough for most situations.

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awesome post as right now we are again at lockdown : I see the camera bag whiche gets bigger and bigger as its stuck at home.

just before 2nd lockdown I could escape safely and take the camera bag with an X-T3 and 5 lentes …. use 2

so your so right: some lenses are for “work” like portraits and such, you leave them home.

some are for traveling/everyday/family: usually the one always stuck on the camera.

My learnings: a small bag with just the camera and a 23-27mm lens and your good to go

PS: maybe your perfect small setup is it just the X100V and the wide and long extentions for it and that’s it

Thanks for the input! I’ve actually never used the wide and tele conversion lenses, but that would make a lot of sense. Maybe I should try them to see how that goes. You bring up a good point: just because certain gear doesn’t make it into the travel bag, doesn’t mean that you have to part ways with it. I still have my longer lenses and the other camera bodies. I appreciate the comment!

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Great post inspiring on how to outfit a smaller, lighter kit. Appreciate your comments around the versatility of the 27mm…so if it is going to be one lens (for an ultra small kit – that would be it). For a travel kit, thinking the 35mm f/2 and the 50mm f/2 which I already own to go with my X-T20….and probably going to add the 16mm f/2.8 to round things out. Thanks for putting in the effort.

That sounds like a solid kit! I really like the 27mm, but if you have the 35mm f/2, that basically serves the same purpose. 16mm, 35mm and 50mm would be a good group of lenses.

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Instead of multiple lenses, I recommend buying the (red badge) XF16-55mF2.8 R LM WR. You may not save any money but it covers that entire range you listed.

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Thanks Khurt. I have often thought about that fantastic lens but have concerns around the weight on the front of one of the smaller cameras like the X-T20.

I understand. The XF16-55mm is a heavy (655g) lens. The XF50mmF1.0 lens weighs 200g more. 😳

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I’ve always been a 1 camera 1 lens dude (as light as possible). I know it’s not the best solution in many occasions but I learned living with/ those constraints… and that also helped me to improve my humble photography skills. Glen Canyon is a terrific lovely place… lovely shots!

Limitations improve art, and one camera and one lens is often all that you need. I appreciate your kind words and input!

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Just to add to the converter comments… the wide and tele converters for the X70 (technically a “discontinued” model) are usually available much cheaper and fit the X100 line perfectly.

Thanks for all you do.

Cheers, James

Thanks so much for tip!

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I’m in the same dilemma as you so I totally relate on this post. I have the 35mm f2, 16mm f1.4, 16-80mm f4 and xc 15-45. I just got the X-T4 and also have X-T30. I’m more of a hybrid shooter so IBIS is a big upgrade for me with the X-T4. I’m contemplating to get the 18 f2 for its size, especially for travel. I so love the 16 f1.4 but it’s size and weight is noticeable after some time. My plan is to have a travel kit like yours, X-T4 and X-T30 with the 18 f2, 35 f2, and just bring the 16-80 f4 if I needed extra reach. I use a peak design everyday sling 6L bag which I think is perfect for my travel kit. Your blogpost is so helpful to all fuji fans and I wish you all the best!

Thank you for the input! I have this travel kit, but I also have my non-travel “kit” with all sorts of other things that will not get used when traveling but maybe when I am staying local or shooting something very specific. In other words, I didn’t get rid of my gear, but set aside some specific items for traveling light, and purchased a few new items for that purpose. It can certainly be tough to know what to buy and what to take and what to leave behind. There’s a lot of options for the Fujifilm photographer, and pluses and minuses to each. I appreciate the comment!

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For now I am just doing small daytrips through the city and I bought myself a PD sling bag that could fit a water bottle, the X-T3 with a lens and an additional lens. I never had the need to carry so many lenses. When on travels I bring a few more lenses but when out and about I choose one or maybe two to carry that day. Sometimes I wish Fuji would bring out an X70 successor just for the days when I want some camera in my pocket. I ws checking X70s on ebay but people pay quite some money for them nowdays….

I have the 6L Peak Design Everyday Sling bag. Which one are you using?

Same one in ash. Perfect size and much more comfortable than a shoulder bag. How are you liking yours?

I love it. I should have bought it sooner.

I have looked several times to buy an X70, but they go for practically the same price as they did when they were new. Fujifilm really needs to make a successor. When I am around town, like you, I’m often just carrying one camera and one or two lenses. Thank you for the input!

These photographs all look great, Ritchie. To keep things simple and not annoy my wife, when travelling, I usually follow a modification of what I’m calling the “Rule of One”; one camera, one lens and one film simulation . The “travel” kit, my Fuji X-T2 and XF27mmF2.8, fit into a 6L Peak Design Everyday Sling bag. I will usually choose your original Classic Chrome recipe, but Imay also like your Kodak Ektar 100 recipe.

If it’s a workshop or photography field trip, I’m likely to bring more lenses and use whatever film simulation feels right at the moment.

That’s a great solution! Great for consistency. I’ve been thinking about doing a project with that same philosophy (which you appropriately named Rule of One). I think that would be a lot of fun. Thank you for the input and encouragement, it’s much appreciated!

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Very interesting article, thanks Ritchie for sharing! I’m in the process to buy a small camera, and my favorite choices are the X100V and the X-E4. The possibility to change the lens is very important to me, so I think I’ll bring the X-E4, but doing so a question arise: getting the camera with the 27mm bundle, or the body + the 18mm? Your article also suggested me (thanks for the diabolical idea!) the 27mm bundle and the Pergear 10mm. I plan to use it for travel, landscape and everyday use. What do you think about?

The 27mm is a “must” for me. I couldn’t imagine not having it. The 18mm is a great addition, but between it and the 27mm, I’d go with the 27mm. If you can get both, that’s a great kit. I think the 16mm f/2 would be a solid alternative to the 18mm, or even the 14mm f/2.8. Lots to think about. The Pergear 10mm is so small and so cheap, even if you only use it every once in awhile, it’s easy to have, it’s worth getting in my opinion.

Thanks Ritchie for the wise suggestions. I had them clear on mind when I went to the shop, but when I went to the shop and tried it… I bought the X100V! The feeling was immediate… 🙂

Awesome! I love my X100V! I know you’ll love yours.

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Hello Ritchie, I am always interested in your publications but in this case, it concerns me a lot. The situation is particular today but usually we travel by motorcycle and the choice of photographic equipment must be thoughtful. After the Balkans, Greece and Ladakh, in 2019 we traveled from Switzerland to Iran, to Persepolis for almost 10,000 km, I realized that I had practically only used my Fujifilm X100F, and incidentally my x-pro2 and the 16mm f1.4. I also had with me the 35 & 50mm f2 WR and had left at home the 90mm f2 WR, too heavy and bulky. The whole set fit in the tank bag of the bike. The X-100 series is probably ideal for this type of trip, it is possible to get as close as possible to people, without being aggressive. Now I mainly carry my new X-100 V, the two WCL II & TCL II optical accessories & a NISI filter set. With these I can deal with most situations. I put it all in a 3 liter Peak Design bag… If I want to go further, I can take an X-T3 or X-pro2 camera with other lenses: 50mm f2 WR and soon the 27mm f2.8 WR. I can put everything in my tank bag, on the bike. I, also take a small travel tripod, an iPad pro & everything needed to charge the batteries and transfer the photographs. Having the same batteries for all the cameras is very important. All that’s left is to be able to travel…

One of these days I will try the two conversion lenses on the X100V. I think that would be a great option for travel.

I didn’t mention tripod in this article, but that’s an important tool. I used to have this vintage tripod that folded up super tiny and was lightweight. It was too flimsy for a DSLR, but a mirrorless camera with a lightweight lens was a good fit. It was such a great travel tripod, but unfortunately it broke. My current tripods are good tripods, but not good travel tripods, so that’s something I need to work on.

I appreciate the thoughtful comment!

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Good article, thanks. I had an original X100 from 2012-2018, and understand that the OVF, leaf shutter, high-speed flash sync, weather sealing and built-in ND of the X100V make it more deluxe than the X-E4, but can we not get our cake and eat it, too? I think a lot of people would gladly purchase an interchangeable lens X100V, even it it cost $500 more without a built-in lens. (I realize the leaf shutter would not be possible.)

The leaf shutter would definitely be lost. I think you have two “interchangeable-lens X100V” options: the X-E4 and X-Pro3. The X-E4 is more stripped-down but retains the size, the X-Pro3 is not stripped down at the expense of size. I don’t know how possible it would be to retain the size without compromises when making an interchangeable-lens X100 camera. I think, as you said, you can’t have your cake and eat it too: there will be compromises of some sort. Thanks for the comment!

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Hi Ritchie, interesting article. Finding the right travel kit is a never-ending challenge! Myself, I’m partial to zoom lenses while travelling. I hate it when I have to swap lenses constantly as it interferes with enjoying the trip itself. Also, there is the risk of sensor contamination when you swap lenses on the fly. My current travel kit starts with either a Mindshift sling bag or a Think Tank Story Teller shoulder bag, or a Tenba Cooper 13 shoulder bag. Camera is an XH1. I used to shoot with an XT2 (which I loved), but I prefer the bigger grip of the XH1 which makes it easier to hold the camera just in your hand without the risk of dropping it. Since I love to shoot wide (landscapes and cityscapes), my main lens is the XF 10-24 f/4.0 (mark I). I shoot on average 70% of my pictures with the 10-24. For general purpose, and especially the range between 35 and 55mm, I bring along the XF 16-55 f/2.8. It’s a little heavy, but the quality is outstanding and it balances nicely on the XH1. To cover low light situations and situations where I want to shoot more unobtrusively, I bring along the XF 23mm f/1.4. Again, fantastic quality and a very versatile focal distance. The whole set weighs in at 2 kilos (excluding the bag), which is about the maximum that I want to lug around. The nice thing about this set is that if I’m lazy or don’t have the opportunity to change lenses, any of these lenses that happens to be on my camera will carry me a long way, since they’re all very versatile. So, totally different outcome! Is it the ultimate travel kit? Yes – until the next reiteration :). Love your articles and the Fuji X Weekly site. Many thanks for all the hard work that must go into this!

I appreciate your kind words and input! The 10-24mm (mark 1) is a great lens. My wife has it and I’ve been able to use it a few times, but she is always using it, so it’s not always available for me. That and the 16-55mm f/2.8 that you have would make an excellent kit, for sure. And, you are right, the kit is in a contrast state of flux. Thank you for the comment!

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Great article – Lots of info! Thanks for taking the time to write that! Can I ask what big “camera” advantages you get by using the Xe4 over the x100v? (Not considering lens versatility or focal length, but pure camera features)

The X-E4 doesn’t have many feature advantages over the X100V. Eterna Bleach Bypass and a couple different white balance options are really the only things. The X100V is the better, more-premium camera. The interchangeable-lens ability is the biggest advantage that the X-E4 has. I appreciate the comment!

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I’m pretty sure I’m done carting around multiple lenses on my next trip. I’m “almost” ready to go full commando and just bring my X100V or GRlllx. The Fuji for more diverse shooting conditions, the Ricoh for more urban stuff. The WCL for the Fuji looks interesting, but I guess it does quality as an extra lens. Too bad Fuji discontinued their X-10, 20, 30-type cameras.

Really that’s all you need. I think an X80 (if Fujifilm ever made one) would be intriguing.

My secret wish is that Fuji would make the X100 a bit more svelte. I know it will never happen, though.

The X70 was smaller. I think Fujifilm should continue that line.

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pentax travel kit

Ricoh announces Pentax WG-8 and WG-1000 waterproof compacts

Ricoh has announced two new Pentax WG waterproof compacts: the range-topping WG-8 and the entry-level WG-1000.

The WG-8 replaces the Pentax WG-6 (and the Ricoh-branded WG-6 that came before it) at the top of the lineup. It's a 20MP camera with a Type 1/2.3 sensor (6.2x4.6mm) that's waterproof to a depth of 20m (65.6ft) for two hours: the deepest yet offered by the range. Ricoh says this is equivalent to an IPX8 or JIS Class 8 rating.

It's also shockproof from 2.1m (6.5ft), able to withstand 100kg force (220lb of force) and can withstand temperatures as low as -10°C (14°F). It has a 3.0" 1.04M dot (720 x 480px) rear LCD.

The WG-8 has a 28-140mm equivalent zoom lens with an F3.5-5.5 maximum aperture and a six LED ringlight around the lens. It can shoot up to 4K/30 video and can act as a webcam. It includes GPS and compass.

The less expensive WG-1000 has a 16MP sensor and a 27-108mm equiv zoom. This has a maximum aperture of F3.0-6.6. It makes do with a 2.7" 230k dot (320 x 240px) rear display. It can only shoot video up to 1080/30.

Its durability specs are also lower, with waterproofing rated to 15m (49.2ft), shockproof from 2m (6.5ft). It also lacks its more expensive sibling's GPS and compass features. Neither model can cature Raw data.

The WG-8 will be available in late July at a recommended price of $399.95. The WG-1000 will arrive in mid July, costing around $229.95.

Press Release:

Ricoh expands its lineup of waterproof digital compact cameras with the PENTAX WG-1000 and the PENTAX WG-8

New cameras offer consumers entry-level and top-of-the-line options in all-weather adventure cameras from Ricoh

PARSIPPANY, New Jersey, June 5, 2024 — Ricoh Imaging Americas Corporation today announced it has expanded its lineup of waterproof, digital compact cameras with two new models: the entry-level PENTAX WG-1000 and top-of-the-line PENTAX WG-8. The newest additions to the WG series of all-weather adventure cameras both feature a rugged chassis, plus the waterproof, dustproof and shock-resistant features the series is known for.

| The PENTAX WG-1000 |

The WG-1000 is designed for casual underwater photography to a depth of 49.2 feet (15 meters) for up to one hour of continuous operation. Lightweight yet rugged, the new camera is also well suited for a range of land-based activities – it is dustproof against dirt and stains and shockproof against a fall from a height of 6.5 feet (2 meters). It comes equipped with a carabiner strap for carrying convenience and a protective jacket to shield the camera body from scratches.

The WG-1000 features a four-times optical zoom lens with a focal-length coverage from 4.9 mm to 19.6mm (equivalent to approximately 27mm to 108mm in the 35mm format). When coupled with its Digital Zoom function, the camera’s zoom range can be extended by approximately 24 times for high-magnification zoom photography. Its back-illuminated, 16.35-megapixel CMOS image sensor delivers sharp, clear, high-resolution images, even at a super-high sensitivity of ISO 3200.

Available in gray or olive, the WG-1000 offers seven image capture modes and a variety of color modes, enabling users to enhance their images based on their shooting environment and add their own personal aesthetic to the finished photos. The color modes include conventional Black and White and Sepia modes, as well as more creative options like Japan Style, which enhances bluish hues; Italian Style, which enhances greenish hues; and French Style, which enhances reddish hues.

|The PENTAX WG-8 |

Developed to be the toughest of the PENTAX WG series, the WG-8 boasts outstanding waterproof, shockproof and cold-resistant performance. This top-of-the-line model is waterproof to a depth of 65.6 feet (20 meters), shockproof against a fall from heights of 6.8 feet (2.1 meters), and able to operate in temperatures as low as 14°F (-10°C). Even in demanding conditions, it captures super-high-resolution still images of approximately 20 effective megapixels and high- quality 4K-resolution movie clips.

The WG-8 features a five-times optical zoom lens with focal-length coverage from 5mm to 25mm (equivalent to approximately 28mm to 140mm in the 35mm format). The lens’s minimum focusing distance of one centimeter allows the user to capture a wide range of images, from eye-catching close-ups to sweeping landscapes. Its Intelligent Zoom function extends the zoom range by approximately 40.5 times without compromising image quality.

The WG-8 has a host of advanced features and user-friendly functions, including a multi- application ring light, ideal for close-up macro photography, and web camera capability when connected to a computer for live-streaming of high-quality, high-resolution images. Its heavy-duty construction ensures that the WG-8 performs superbly and dependably in harsh, demanding outdoor conditions and on worksites.

Available in black or green, the WG-8 effectively replaces the current-model RICOH WG-6 camera as the premium offering in the product line

| Pricing and Availability |

The WG-1000 will be available mid-July at www.us.ricoh-imaging.com as well as at Ricoh Imaging-authorized retail outlets nationwide for a manufacturer’s suggested retail price of $229.95

The WG-8 will be available late July at www.us.ricoh-imaging.com as well as at Ricoh Imaging- authorized retail outlets nationwide for a manufacturer’s suggested retail price of $399.95

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P10004K

Finally, 4K 30p video but I have had 4K 60p on my iPhone for many years and my GH5 shoots even higher quality 4K. For high quality stills my 36mp A7R with tiny 35mm f2.8 Zeiss is what I take on my bike rides hanging from my neck with high quality filter so no lens cap.

Great. Now go dive with those…

3Percent

Raise your hand if you are actually going to buy this, or have bought one of the last 5 iterations that are all basically the same camera with new names.

Bueller? Bueller?...

I think the old ones had eye-fi support. Not sure about the new ones.

Edgar_in_Indy

I bought a TG-5 specifically for a beach vacation several years ago, and then sold it as soon as the vacation was over. Got some serviceable pictures, but as a camera in regular conditions away from the beach, it was lacking. These days, with cell phones taking better photos and being water resistant, I just stick my cell phone in a pouch.

I feel like these cameras are mostly sold to people who regularly need to take pictures in rough conditions for their jobs. I now I've seen a few workers out in the field with them.

Aside from underwater vacation photos, the TG series are mainly fun for experimentation with microscope mode or the ultra slow-mo.

In addition to my earlier post https://www.dpreview.com/news/0404722783/ricoh-pentax-wg-8-and-wg-1000-waterproof-compacts?comment=2273404838

I think the reason is similar to why Sony discontinued the RX1 series. Compact cameras with large sensors and decent optics are incredibly expensive to make and, at a profitable price point, only attract a niche audience.

So they end up with something that distracts r&d, barely pays for itself and often does not bear a lot of incrementality to their bottom line because it partly cannibalizes other more profitable products.

Where is Elon Musk when you need him haha

Elon is working on his iPod submarine…

ProfHankD

The problem with this (and nearly all similar cameras) is the lack of major features beyond what a cell phone in a $10 waterproof vinyl case would provide.

Olympus nailed this class of camera with the long-discontinued Tough TG860 way back in 2015, which has a 21-105mm zoom, flip-up selfie-capable rear LCD, OIS, and GPS. Starting at 21mm is a game changer, as is being able to angle the display so your face doesn't have to be in-line with the back of the camera to see your composition (e.g., you even can have your face out of water while framing waist-level underwater scenes). There's a detailed review of the TG860 at https://www.cameralabs.com/olympus-tough-tg860-review/

In sum, I'm still using my TG860, and its IQ is still OK for a waterproof. However, I would happily retire it if somebody would make a new model with similar key features and slightly better IQ. How about it, Ricoh?

I love my Pentax DSLR, but this won't cause me to part with any money. I have an Olympus TG-6, and although it is fiddly and erratic, it shoots RAW, and I can produce reasonable images from it with the right post-processing. I'd love a waterproof camera that shoots RAW, has a bigger sensor, and is more user friendly than the TG-6, but until it exists, I won't be upgrading.

A Ricoh GR3 with the resistance characteristics of these cameras. It's not that complicated to make something that sells. And of course, an update to the Ricoh GR3 sensor. This camera its a bad joke.

ogl

Big success

xmeda

WG1000 is SAME like Kodak Pixpro WPZ2. Same OEM camera, just a bit different housing.

this is worse than the 1" sensor equipped Sealife DC2000 from almost a decade ago I wonder which difficulties manufacturers face with offering a waterproof APS-C sensor compact with decent wide and macro optics.

The gap between full on casual, easy to use underwater photography gear and super cumbersome and expensive professional image quality is just too big.

A sweet spot needs to be found and this is not it.

"this is worse than the 1" sensor equipped Sealife DC2000 from almost a decade ago"

What innovation significantly improving image quality has there been in affordable small sensor hardware in that time?

Umm I don’t know.. maybe cellphone cams?

Yes that is the only significant development in terms of the mere imager Cellphone size sensor improvements Of course all sensor classes somewhat got better but it can be seen on dxomark that we have ended up in kind of a sensor age discontinuum ;) The ranking has older models and newer models fully mixed up. As far as the last decade goes. Before that it was a different story.

Only significant attributes remaining seem to be sensor size and rez As far as the pure imager is concerned- better af etc will of course still get you better images

Raziel Orlando

No RAW is unacceptable for a 2024 camera.

NowHearThis

Nearly 100% of its customer base wouldn’t shoot RAW.

@NowHearThis: you're right, the ones that do will buy a TG-7 from OMS...

@NowHearThis Is the same for phones and a lot of them come with RAW support. So it's unacceptable.

This camera can go deeper than ever before, but image quality is still 2008. Save some money and do underwater photography with an iPhone in a plastic bag.

semantico

So bad really NOBODY produce a good underwater compact camera. Even the Olympus TG are not good enough. I would like to have a Ricoh Gr or a Fuji x100 with underwater capabilities

I give up waiting for a underwater camera that offer PASM modes. So I have to buy a underwater housing for my a6400.

I considered buying a WP camera for use on paddle craft after a Pixel 7 Pro had some water damage from swimming in white water. Crucial for this purpose is that the solution offers a longer focal length than your average non "pro" smartphone, so at least 70mm.

Most are expensive for old designs with decade (!) old sensors and quality worse than any modern IP68 rated phone. The best I found was the Kodak WPZ2 which seems like a fun cheap toy to keep the kids occupied during longer trips. But then I considered the work to get the pics out of the camer (even with the wifi option), the dullness compared to GCam pics, the work to keep battery charged and the micro-USB connector which screams "outdated".

I bought a €15 waterproof case for the Pixel 7 Pro. I tried the cases with mechiancal and bluetooth buttons; both failed miserably ánd the app they force you to use with the case is horrible. Luckily, for the P7Pro, there also exists a dedicated case. These work fine above water.

Considering that you can get a "Kodak" WPZ2 (its not really Kodak, just the name) for under 150$, this is not really an attractive offer.

GRUBERND

@dpreview: could you please mention if either one can record any kind of RAW image format?

A crucial feature for an underwater camera or a tiny sensor. And here we have both in one body.

"Neither model can cature Raw data."

Thank's a lot - I was suspecting it, but could not find anything.

"Since the WG-1000 can be sterilized with solutions containing ethanol, sodium hypochlorite (approved as a disinfectant of food additives) or chlorine dioxide, it can be safely used at medical facilities and worksites." - Quote from Ricoh.

My friend may be interested in this one.

Ricoh had a model like that previously, before the merger with Pentax. They serve some interesting markets.

Yes I am aware of the G900 and G800SE(Japan) but they are more expensive. This is the budget version. Not such a heartache when it is destroyed accidently.

How is the Pentax WG-8 different from the Ricoh WG-7 besides the name change?

They learnt from Olympus: Just change the name and colour of existing model, release as new....

I compared WG-6 with my iPhone 13 mini with a waterproof case on a recent trip to Guam. I took regular travel photos and videos; that includes portraits, landscape, nightscape, food and of course, under water scenes.The only part the WG-6 did better than the iPhone was ergonomics. Two things that I thought needed immediate improvements were 1) larger sensor (1" would be nice, and also RAW support) and better display (the current display lacks clarity and has terrible viewing angle). With neither improvements with the WG-8, I must say that buying a waterproof case for your smartphone is still the better option.

I don't doubt that the company with a literal bottomless pit of money could make a flagship phone a few years ago that takes better pictures within its native optical range than an underwater Pentax camera.

I would not trust, or care to attempt to operate the touchscreen interface of, any underwater phone housing at 20 meters depth. Let the purpose built $400 underwater camera face the trials of the briney deep, then if it fails or I lose it.. I can still phone home on the new $1400 cel when I get back on the boat.

Mr. Bolton, in what part did you think I went on a boat trip, to a place with 20m of depth, and used my phone to take pictures? Of course I am not stupid, and I would not pull out my phone in such situations. Why did you think I bought WG-6 in the first place? 99% of regular travelers don't go to such place. Most snorkeling is done at the beach, at waist level depth. People still consider if they should by a dedicated camera becuase to many, such travel is not cheap. I'm just commenting because I think I can provide helpful information to anyone that might be preparing such a trip and landed on this post by Googling.

Well I wasn't trying to call you out specifically, but OK.. You talked about a waterproof case for your phone being the better option. I then replied with the case where you're going actually underwater with it. I've got a Kyocera Dura-Force waterproof phone that's been dropped from two meters up-at 20mph off my bike-in addition to filming in a couple feet deep of seawater and it still works. Just the phone, no case at all for any of the above. However I wouldn't want to try it at 5 or 10 or 20m depth, either.

99 percent of travelers shooting how you do, won't buy this camera, probably, but those who do will be able to go deeper water diving with it. I've snorkeled deep enough to kill an iPhone. Wish I'd had one of these on me at the time!

This underwater tough camera is meant to go where your iPhone isn't. Is what I'm saying. No need to get defensive about your iProduct, yes we know it takes better pictures on dry land at its native focal lengths.

The new WG-1000 specs and design are close to Kodak WPZ2. Maybe it is a rebrand Kodak.

Good catch!

But which company built the Kodak WPZ2?

(Half joking, half curious.)

It's well known that Asia Optical is the manufacturer behind JK Imaging (the Kodak licensee). No doubt they have other customers too.

TN Args

How does this compare to the Olympus?

Maoby

Ultimately, the results of these cameras with tiny sensors are very disappointing. I compared my X100 and an AW130 if you are interested. https://www.flickr.com/photos/maoby/albums/72157676952032070/ The results are catastrophic for me. See 100% comparisons!

NikonBiologist

That’s a silly comparison. I wonder how well the x100 does under water…

MyReality

"The results are catastrophic for me. " Really? In what sense? Both cameras are usable to make great looking 13x19 in. prints. The catastrophe is usually in the price differences.

Or if at any ISO above 1600, or probably ISO 800 if not lower, in less than perfect lighting. In great lighting and images viewed on a phone--less differences.

@NikonBiologist - Probably ISO 800, but that is what the ring light is for . It is not for pro photos. If someone needs some better, they can buy it. If I needed occasional pro quality results underwater, I would just buy a Nikonos w/flash, use ISO film for about the price of this camera.

A swing and a ....miss. This coming from a fully loaded Pentax person.

Time for a 1" sensor in these cameras. I'd buy one---- just for fishing!

Question is if that's feasible with a non-extending lens. It could make the camera too bulky, and they'd lose sales because of that. Or they'd have to give it a prime lens. Again, lost appeal I'd think.

Poppamies

I think there are cameras called Sealife which are one notch more serious than this camera, if i remember correctly many have a decent sized sensor

Sealife once had had a model with an 1" sensor which performed very mediocre, to put it mildly. Now they only have a model with a 1/2.3" sensor (Micro 3.0 Camera) and a video camera, where the sensor size is not specified (its a 14 Mpix Panasonic sensor, whatever that means).

It's probably the same 14mpix sensor as in my Lumix DC-M60 (IIRC) a small sensor point n shoot whose party trick is 600mm equivalent of OIS optical lens reach, and it does remarkably well for what it is. I've shot a few concerts with it, from the nosebleeds, and I've gotten a few decent images out of it. Of course, nothing like my real camera. But because it's optically zooming out that far, it fares better than a phone by far. (That's actual optical zoom BTW, versus Apple's "optical zoom" where they crop in on the center 12mpx of a 24mpx sensor).

A while back Pentax ran a survey and one of the questions was about a hypothetical waterproof compact with a larger sensor. I wonder if anything will ever come of that?

They apparently have concluded that objects appear larger underwater. 😀

What is new feature comoare to previous model?

Nothing really. And the one before that, and the one before that, and the one before that one, and you guessed it...the one before that too.

How did it happen that they forgot about the f2-4.9 lens from the WG-3 ?

I'm fairly sure that lens was licensed from Olympus and their TG-x series. 2015's WG-5 still had it but 2019's WG-6 didn't. I don't know if Olympus stopped licensing it or if Pentax saw more profit margin in a cheaper, slower, longer lens...

@bartjeej Yeah, this was the case with many of their compacts at the time: I remember well that I noticed this with their ultra zooms like X70, and also their wonderful MX-1, which shared the lens of the Olympus XZ series - Possibly the best 1/1.7 platform in terms of combination of sharpness, compactness and aperture.

20 meters. It's better than most underwater cameras, but not really enough for advanced open water divers. And with a small sensor and slow lens. Though I guess that may be the price to pay for a non-extending lens in a compact body.

ybizzle

Embarrassing releases to say the least...

Well, there's hardly any competition left in the waterproof camera arena so they'll probably make a profit off of these unexciting updates.

I can't help but think that a waterproof GR would fly off the shelves, but hey, what do I know...

If the Nikon AW1 could handle going down to 30 meters, and had a modern sensor, I'd probably go for that.

As it is, I still rock my RX100 V and Fantasea housing. But it's quite bulky. I also got a GoPro 11, but not sure I like that either.

this will definitely be my next camera for my underwater feet pics for my OF

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RICOH IMAGING COMPANY, LTD

PENTAX WG-8: A top-of-the-line digital compact camera, featuring outstanding waterproof performance with up to two hours of continuous underwater shooting ; high-power, discharge-adjustable Ring Light; and webcam function

PENTAX WG-8: A top-of-the-line digital compact camera, featuring outstanding waterproof performance with up to two hours of continuous underwater shooting; high-power, discharge-adjustable Ring Light; and webcam function

TOKYO, June 6, 2024 -- RICOH IMAGING COMPANY, LTD. is pleased to announce the launch of the PENTAX WG-8. Developed as the top-of-the-line model of the heavy-duty, PENTAX WG series, this digital compact camera features a host of advanced, user-friendly functions including web camera functions, which can be used not only for outdoor photography, but also in various business scenes. It also boasts outstanding waterproof, shockproof and cold-resistant performance.

Developed to be the toughest of the PENTAX WG series of waterproof digital compact cameras in handling harsh environments, this top-of-the-line model is waterproof to a depth of 20 meters, shockproof against a fall from heights of 2.1 meters, and cold-resistant to temperatures as low as -10°C. Even in demanding conditions, it captures super-high-resolution still images at approximately 20 effective megapixels and high-quality 4K-resolution movie clips. When connected to a computer, it also functions as a web camera. Using its high-power, discharge-adjustable Ring Light unit and macro shooting capability from a minimum focusing distance of one centimeter, the user can deliver a well-illuminated, enlarged view of a small item to an audience during online business meetings.

As for the current PENTAX WG-90, the PENTAX WG-8 will be marketed under the PENTAX brand, because this top-of-the-line model provides a host of functions highly useful under demanding outdoor conditions, just like those featured by the PENTAX brand of digital SLR cameras, which are well received and highly respected by many users.

PENTAX WG-8_Black

Main Features

1. heavy-duty construction for underwater shooting down to a depth of 20 meter, for up to two hours of continuous operation.

The WG-8's solid, airtight body is not only waterproof to a depth of 20 meters -- the greatest operating depth in the history of the WG series -- and for up to two hours of continuous operation (equivalent to IPX8 or JIS Class 8), but it's also shockproof against a fall from heights of up to 2.1 meters, * dustproof (equivalent to IPX6 or JIS Class 6), cold-resistant to temperatures as low as -10°C, and crushproof against weights of up to 100kgf (kilogram force). ** Thanks to this heavy-duty construction, the WG-8 performs superbly and dependably in harsh, demanding outdoor conditions.

* Measured using RICOH IMAGING-original testing standards, including a drop from a height of 2.1 meters onto a surface of 5cm-thick plywood, with the camera's power on, conforming to Method 516-5-Shock of the MIL-Standard 810F. ** Measured using RICOH IMAGING-original testing standards.

2. 4K-resolution movie recording for extended shooting of high-quality movies

The WG-8 provides 4K-resolution movie recording in the H.264 format, allowing the user to capture high-quality, extended movie clips (3840 x 2160 pixels, 30 frames per second). In addition to the conventional Movie SR (Shake Reduction) mode,* it also features the new Movie SR+ mode, * which generates a shake-reduction effect similar to the one created by a gimbal unit to assure high-quality movie shooting with more active, fast-action outdoor activities.

* When one of these modes is activated, the angle of view becomes narrower. The Movie SR+ mode can be used at recorded pixel size smaller than the Full HD format (1920 x 1080 pixels).

3. High-quality, high-resolution images

Combining a state-of-the-art back-illuminated CMOS image sensor (which provides excellent high-sensitivity, low-noise characteristics, and assures high-speed readout of image data signals) with a high-performance imaging engine, the WG-8 delivers a top sensitivity of ISO 6400 and super-high-resolution images with approximately 20 effective megapixels. It also provides advanced image processing functions, made possible by the super-resolution technology, to assure sharp, clear, high-resolution images. It even provides such innovative functions as a Hand-held Night Snap mode, which automatically captures several images of the same nighttime scene and produces a single, blur-free composite image from them.

4. Five-times optical zoom lens with 28mm wide-angle coverage

The WG-8's five-times optical zoom lens with an angle-of-view coverage from 5mm to 25mm (equivalent to approximately 28mm to 140mm in the 35mm format) and a minimum focusing distance of a mere one centimeter allows the user to cover a wide range of applications, from eye-catching close-ups to sweeping landscapes. Its Intelligent Zoom function extends the zoom range by approximately 40.5 times without compromising image quality, while the Interval Shooting mode comes in handy for fixed-point photography.

5. Webcam function for live-streaming of high-quality, high-resolution images

Simply by switching the WG-8 to the UVC (USB Video Class) mode and connecting it to a computer with an USB cable (included as a standard accessory), it can be used as a web camera * for real-time streaming of Full HD-resolution video images at 30 frames per second. When combined with the camera's macro shooting capability and built-in Ring Light unit, the user can deliver more detailed, creative images than those captured by the computer's built-in camera during online business meetings or private online communications.

* Compatible applications: Zoom, Skype®, Microsoft Teams®, Google, MeetTM, Cisco, WebEX®, Facebook, Messenger. Supported operating systems: Windows® 10, Windows® 11, MacOS 11, MacOS 12, MacOS13, MacOS 14. The web camera function does not provide audio feed. We advise using the computer's built-in mic for audio communications at online meetings. The optional TE-2 Extension Adapter (available separately) is required to use the WG-8 on a tripod.

6. High-power, discharge-adjustable, six-bulb Ring Light unit

Positioned around the circumference of the lens barrel, the WG-8's six-LED Ring Light unit allows the user to set a faster shutter speed and minimize camera shake and subject shake in macro and close-up photography. The discharge level can be adjusted to a desired level. This unit also provides selective lighting, in which the user can activate only the horizontally or vertically aligned lights to illuminate the subject more three-dimensionally and emphasize its contours.

7. 3.0-inch, wide-frame LCD monitor for wide-angle viewing

The WG-8 is equipped with a large, high-resolution 3.0-inch LCD monitor (3:2 proportions and approximately 1,040,000 dots). Applied to the monitor's protective cover, the AR (Anti-Reflection) coating minimizes annoying glare and reflections to assure a sharp, clear on-screen image even in the harsh sunshine often encountered in outdoor shooting. It also features the Outdoor View Setting, which lets the user adjust the monitor's brightness level according to changes in ambient lighting conditions, to optimize the visibility of the on-screen image.

8. Advanced GPS functions and built-in digital compass

The WG-8's built-in GPS module automatically records position data and travel log data onto captured images, and adjusts the built-in clock to local time. This module can be activated with a single action, and can receive signals from GLONASS (Global Navigation Satellite System), as well as U.S. GPS satellites. The GPS Lock function lets the user save GPS data onto captured images by using previously acquired position data -- highly convenient for shootings inside buildings. GPS data, directional data acquired by the digital compass and UTC (Coordinated Universal Time) can also be imprinted on the lower right corner of an image.

9. Other features

Notes: • Zoom is a trademark or registered trademark of Zoom Video Communications, Inc. used in the U.S.A. and other nations/regions. • Skype is a trademark or registered trademark of Microsoft Corporation of the U.S.A. used in the U.S.A. and other nations/regions. Skype and its related trademarks are trademarks of Skype or its related business entities. • Microsoft Teams is a trademark or registered trademark of Microsoft Corporation of the U.S.A. used in the U.S.A. and other nations/regions. • Google Meet is a trademark or registered trademark of Google Inc. used in the U.S.A. and other nations/regions. • Cisco Webex is a trademark or registered trademark of Cisco Systems Inc. used in the U.S.A. and other nations/regions. • Facebook Messenger is a trademark or registered trademark of Facebook, Inc. • USB Type-C is a trademark of USB Implementers Forum. • HDMI, the HDMI logo and High-Definition Multimedia Interface are trademarks or registered trademarks of HDMI Licensing used in the U.S.A. and other nations/regions. • Product names and corporate names mentioned in this news release are trademarks or registered trademarks of each respective company. • Designs and specifications are subject to change without notice.

Major Specifications

* Recording capacity shows approximate number of shots recorded during CIPA-compliant testing.Actual performance may vary depending on operating conditions. ** According to the result of RIM in-house testing.

| About Ricoh |

Ricoh is a leading provider of integrated digital services and print and imaging solutions designed to support digital transformation of workplaces, workspaces and optimize business performance. Headquartered in Tokyo, Ricoh’s global operation reaches customers in approximately 200 countries and regions, supported by cultivated knowledge, technologies, and organizational capabilities nurtured over its 85-year history. In the financial year ended March 2024, Ricoh Group had worldwide sales of 2,348 billion yen (approx. 15.5 billion USD). It is Ricoh’s mission and vision to empower individuals to find Fulfillment through Work by understanding and transforming how people work so we can unleash their potential and creativity to realize a sustainable future.

For further information, please visit https://www.ricoh.com/

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